Robert Andriulli

Robert Andriulli’s painterly realist landscapes are created on location in south-central Pennsylvania and the central coast of Maine. The artist was born in Paterson, New Jersey, in 1948 and now resides in Millersville, Pennsylvania. He received a B.A. from William Paterson College in New Jersey in 1975 and a M.F.A. in Painting from Penn State University in 1978; he also attended summer fellowship programs at Yale University and Oxbow School of Art in Michigan. He is currently Professor of Art at Millersville University and has formerly taught at Bowdoin College in Maine, Seton Hall University of New Jersey and at Penn State in University Park.

Mr. Andriulli has an extensive exhibition record over the past twenty years, including numerous shows in Maine, New York, New Jersey, Pennsylvania and six solo shows at Steven Scott Gallery, which has represented the artist since 1993.

Among his many awards he has earned fellowship grants from the National Endowment for the Arts in 1987 and the New Jersey State Council on the Arts in 1979 and 1985. Robert has also received Artist-in-Residence Fellowships at Yaddo Foundation and the Millay Colony for the Arts, both in New York State, as well as the Fine Arts Work Center in Provincetown, Massachusetts and the Virginia Center for the Creative Arts in Sweet Briar.

His work is represented in numerous corporate and private collections and has been exhibited in solo shows at the Academy Art Museum, Easton, MD (2001), Lancaster Museum of Art (1998) and the Westmoreland Museum of Art (1988) in Pennsylvania, among many others. He has participated in numerous group museum shows including the Ogunquit Museum of Art in Maine, the University of Maine in Augusta, Penn State University and the Woodmere Art Museum in Philadelphia.
Andriulli's paintings are included in the permanent museum collections of the Academy Art Museum, Easton, MD; Bates College Museum of Art, Lewiston, ME; Guilford College Museum of Art; Lancaster Museum of Art, PA; Muscarelle Museum of Art, College of William and Mary, Williamsburg, VA, as well as the corporate collections of Capital One, Reston, VA, Johns Hopkins Hospital, Baltimore, MD, Washington Post, DC, and numerous other public and private collections in the United States and Great Britain.

Clouded Ridge Bryce Canyon, 2014
Oil on Linen, 46 x 42",

Cove with Billowing Clouds, 2012 -16
Oil on Linen, 25x25",

Silk City Neighborhood, 2017
Oil on Linen, 44x36",

Street Scene, Urban Rise, 2017
Oil on Linen, 30x24",

Susquehanna Valley, Cascading Coulds, 2016
Oil on Linen, 40x42",

Bend in the Susquehanna, 2016
Oil on linen, 14x12",

Cloud Tangent, 2011
Oil on linen, 10x8",

Coastal Outcrop, 2005
Oil on linen, 18x18",

Cove Near Mast Landing, 2006
Oil on linen, 14x18",

Hedge Row, 2005
Oil on linen, 18x18",

Madeira Beach Palm, 2012
Oil on linen, 16x12",

Shoreline Ledge, 2016
Oil on linen, 11.75x7.75",

Marilu's Garden, 2015
Oil on linen, 24x22",

Toward Paria Point, 2011
Oil on Paper Mounted on Board, 16x16",

Set 1 Set 2 Set 3 Set 4 Set 5 Set 6 Set 7 Set 8 Set 9 Set 10 Set 11 Set 12 Set 13 Set 14


Regarding the artist’s first solo show at Steven Scott Gallery, Baltimore Alternative editor and critic Rawley Grau writes in June 1994:

“Robert Andriulli’s landscapes betray a vision of mysterious, fateful forces that seem informed more by dream than by the light of day. This is most clearly evident in a series...that feature enormous, impossible cloud formations. In Autumnal (1992), a huge cloud-ball fills the center of the canvas, catching the pink light of morning as it floats over the peaceful farmland of a Western Pennsylvania mountainside....Majestic and indifferent, it could be an image of divinity or doom....The meteorological battle between light and darkness, energy and matter, space and weight unfolds before us like the conversation of the Olympians.”

“Andriulli’s fine skill in rendering the quality of light is used to interesting a series featuring boulders on the coast of Maine where the morning light makes the rocks look almost bloody, and in Suburb, the most visually complex work in the show. Here houses with neat lawns nestle in the shadow of a mountain, the congested industrial city visible in the distance across a river. The suburb seems at once protected and exposed.”