One can almost feel the summer morning sunshine streaming through damp leaves in Daybreak, a foliage study from Langlais’s last series of paintings before his shift to wood. This all-over depiction of sun-dappled forest greenery gives the impression that Langlais crawled among the trees themselves to convey a physical, even sensual experience of the Cushing landscape; to “be with and a part of nature,” as he put it.

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