“Water, ancient civilizations, and years living in the great lakes region of the United States, my paintings brought me to those silent songs of Venice.” - Tom Parish, 2012
Osteria, oil on linen
"Parish, like many painters dreamers from afar, is seduced by the face of Venice and remains dazzled by its beauty. What follows is the necessary, almost physiological, reproduction of multiple and changing portraits of the city. He discovers the most hidden water and pedestrian corners, as is clearly evident in the slight curve of the narrow port of his painting Porta da Luce of 2009, and chooses to reproduce them faithfully on the canvas."
Prof. Franco Tagliapietra
Docente di storia dell’arte contemporanea - Accademia di Belle Arti - Venezia
Essay by Erin Parish
Tom Parish, my father who died last fall, had for over thirty years a single-pointed focus on painting Venice, a subject matter that many artists dare not touch. Like fellow Americans James McNeil Whistler and John Singer Sargent, he avoided the sentimentality inherent in many depictions of the city. [...] Venice drew him in with her contradiction of being “untouched by time” and the awareness of the seeming impossibility of her continued existence. One is cognizant of the toll that the ever-increasing floods, rising water, and submersion relentlessly takes on the buildings. We witness her precarious beauty touched everywhere by nature, and feel fortunate to still be able to experience this “City in the Lagoon.”