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Gregory Gillespie

GREGORY GILLESPIE (1936–2000) first exhibited in New York at Forum Gallery in 1966. John Canaday, writing for The New York Times, soon predicted that Gillespie “just might emerge as the most important painter at work today.” On the occasion of his first retrospective exhibition, at the Joseph H. Hirshhorn Museum and Sculpture Garden, Washington, DC in 1977, Jo Ann Lewis, in The Washington Post, speculated that “. . . the art world may be ready, once again, for realist art with content—something beyond the mere virtuosity of the photo- and hyper-realists.” But Gillespie’s virtuosic and provocative European street scenes and interiors, near-hallucinatory landscapes, disturbing sexual fantasies and startling self-portraits were too diverse and visually disparate to place him in an art “movement” or category. He was different, perhaps too different for the kind of iconic recognition that could result in great fame for other artists; no singular stylistic or pictorial imagery united all his work. But the brilliant intensity, psychological depth and unending drama of his paintings attracted a diverse following nonetheless. Gillespie was exhibited at major museums from New York to California, and his works were purchased by devoted and important collectors across America and in Europe. When Forum Gallery presented a survey of his self-portraits in 1991, the works on view, dating from 1968 to 1991, were on loan from collections in New York, New England, the mid-Atlantic, the Pacific coast and Milan, Italy. In all, Forum presented 16 Gregory Gillespie exhibitions, and a second retrospective was organized by the Georgia Museum of Art in 1999, traveling to four museums.

Roberta Smith’s New York Times obituary (April 29, 2000) notes that “His art was known for an obsessive attention to realistic detail, but the term realist fit only a narrow swath of his sensibility.” Gillespie sought a “reality beyond our sense”. He stated, “I’ve always felt that the important thing is allowing the deeper, more intuitive, subconscious voices to get through, and so I like the freedom to explore combinations of techniques and approaches in order to express the full range of my emotional responses.”

Looking back at Gregory Gillespie’s work through the lens of 20th Century context, there can be no question that his extraordinary ability to depict and transform the world around him, coupled with the strength of his perceptive observation of himself and others, resulted in some of the most haunting, imaginative and progressive visual art of our time. Gregory Gillespie was the ultimate inside-outsider, a gifted and highly trained painter who was a student of art history and practitioner of analytic thought who walked his own path, never part of a movement or group, and, in the end, unfailingly appealing but impossible to categorize.
_Robert Fishko

Gregory Gillespie -  - Viewing Room - Forum Gallery Online Viewing Room




“We can conceive of Gillespie’s paintings as private interior landscapes into which we are transported by the power of the artist’s imagination and the cunning of his hand. We become travelers in a strange and fascinating region where we may experience the metamorphosis of places, objects, and people, and where the simplest things, painted with painstaking clarity, become bewitched and transformed.”

_ Abram Lerner, Gregory Gillespie, retrospective exhibition presented by Hirshhorn Museum and Sculpture Garden, Washington, D.C.; traveled to Georgia Museum of Art, Athens, GA, 1977; catalogue essay.

Gregory Gillespie -  - Viewing Room - Forum Gallery Online Viewing Room





"…For Gillespie an important goal of paintings has come to be the creation of a convincing, three-dimensional image on a two-dimensional surface; therein for him lies the compelling attraction and timeless mystery of art. This conclusion derives in part from a technical respect for such Renaissance artists as Masaccio and Carlo Crivelli, as well as from an intellectual consideration of contemporary artists such as Rauschenberg and Johns. Illusion is the starting point of Gillespie’s art…(he) is the first to admit that such technical mastery is only the necessary means to an expressive end, which is for him intensely personal...

Gregory Gillespie -  - Viewing Room - Forum Gallery Online Viewing Room


...Gillespie reveled in the exposure to Italian and Northern painting, and throughout his work allusions to past art occur in an apparently incidental, daydream manner. His subject matter was influenced by the details of everyday Italian life – peeling walls that have been restuccoed for centuries, the intricate geometric patterns of tile floors, sacred relics deeply imbedded in obscure niches of small churches, the illusionistic absurdity of a wooden window frame painted to simulate wood grain. He was fascinated by the tendency to decorate the environment in strange and intricate ways. Gillespie is related to the Italian and Northern Renaissance painters in sensibility and technique. He paints only on wood panels and builds his paintings in thin layers of oil and magna. While he likes the tough surface of wood, its use more importantly lends him a great flexibility of composition, as he often literally saws off or adds on pieces of wood as the dimensions and elements of a composition are expanded or diminished. His paintings are sometimes quite small (many paintings are no larger than 7 x 9 inches), and range in subject matter from landscape, still life, and genre or allegory to interior scenes, self-portraiture, “shrine” and “wall” paintings, and anthropomorphic fantasies...

Gregory Gillespie -  - Viewing Room - Forum Gallery Online Viewing Room

…Many of the interiors of the Sixties contain tables, but neither chairs nor space to sit down; these omissions intensify their rigid and sacramental character. They are often claustrophobic – defined as box spaces, the checkerboard tablecloths and tile floors spelling out their own perspective…In Roman Interior (Still Life) (1966-67) the architectural anonymity is enlivened by the presence of the child’s sketch on the wall, the cheery tablecloth, and the “caffé Bourbon” box set on the window sill.  Gillespie debated for some time over the selection of an object to place on the table of this Roman Interior, but concluded that the wrinkles of the checkered tablecloth were object enough, and elected to introduce a second focal point in the form of the small deep window on the right. Creating a play of indoor/outdoor space, the window overlooks a view of the Castello St. Angelo, incorporated by means of a postcard. While working on the painting Gillespie changed the postcard image frequently, enjoying this variable element. The checkered line horizontally dividing the wall was painted after, and its position determined by experimentation with decorative tape bought from a bicycle shop.”

_Hugh M. Davies and Sally E. Yard, excerpt from Gergory Gillespie: The Timeless Mystery of Art, Arts, December 1977.

Gregory Gillespie -  - Viewing Room - Forum Gallery Online Viewing Room



“…Gillespie mingles fragments of his art and life.  Objects related only by their association with his work and family – masks, paintings, plants, vegetables, toys – all dominated by a studio manikin – are rearranged against a wall.  Some of the objects are rendered in trompe l’oeil fashion, others are painted in a straightforward, nonillusionistic style.  This mixture of conventional realism and outright illusion keeps the viewer’s perceptions in a state of imbalance…There is no straining for dazzling perspective or for the polished finish of a Harnett, yet the individual forms are convincingly defined and occupy their own space without destroying the flatness of the picture plane…the arrangement of shapes and patterns of color has been carefully planned without making the abstract nature of these decisions too obvious.”

_ Abram Lerner, Gregory Gillespie, retrospective exhibition presented by Hirshhorn Museum and Sculpture Garden, Washington, D.C.; traveled to Georgia Museum of Art, Athens, GA, 1977; catalogue essay.

Gregory Gillespie -  - Viewing Room - Forum Gallery Online Viewing Room






“In the case of Gregory Gillespie – an artist of singular sensibility – the terrors of anxiety have yielded paintings that transform reality into intense dramas of perception – acute, often obsessive responses to a world that is seen more as a threat than an arena of open-ended discovery…. Dense, confining, claustrophobic, (Gillespie’s world) is a universe in which figures, objects, landscapes, street or rooms seem paralyzed and transfixed within the trauma of their very existence.”

_ John Gruen, Gregory Gillespie’s dense reality, Art News, March 1977

Gregory Gillespie -  - Viewing Room - Forum Gallery Online Viewing Room



“Gregory Gillespie is an American realist of a prophetic kind. Unlike the photorealists and hyperrealists, who have established themselves as leaders in the pendulum-swing away from abstraction, Gillespie puts a similar acutely detailed reproduction of visual reality into the into the service of profound and often disturbing introspection...In their intensity Gillespie’s self-portraits are comparable to Vincent van Gogh’s, although they rise above Vincent’s in their analytical severity…They are more comparable, although in total contrast stylistically, to Rembrandt’s, which over a much longer period of time recorded the evolution of the painter from his youthful ebullient self to a tragic philosopher of the human condition in old age…(Gillespie’s) self-portraits at least recognize the significance of artists as exceptional individuals who, in the course of acquiring self-knowledge, may help us to discover knowledge of ourselves.”

_John Canaday, review of Gregory Gillespie retrospective exhibition at the Hirshhorn Museum and Sculpture Garden, The New Republic, February 4, 1978

Gregory Gillespie -  - Viewing Room - Forum Gallery Online Viewing Room



“The naturalistic and the bizarre, religion and pornography, whimsy and madness: Gillespie fuses chaotic contradictions in his exploration of the human psyche.

In a work titled Peg with Hand on Thigh, (Gillespie’s wife) is shown sitting in a slightly ratty old chair on a n old-fashioned hexagonal-tiled bathroom floor, nude but for the uncomfortable-looking shawl tied around her shoulders. Both the self-portraits and the nude are executed in the style that has become Gillespie’s trademark – more naturalist than realist, every detail of figure and surroundings right, but done as if by a Renaissance painter, with rich tonalities that somehow go back to the beginnings of perspective and the smooth strokes and color of the Flemish and Italian masters.”

_ Gerrit Henry, Gregory Gillespie’s Manic Masterpieces, Art News, December 1986

Gregory Gillespie -  - Viewing Room - Forum Gallery Online Viewing Room

“Mr. Gillespie’s art exhibits an emotional response to physical things that recalls the impulse behind the reliquary and the votive offering. For him, art’s transformations are sacred stuff…Rather than eliminating troubling elements, Mr. Gillespie holds them front and center, the better to tame them. His is an art of precarious balances; between chaos and order, carnality and transcendent spirituality, the quotidian and the bizarre… The roots of Mr. Gillespie's style can perhaps be traced to the profound impression left by his Roman Catholic upbringing. ''I've always thought that in some deep ways Catholicism has had a huge effect on my art, as it has on my soul,'' says Mr. Gillespie, remembering his childhood struggle with sin and redemption…Mr. Gillespie has never lost his childhood obsession with sin, though his religious beliefs have evolved over the years, as the frequent Buddhist and Hindu symbols in his paintings attest. He explains, ''Buddhism says there's a reason why you're suffering and that suffering can be understood through introspection and by understanding the way the mind works.''

_Miles Unger, Finding the Reality That Lies Just Beyond the Real, review of A Unique Vision retrospective organized by Georgia Museum of Art, The New York Times, October 31, 1999

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Gregory Gillespie Street in Madrid, 1963 oil and magazine photographs on board 10 3/4 x 10 inches

Street in Madrid, 1963
oil and magazine photographs on board
10 3/4 x 10 inches

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Gregory Gillespie Roman Interior (Still Life), 1966-67 oil and magazine photographs on wood 43 3/4 x 33 inches

Roman Interior (Still Life), 1966-67
oil and magazine photographs on wood
43 3/4 x 33 inches

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Gregory Gillespie Pregnant Female, 1967 oil on wood 4 3/8 x 5 3/4 inches

Pregnant Female, 1967
oil on wood
4 3/8 x 5 3/4 inches

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Gregory Gillespie Roman Wall II, 1967 oil and mixed media on board 28 x 19 1/4 inches

Roman Wall II, 1967
oil and mixed media on board
28 x 19 1/4 inches

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Gregory Gillespie Standing Couple, 1967 oil, tempera and collage on wood 10 3/4 x 8 1/2 inches

Standing Couple, 1967
oil, tempera and collage on wood
10 3/4 x 8 1/2

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Gregory Gillespie Allegorical Painting (Insects), 1968 oil and Polaroid film negative mounted on wood 4 3/4 x 3 1/2 inches

Allegorical Painting (Insects), 1968
oil and Polaroid film negative mounted on wood
4 3/4 x 3 1/2 inches

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Gregory Gillespie Lady with Jewels, 1969 mixed media on board 6 x 4 inches, ​​​​​​​18 3/8 x 14 1/4 x 2 1/8 inches (with artist frame)

Lady with Jewels, 1969
mixed media on board
6 x 4 inches
18 3/8 x 14 1/4 x 2 1/8 inches (with artist frame)

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Gregory Gillespie Self-Portrait, Foro Romano, 1969 oil, tempera and collage on board 25 3/8 x 19 3/4 inches

Self-Portrait, Foro Romano, 1969
oil, tempera and collage on board
25 3/8 x 19 3/4 inches

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Gregory Gillespie Viva Frances, 1969 mixed media on panel 31 x 27 inches

Viva Frances, 1969
mixed media on panel
31 x 27 inches

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Gregory Gillespie Back to School, 1971 oil and magna on wood 11 1/2 x 14 3/4 inches

Back to School, 1971
oil and magna on wood
11 1/2 x 14 3/4 inches

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Gregory Gillespie Cow, Massachusetts, 1971 oil and magna on wood 10 x 12 inches

Cow, Massachusetts, 1971
oil and magna on wood
10 x 12 inches

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Gregory Gillespie, Sisters, 1973, oil on wood, 9 1/2 x 8 1/2  inches

Sisters, 1973
oil on wood
9 1/2 x 8 1/2 inches
 

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Gregory Gillespie Studio Wall (Still Life with Self-Portrait), 1976, oil, printed paper collage, pencil and Magna on wood, in four parts, 96 x 124 inches

Studio Wall (Still Life with Self-Portrait), 1976

oil, printed paper collage, pencil and Magna on wood, in four parts

96 x 124 inches

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Gregory Gillespie Studio: Still Life, 1978 oil, graphite, charcoal, alkyd and paper collage on board 73 1/2 x 59 1/2 inches

Studio: Still Life, 1978
oil, graphite, charcoal, alkyd and paper collage on board
73 1/2 x 59 1/2 inches

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Gregory Gillespie Self-Portrait with Blue Visor, 1979 oil on paper mounted to panel 31 3/8 x 25 5/8 inches

Self-Portrait with Blue Visor, 1979
oil on paper mounted to panel
31 3/8 x 25 5/8 inches

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GREGORY GILLESPIE Head of Peg, 1979-80 oil on graphite on paper mounted to panel 24 x 19 1/8 inches

Head of Peg, 1979-80
oil on graphite on paper mounted to panel
24 x 19 1/8 inches

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Gregory Gillespie, Dog and Doll in Room, 1981, mixed media on board, 25 x 31 inches

Dog and Doll in Room, 1981
mixed media on board
25 x 31 inches

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Gregory Gillespie Landscape with Dancing Shiva, 1983-90 oil and alkyd  on board 15 x 30 1/2 inches

Landscape with Dancing Shiva, 1983-90
oil and alkyd on board
15 x 30 1/2 inches

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Gregory Gillespie Bill (in Studio), 1984 oil, alkyd and photo on board 12 1/2 x 17 3/4

Bill (in Studio), 1984
oil, alkyd and photo on board
12 1/2 x 17 3/4

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Gregory Gillespie Burial Place, 1985 oil on mylar on board 18 1/2 x 18 inches

Burial Place, 1985
oil on mylar on board
18 1/2 x 18 inches

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Gregory Gillespie Peg (With Hand on Thigh), 1985 oil and alkyd on photo on board 14 x 13 7/8

Peg (With Hand on Thigh), 1985
oil and alkyd on photo on board
14 x 13 7/8

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Gregory Gillespie Self-Portrait (in strong light, partly balding), 1985 oil and pencil on Mylar 13 3/4 x 9 1/2 inches

Self-Portrait (in strong light, partly balding), 1985
oil and pencil on Mylar
13 3/4 x 9 1/2 inches

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Gregory Gillespie, My Aunt, 1988, oil on panel, ​​​​​​​19 3/4 x 18 1/2 inches, 25 x 23 3/4 x 1 3/4 inches (with artist frame)

My Aunt, 1988
oil on panel
19 3/4 x 18 1/2 inches
25 x 23 3/4 x 1 3/4 inches (with artist frame)

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Gregory Gillespie Porch, Landscape, Lizard and Man, 1988-89 oil and alkyd on board 28 x 30 inches

Porch, Landscape, Lizard and Man, 1988-89
oil and alkyd on board
28 x 30 inches

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Gregory Gillespie Self-Portrait (Bust) Striped Shirt, 1988-89 oil on board 23 x 22 1/4 inches

Self-Portrait (Bust) Striped Shirt, 1988-89
oil on board
23 x 22 1/4 inches

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Gregory Gillespie Self-Portrait in Blue Hooded Sweatshirt, 1993 oil and alkyd on board 26 x 22 1/2 inches

Self-Portrait in Blue Hooded Sweatshirt, 1993
oil and alkyd on board
26 x 22 1/2 inches

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Gregory Gillespie From the Book of Kells, 1995 oil, pencil, and Xerox transfer on panel 19 1/2 x 22 3/4 inches (overall), 10 3/4 x 14 inches (image)

From the Book of Kells, 1995
oil, pencil, and Xerox transfer on panel
19 1/2 x 22 3/4 inches (overall)
10 3/4 x 14 inches (image)

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Gregory Gillespie White Lions, 1997 oil on panel 22 x 27 inches

White Lions, 1997
oil on panel
22 x 27 inches

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Gregory Gillespie Lani's Game, 1999 oil on wood 10 1/2 x 28 1/4 inches

Lani's Game, 1999
oil on wood
10 1/2 x 28 1/4 inches

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Gregory Gillespie Self-Portrait in Backyard, 1999 oil on wood 11 x 10 5/8 inches

Self-Portrait in Backyard, 1999
oil on wood
11 x 10 5/8 inches

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Gregory Gillespie Backyard in Williamsburg, c. 1999 oil on wood 10 3/4 x 11 1/2 inches

Backyard in Williamsburg, c. 1999
oil on wood
10 3/4 x 11 1/2 inches

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Gregory Gillespie Street in Madrid, 1963 oil and magazine photographs on board 10 3/4 x 10 inches

Street in Madrid, 1963
oil and magazine photographs on board
10 3/4 x 10 inches

Gregory Gillespie Roman Interior (Still Life), 1966-67 oil and magazine photographs on wood 43 3/4 x 33 inches

Roman Interior (Still Life), 1966-67
oil and magazine photographs on wood
43 3/4 x 33 inches

Gregory Gillespie Pregnant Female, 1967 oil on wood 4 3/8 x 5 3/4 inches

Pregnant Female, 1967
oil on wood
4 3/8 x 5 3/4 inches

Gregory Gillespie Roman Wall II, 1967 oil and mixed media on board 28 x 19 1/4 inches

Roman Wall II, 1967
oil and mixed media on board
28 x 19 1/4 inches

Gregory Gillespie Standing Couple, 1967 oil, tempera and collage on wood 10 3/4 x 8 1/2 inches

Standing Couple, 1967
oil, tempera and collage on wood
10 3/4 x 8 1/2

Gregory Gillespie Allegorical Painting (Insects), 1968 oil and Polaroid film negative mounted on wood 4 3/4 x 3 1/2 inches

Allegorical Painting (Insects), 1968
oil and Polaroid film negative mounted on wood
4 3/4 x 3 1/2 inches

Gregory Gillespie Lady with Jewels, 1969 mixed media on board 6 x 4 inches, ​​​​​​​18 3/8 x 14 1/4 x 2 1/8 inches (with artist frame)

Lady with Jewels, 1969
mixed media on board
6 x 4 inches
18 3/8 x 14 1/4 x 2 1/8 inches (with artist frame)

Gregory Gillespie Self-Portrait, Foro Romano, 1969 oil, tempera and collage on board 25 3/8 x 19 3/4 inches

Self-Portrait, Foro Romano, 1969
oil, tempera and collage on board
25 3/8 x 19 3/4 inches

Gregory Gillespie Viva Frances, 1969 mixed media on panel 31 x 27 inches

Viva Frances, 1969
mixed media on panel
31 x 27 inches

Gregory Gillespie Back to School, 1971 oil and magna on wood 11 1/2 x 14 3/4 inches

Back to School, 1971
oil and magna on wood
11 1/2 x 14 3/4 inches

Gregory Gillespie Cow, Massachusetts, 1971 oil and magna on wood 10 x 12 inches

Cow, Massachusetts, 1971
oil and magna on wood
10 x 12 inches

Gregory Gillespie, Sisters, 1973, oil on wood, 9 1/2 x 8 1/2  inches

Sisters, 1973
oil on wood
9 1/2 x 8 1/2 inches
 

Gregory Gillespie Studio Wall (Still Life with Self-Portrait), 1976, oil, printed paper collage, pencil and Magna on wood, in four parts, 96 x 124 inches

Studio Wall (Still Life with Self-Portrait), 1976

oil, printed paper collage, pencil and Magna on wood, in four parts

96 x 124 inches

Gregory Gillespie Studio: Still Life, 1978 oil, graphite, charcoal, alkyd and paper collage on board 73 1/2 x 59 1/2 inches

Studio: Still Life, 1978
oil, graphite, charcoal, alkyd and paper collage on board
73 1/2 x 59 1/2 inches

Gregory Gillespie Self-Portrait with Blue Visor, 1979 oil on paper mounted to panel 31 3/8 x 25 5/8 inches

Self-Portrait with Blue Visor, 1979
oil on paper mounted to panel
31 3/8 x 25 5/8 inches

GREGORY GILLESPIE Head of Peg, 1979-80 oil on graphite on paper mounted to panel 24 x 19 1/8 inches

Head of Peg, 1979-80
oil on graphite on paper mounted to panel
24 x 19 1/8 inches

Gregory Gillespie, Dog and Doll in Room, 1981, mixed media on board, 25 x 31 inches

Dog and Doll in Room, 1981
mixed media on board
25 x 31 inches

Gregory Gillespie Landscape with Dancing Shiva, 1983-90 oil and alkyd  on board 15 x 30 1/2 inches

Landscape with Dancing Shiva, 1983-90
oil and alkyd on board
15 x 30 1/2 inches

Gregory Gillespie Bill (in Studio), 1984 oil, alkyd and photo on board 12 1/2 x 17 3/4

Bill (in Studio), 1984
oil, alkyd and photo on board
12 1/2 x 17 3/4

Gregory Gillespie Burial Place, 1985 oil on mylar on board 18 1/2 x 18 inches

Burial Place, 1985
oil on mylar on board
18 1/2 x 18 inches

Gregory Gillespie Peg (With Hand on Thigh), 1985 oil and alkyd on photo on board 14 x 13 7/8

Peg (With Hand on Thigh), 1985
oil and alkyd on photo on board
14 x 13 7/8

Gregory Gillespie Self-Portrait (in strong light, partly balding), 1985 oil and pencil on Mylar 13 3/4 x 9 1/2 inches

Self-Portrait (in strong light, partly balding), 1985
oil and pencil on Mylar
13 3/4 x 9 1/2 inches

Gregory Gillespie, My Aunt, 1988, oil on panel, ​​​​​​​19 3/4 x 18 1/2 inches, 25 x 23 3/4 x 1 3/4 inches (with artist frame)

My Aunt, 1988
oil on panel
19 3/4 x 18 1/2 inches
25 x 23 3/4 x 1 3/4 inches (with artist frame)

Gregory Gillespie Porch, Landscape, Lizard and Man, 1988-89 oil and alkyd on board 28 x 30 inches

Porch, Landscape, Lizard and Man, 1988-89
oil and alkyd on board
28 x 30 inches

Gregory Gillespie Self-Portrait (Bust) Striped Shirt, 1988-89 oil on board 23 x 22 1/4 inches

Self-Portrait (Bust) Striped Shirt, 1988-89
oil on board
23 x 22 1/4 inches

Gregory Gillespie Self-Portrait in Blue Hooded Sweatshirt, 1993 oil and alkyd on board 26 x 22 1/2 inches

Self-Portrait in Blue Hooded Sweatshirt, 1993
oil and alkyd on board
26 x 22 1/2 inches

Gregory Gillespie From the Book of Kells, 1995 oil, pencil, and Xerox transfer on panel 19 1/2 x 22 3/4 inches (overall), 10 3/4 x 14 inches (image)

From the Book of Kells, 1995
oil, pencil, and Xerox transfer on panel
19 1/2 x 22 3/4 inches (overall)
10 3/4 x 14 inches (image)

Gregory Gillespie White Lions, 1997 oil on panel 22 x 27 inches

White Lions, 1997
oil on panel
22 x 27 inches

Gregory Gillespie Lani's Game, 1999 oil on wood 10 1/2 x 28 1/4 inches

Lani's Game, 1999
oil on wood
10 1/2 x 28 1/4 inches

Gregory Gillespie Self-Portrait in Backyard, 1999 oil on wood 11 x 10 5/8 inches

Self-Portrait in Backyard, 1999
oil on wood
11 x 10 5/8 inches

Gregory Gillespie Backyard in Williamsburg, c. 1999 oil on wood 10 3/4 x 11 1/2 inches

Backyard in Williamsburg, c. 1999
oil on wood
10 3/4 x 11 1/2 inches

Downloads

"Street in Madrid" fact sheet
"Roman Interior (Still Life)" fact sheet
"Pregnant Female" fact sheet
"Roman Wall II" fact sheet
"Standing Couple" fact sheet
"Allegorical Painting (Insects)" fact sheet
"Lady with Jewels" fact sheet
"Self-Portrait, Foro Romano" fact sheet
"Back to School" fact sheet
"Cow, Massachusetts" fact sheet
"Sisters" fact sheet
"Studio: Still Life" fact sheet
"Head of Peg" fact sheet
"Dog and Doll in Room" fact sheet
"Bill (in Studio)" fact sheet
"Peg (With Hand on Thigh)" fact sheet
"My Aunt" fact sheet
"Porch, Landscape, Lizard and Man" fact sheet
"Self Portrait in Blue Hooded Sweatshirt" fact sheet
Gregory Gillespie Bio