Dan Price Erichsen-Brown has dedicated a lifetime to the craft
of drawing and painting. Early on he was allowed to accompany
A.Y. Jackson, F. H.
Varley and Will Ogilvie, friends of his grandfather, on
sketching trips around the family cottage on Georgian Bay in
father was in the Canadiane consular corps, which took his
family to Brussels. Dan attended Eerde School in nearby Holland.
During his summers he was able to visit many of the art
museums in Europe. He was impressed most with the drawing
mastery of the Florentines such as Masaccio,
Piero della Francesca and
Leonardo da Vinci. From the
north, he was fond of
Jan van Eyck,
Pietro Bruegel and Johannes Vermeer. Dan developed a deep
admiration for the unpretentious and sometimes humorous
approach of Flemish and Dutch
On returning to Canada in 1958, Dan enrolled at the Mount
Allison University in Sackville, New Brunswick. There he
received instruction from established painters Lawren P.
Harris, Alex Colville and Edward B. Pulford. He completed the
required courses for his Bachelor of Fine Arts degree in 1961,
and then moved back to Ontario. Several years later he married
and settled with his wife in Collingwood, Ontario. Dan
moved to Brussels in the 1990s, but later returned to his
native Ontario, his local environs being an
important source for his inspiration .
While at Mount Allison Dan was introduced to the techniques of
egg tempera painting. These techniques date back to the Middle
Early Renaissance, after which time oil painting replaced them
almost entirely. A revival of the tempera techniques occurred
between 1930 and 1950 in North America . Initiated by interest
in mural painting, training in tempera was first offered at
the Art Students League of New York by Kenneth Hart Miller and
Thomas Hart Benton, and at Yale School of Fine Arts. The
artists who took up egg tempera in the 1930s included
Isabel Bishop, Ben Shahn, Peter Hurd and O.Louis Guglielmi .They were followed by Jared French, Paul Cadmus, Andrew
Wyeth and George Tooker in the 1940s, and Robert Vickrey and
Alex Colville in the 1950s. These artists also helped to carry the
torch for representational art in the late 1940s and in the 50s
during the heyday of Abstract Expressionism in the United
Many of the paintings by D. P. Brown are rooted in the art of
the Golden Age of Dutch painting, roughly the 17th Century.
This was the era of
and Vermeer, but it was also a very underrated period during which
art became very popular and new standards for depicting everyday life were established.
These were years of prosperity for a great trading society and
a newly independent country of the Netherlands. Dutch artists distinguished between two
general painting styles, referred to as
and smooth ( fijne). In the cases where great detail was
desired, the smooth style would be used. This style was directly
descended from the art of
Jan van Eyck,
Hans Holbien the Younger and other painters of the Northern
Renaissance. During this time patronage by the middle class
rose to importance, and at the same time attention shifted
from religious subject matter to genre paintings, still lifes
The broad subject matter depicted in the Dutch paintings of
the Golden Age provide us with tremendous insight into the
culture of this society. Some paintings are embedded with
moralistic or satirical meanings. Others tell
a simple story of everyday life. The importance of telling a
story, while also presenting
well-structured and interesting composition, bonds D. P.
Brown to Dutch art. This in addition to the detailed
realism that was developed by earlier generations during the Northern
for a sampling of Golden Age art .
We invite you to visit the D. P. Brown Gallery at Monograffi Fine Art Galleries. We hope that you will enjoy the
work of a modern master.
D. P Brown's Gallery
Artist's Web Site: