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Meet Artist Lindy Cook Severns

Hello There ~

Pleased to meet you!

I'm Big Bend artist Lindy Cook Severns, seventh-generation Texan and painter of  landscapes steeped in color and imbued with my passion for nature. 

While I've painted professionally most all my adult life, there's nothing like not having a day job. In 2004, infected with Middle Age Crazy, Jim and I quit our jobs flying a corporate jet (yes, together!). We sold the country club estate we'd loving designed, landscaped and occupied for nearly three decades. Been there. Loved it. Done with that life. We moved into a big RV and meant to travel the continent (on wheels, this time) but the wild country of Far West Texas kept calling us home.

Old Spanish Trail Studio, my crazy artist space is tucked away in the Davis Mountains near historic Fort Davis and infamous Marfa.  We live in our fifth-wheel on a working high country ranch. A rescued terrier and an African Grey parrot share our remotely beautiful world. Across from my rustic studio is Old Spanish Trail Gallery, a high-end southwestern art gallery where I'm the Artist-in-Residence and Jim acts as Chief of Hanging. (Jim claims he's done more hanging than Judge Roy Bean.) We're the ones who ran away to join the circus, and we’ve never looked back.




My art business has been designated as a "Trusted Art Seller" with The Art Storefronts Organization, which means you can shop with confidence, and know that I stand behind the quality and value of my products. 

It's the West Texas Way.



Artist History

Born in Lubbock, Texas, where the tumbling tumble weeds jet past, I also grew up in Houston and Midland.

Returning to Lubbock for college, I found myself to be a splintery cube of realism at a time when art was rounded in tie-dyed bandanas and flying yellow submarines. Besides being a stylistic misfit, I wanted to study so many other things. I switched majors my sophomore year, never stopped drawing and painting, but earned my bachelor’s degree from Texas Tech University* in English and biology rather than studio art. Academics gave me an anchor even as they reinforced the pull of writing and wilderness. 

Who says you can't do everything you're interested in?  My knowledge of nature and the stories behind my art are as important to me as the art itself. 

Post college, I become a pilot. After a near-fatal plane crash (I hit unmarked, very unfortunately placed power lines and broke my back-- the plane, alas, didn't survive) I studied martial arts, which proved a good way to get back into shape after two years of healing and physical therapy. 

I ultimately earned a 4th degree black belt in taekwondo, with side studies in Tai Chi and Krav Maga. Jim is also a black belt. We taught taekwondo in Lubbock to adults and kids as a serious hobby for almost twenty years. So please, for your own safety, don't criticize my artwork unkindly  ;>)  I have exactly one jump spin sidekick left in me.

Every experience, every skill I've learned goes into my art. My jet pilot husband, who I eventually flew first officer for, says I now channel my two decades in the cockpit of a corporate jet into my painted skies. And a fourth degree black belt certainly isn’t afraid to take risks with color and composition. My goodness. It's only paint on paper, not life and death. 

And yet, when that paint is applied with loving skill, it can generate magic that soars far beyond the canvas.

techniques and training

When the student is ready, the instructor will appear.   A handful of kind, highly influential people entered my life, and each taught me to believe in myself, to follow my heart as I create.

My art is representational, and strongly anchored in drawing. Mom taught Toddler Me to draw. My first day of  school, I was amazed to see that not every kid could draw like I could. I realized I was different somehow, talented in a unique way. I made a small, undeclared fortune that December selling my classmates crayon Santas on Big Chief tablet paper for their milk money.

A week-long life drawing workshop with the late master Ted Seth Jacobs sparked life into my drawings. A black belt in aikido, Jacobs stressed the importance of weaving chi (the life force) into drawings. A martial artist myself, I well understood the value of harnessing chi, but incorporating it into my drawings was a new concept. So I draw without using projection or mechanical aids.  Energy is far more important to me than extreme accuracy.

I'm also a colorist. Color defines my paintings, whether in oils or soft pastels or watercolors. Long-ago classes taught by Lubbock artist Peggy Benton Young gave me a profound understanding of color, as well as teaching me traditional oil painting  techniques. I work wet into wet paint first, thin transparent color applied with largish brushes and bold strokes followed by thicker layers. After these layers dry, I add details and thin glazes of transparent color. This process gives my oils both richness and an inner glow, and I like that in a painting.

Another master painter, Albert Handell introduced me to soft pastels as a serious painting medium way back in the early 80's, an era when neither of us had grey strands in our hair. As much as I love oils, if I had to choose only one medium to use, it would be soft pastels, with their deep, vibrant color and sensual application. Applying soft pastels is like sculpting color with your hands. My fingers are itching, just writing about it.

Pastels are pure colors, non-reactive pigments compressed into stick form. The paints isn't mixed with anything other than inert binder to keep the color particles together. Hence, their permanence: properly framed under glass or acrylic, a pastel painting is perhaps the most long-lasting of all mediums, one that won't fade, yellow or crack.

I work my pastels much like my oils, layering color upon color as I paint. Only in my skies do I physically blend colors. All other sections of my painting are done by lighting layering colors, almost as if I'm crosshatching in pencil. This allows the viewer's eye to intuitively blend the color, which makes the painting more dynamically interesting. And as with my oils, I work in an inner fire.

I paint with passion, and I want my paintings to light up your spirit.

career highlights

2020 Recipient Distinguished Alumni Award, College of Arts and Sciences, Texas Tech University

WESTERN PERSPECTIVE episode 5, 2016 featured artist in this nationally aired PBS documentary on creatives by Cara Carney and Stewart McSpadden

TEXAS TRADITIONS, Contemporary Artists of the Lone Star State  a definitive collection of thirty-five artists by Susan Hallsten McGarry and Michael Duty. Fresco Art Books 2010 

The Wild Southwest   Solo Exhibition  |  Sibley Nature Center, Midland, Texas, 2018 

Featured Artist Following Frank Reaugh, a celebration of plein air painting  |  Dallas Heritage Village Museum, Dallas, Texas, 2013 

Heritage Auction Gallery panel discussion with artists George Hallmark, Deborah Paris, Lindy Cook Severns 2010  

Best of Show 2012 Texas Art on Main Street Invitational, Dallas Heritage Village Museum awarded by Dr. Ron Tyler, director Amon Carter Museum (ret) 

Best of Show, Trappings of Texas Invitational, Museum of the Big Bend, Alpine Texas 2007


My most beloved awards?  The smiles of my collectors!


"If I had but two loaves of bread, I would sell one and buy hyacinths ~ for they would feed my soul."       an ancient wisdom

                                                 

by Victoria Martin
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Description from Merchant:

We want Lindy Cook Severns art to last for generations. All prints, whether open editions or uniquely embellished remarques are done on with archival (acid-free, non-reactive) ink and papers and matted in acid-free matboard. Original art, from the smallest drawings and watercolors to the largest oils and pastel paintings are done on archival surfaces. Lindy uses the highest grade pigments in each medium. Light-fastness of pigments is further protected by covering all but all paintings in artist grade UV protective glazing, whether glass or acrylic. Conservation framing on original art means no reactive materials come in contact with the artwork, so all tape and backing boards are acid free and create a barrier for the artwork.

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