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Carolyn at the easel 2020 - banner with blur BG.png

Carolyn H Edlund is an internationally collected master artist whose works can be found in prestigious collections in Canada, England, Germany, France, Italy, Singapore, and the United States. Born in Rhode Island in 1947, she currently resides in the Hudson Valley region of New York State. Her artistic training includes studying painting with esteemed artists such as C. Gordon Harris, Nguyen Tri Minh, and Franklin Alexander, as well as at the Woodstock Art Students League.


In 2018, Carolyn was honored with the Dutchess County Executive Arts Award for Individual Artist, recognizing her significant contributions to the arts community in Dutchess County, New York. Her impressive body of work has been compared to that of John Constable, one of England’s most renowned landscape artists. Her art has been featured in prominent publications such as American Arts Quarterly, American Artist, Country & Abroad, and Island Living (UK). Carolyn’s artwork has also been selected for exhibition at prestigious galleries and museums including the Salmagundi Club (NYC), the Chianciano Art Museum for the Biennale Chianciano in Tuscany, Italy, and the Bienniale Internazionale Dell’Arte Contemporanea in Florence, Italy, as well as for inclusion in the MFHA Centennial Art Exhibition which toured nationwide.


Carolyn’s paintings and drawings have been exhibited in galleries throughout the United Kingdom, Chile, Italy, and the United States, including New York City, Rhode Island, Pennsylvania, Colorado, New Jersey, Maryland, Connecticut, Florida, and Virginia. She is featured in, the Artists Bluebook, Worldwide Edition, and, the world’s leading resource for art market information. Carolyn’s unique and compelling artistic vision has made her a highly respected figure in the art world, and her captivating artwork continues to inspire art enthusiasts worldwide.

Edlund's flamboyant Quintessential Calm (2007) depicts a rundown farm near Hyde Park, New York. The farm barely breaks the horizon, upstaged by a few impressive trees, but the sky provides the real drama, combining purple clouds, an orange sunset and bruise-blue sky. The otherworldliness of that sky, reminiscent of Frederic Church, is a feat of imagination as much as mimetic skill. Edlund pieced it together from her "amassed collection of photo references of skies—taken at all times of the day," as well as her photographs of the site itself.

American Art Quarterly, Fall 2007

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