“What catches my eye is the effect light has on form in unique situations whether fleeting, spilling over, striking, subtlety changing, etc. I challenge myself when painting to capture the essence of the spirit of the light. The spontaneous qualities of watercolor and the quick moving action of the oil brush lends itself perfectly to my impressionistic style of painting when capturing light. I strive for confident, enthusiastic brushwork, the maximizing of color’s value and intensity range and a fresh painterly approach, the result appearing effortless.”
Betty Carr was born and raised in Santa Cruz, California and developed a love of art from visiting museums. In 1980, she married landscape painter Howard Carr, and they have devoted their lives to painting. She and her artist husband travel several months of each year, from Oregon to South Carolina in a specially equipped mobile home.
From the time she was a young girl, Carr has been represented by galleries. She has been featured in many art publications including Art of the West, Southwest Art, American Artist, Art Talk, American Artist and Vitality magazines. She is extremely proud of her acceptance into the exclusive Knickerbocker Association of New York City.
Energetic, brightly colored still lifes are the signature work of Betty Carr who is known for her skillful use of light, color and shadow in her floral paintings. She is emerging as one of the foremost painters of the Southwest. Her use of color, light and shade accentuate her subject matter while showing her love of nature and its forms.
Since earning her MA from San Jose State University, Betty has taught painting, drawing and sculpture at primary, secondary and college levels and has developed a following through both private and workshop instruction. She is collected both privately and corporately as well as being accepted in numerous juried exhibitions.
In Discussing her painting style, Betty Carr says, “Impressionism, enthusiastic brushwork and the use of light and dark shows the enthusiasm and spontaneity of getting the scene in my hands.”