Available for Purchase
Available for purchase
click for larger image
click for larger imageclick for larger imageclick for larger image
click for larger image
click for larger image
click for larger imageclick for larger imageclick for larger image
click for larger image
click for larger image
click for larger imageclick for larger imageclick for larger image
click for larger image
click for larger image
click for larger imageclick for larger imageclick for larger image
click for larger image
click for larger image
click for larger imageclick for larger imageclick for larger image
click for larger image
click for larger picture
click for larger pictureclick for larger pictureclick for larger picture
click for larger picture
" I would like the viewer to be able to enter the painting from anywhere, and to experience it as a painting foremost - as a physical surface of strokes, marks, colors and forms - without getting caught up in the trickery of illusion;  perhaps in that way I can transmit the passionate, the essentially spiritual, raw transformational gut-level experience of seeing the world out there, and within, with fresh eyes"   
  William Morehouse  1993
Available for Purchase
click for larger picture
click for larger pictureclick for larger pictureclick for larger picture
click for larger picture
Landscape, as subject matter, has appeared in Bill's work as early as the later 1950's.  First exhibited at John Bolles Galleries in both New York and San Francisco, his paintings utilized topographical features as main themes for abstract compositions. The landscape theme really  emerged out of earlier paintings done while studying with Clifford Still and Mark Rothko and  remained more or less a touchstone ever since.
Available for Purchase
Available for Purchase
Available for Purchase
Available for Purchase
A Selection of Available Work
click for larger picture
click for larger pictureclick for larger pictureclick for larger picture
click for larger picture
click for larger picture
click for larger pictureclick for larger pictureclick for larger picture
click for larger picture
click for larger picture
click for larger pictureclick for larger pictureclick for larger picture
click for larger picture
click for larger picture
click for larger pictureclick for larger pictureclick for larger picture
click for larger picture
click for larger picture
click for larger pictureclick for larger pictureclick for larger picture
click for larger picture
click for larger image
click for larger imageclick for larger imageclick for larger image
click for larger image
click for larger picture
click for larger pictureclick for larger pictureclick for larger picture
click for larger picture
click for larger picture
click for larger pictureclick for larger pictureclick for larger picture
click for larger picture
click for larger picture
click for larger pictureclick for larger pictureclick for larger picture
click for larger picture
click for larger picture
click for larger pictureclick for larger pictureclick for larger picture
click for larger picture
click for larger picture
click for larger pictureclick for larger pictureclick for larger picture
click for larger picture
click for larger picture
click for larger pictureclick for larger pictureclick for larger picture
click for larger picture
click for larger picture
click for larger pictureclick for larger pictureclick for larger picture
click for larger picture
William Paul Morehouse
1929 - 1993
Bodega Head Beach, South  80x30  oil/panel   1993
After Li T'ang   Collection of Carol and Stu Baker
After Wang Meng  48x24  o/c 1992
Towards Goat Rock  24x48   pastel/canvas  1993
After Fan Kuan   48x24  o/c  1992.
After C'hang Hong  48x24 o/c  1992.
After Li Yin   48x24  o/c  1992.
Sierra    80x30  o/c  1992.
Spring Valley Road    36x24  o/c  1992.
Irish Hill 30x40  o/c  1991.
Meyer's Grade South   40x30 o/c  1992.
Olympali State Park  30x40  o/c  1992.
Bristlecone Pine, Tetons 24x32 o/c  1992.
Bodega Head II    30x40  o/c  1991
Sally's Point  32x36   o/c  1991
On the Pond   40x30  o/c  1992.
Arch Rock from Goat Rock  36x32   o/c  1991
Bodega Spring Storm  18x24   o/c  1991
Below the Resevoir  24x24  o/c  1992
Chester   24x24  o/c  1991
Petaluma South  24x24    o/c  1992
Bodega   24x24  o/c  1992
Above Marshall  24x24  o/c  1991
Redhill Wintergreen   24x24    o/c  1992
Wilson Hill  24x36   o/c  1991
Battery Wallace from Marin Headlands    40x30   1991
click for larger image
click for larger imageclick for larger imageclick for larger image
click for larger image
Click to return home
Click to return homeClick to return homeClick to return home
Click to return home
click for larger picture
click for larger pictureclick for larger pictureclick for larger picture
click for larger picture
Top of Page
click for larger image
click for larger imageclick for larger imageclick for larger image
click for larger image
click for larger image
click for larger imageclick for larger imageclick for larger image
click for larger image
click for larger image
click for larger imageclick for larger imageclick for larger image
click for larger image
Landscape after Ch'eng Ghia-Sui  48x24 o/c 1993
Rainy Day at Brown Bag   24x24  o/c  1992
Grand Tetons  30x66  o/c  1993
Study Coleman Valley Road   12x9  o/c  1991
Crane Canyon III   48x24    o/c  1991
click for larger image
click for larger imageclick for larger imageclick for larger image
click for larger image
click for larger image
click for larger imageclick for larger imageclick for larger image
click for larger image
"I started this plein-air painting to get out of a day after day grind in the studio:  there is an urgency in trying to make a whole painting in a single day.  I liken it to fishing.  I either get one or I dont."
WM  1992
" I look for the painting in the landscape.  When I see the composition, the formal elements, I set up the easel and go directly to work.  No underpainting, no manipulation with driers or anything else."
By the late 1960's experiments with new materials, particularly urethane foam and polyester resins, led Bill's interests from exploring the realm of the macrocosmic landscape into the microscosmic and internal forms of the natural world.  While not easy to catergorize these works as "derived from nature" his work was included in definitive and landmark exhibitions such as FUNK , at the University of California Art Museum and Boston Center for Contemporary Art, and Grotesque Art, San Francisco Art Institute, and American Icons, Spain and Germany.
Marshall Beach  30x40  1992
Bear Valley Meadow  30x40  1992
The Beach  24x48  1992
Sold
SoldSoldSold
Sold
sold
soldsoldsold
sold
Sold
SoldSoldSold
Sold
sold
soldsoldsold
sold
sold
soldsoldsold
sold
sold
soldsoldsold
sold
sold
soldsoldsold
sold
sold
soldsoldsold
sold
click for larger image
click for larger imageclick for larger imageclick for larger image
click for larger image
click for larger image
click for larger imageclick for larger imageclick for larger image
click for larger image
click for larger image
click for larger imageclick for larger imageclick for larger image
click for larger image
click for larger image
click for larger imageclick for larger imageclick for larger image
click for larger image
click for larger image
click for larger imageclick for larger imageclick for larger image
click for larger image
click for larger image
click for larger imageclick for larger imageclick for larger image
click for larger image
click for larger image
click for larger imageclick for larger imageclick for larger image
click for larger image
click for larger image
click for larger imageclick for larger imageclick for larger image
click for larger image
click for larger image
click for larger imageclick for larger imageclick for larger image
click for larger image
Mt Ariel   36x32   1992
#528 30x24  o/c  1960
collection of Matt Murphy
#9  18x14 foamed polyurethane  1960 
Oil Foam Acrylic  stitched canvas over foamed polyurethane  1965
Untitled  50x66x18 foamed poly  1965
With this Cup   36x30  oil  1949
collection of Matt Murphy
Before Crossing  55x60  oil  1963
Sold.  Collection of Sonya Hoel
Gold Box 18   paper wax wood  1963
collection of Sonja Marck
Gold Box 16 paper wax wood  1963
collection of Sonja Marck
Gold Box paper wax wood  1963
collection of Sonja Marck
Skyscape  30x15  o/paper  1971 
Skyscape  30x15  o/paper  1971 
Skyscape  30x15  o/paper  1971 
Skyscape  30x15  o/paper  1971 
Skyscape  30x15  o/paper  1971 
Wire!  28x24  embossed aluminum plate  1974
Wire ll  28x24  embossed aluminum plate  1974
Wire lll  28x24  embossed aluminum plate  1974
Retrato de Francisco Goya   60x48  1973
Getting to Know Vincent  24x20  a/c  1974
Portrait of H. Melville  Detail 1972 
Feldspar People  24x18  mm/paper  1976
Study for the Tower of Babel  61x74  o/c  1975
Style!  60x48  a/c  1975
Painting in Dutch  30x24   a/c  1975
Self Portrait with Tartan  20x16  1974
9 Self Portraits  60x60  a/c  1975
Canto  30x24  mm/paper  1976
Loving  36x12  mm/paper   1976
Canto Detail  15x12  1975
Loving  Detail  15x12  1975
Stonehenge Dawn  72x47  o/c  1975
Portable Love Object  28x22x22  plaster fiberglass  1968
American Icon   48x30  o/c  1974
AmericanChair   48x30  o/c  1974
Landscape with Mirage  34x30  o/c  1975
June 21st, 1400BC  70x90  a/c  1976
The Wave  71x106  a/c  1976
New England Winter  24x48  a/c  1976   Collection of Carol and Stu Baker
Labrynith Poem  18x27  mm/paper  1976
Subway Study  18x24  mm/paper  1976
Station IV  48x60 a/c  1977
Station Study 12x15  a/c  1977
Station Study  30x22  a/paper  1977
Station Study 12x15  a/c  1977
Station Study 12x12  a/c  1977
Study C  36x48  a/paper  1977
#10  foamed polyurethane  18x15  1965 
Return to Top
click for larger image
click for larger imageclick for larger imageclick for larger image
click for larger image
Station Study   22x30  lithograph  1977
Station Study   pencil drawing  1977
Station VII  48x60  a/c  1977
Station Study  24x24  a/paper   1977
return home
Station 1  48x60  a/c    1977
Station II  48x60  a/c    1977
Study B   36x48   a/paper    1977
Cityscape  30x22  a/paper    1977
"My work addresses the formal aspects of composition, whether they be contained within the tradition of the rectangle or in reference to that which lays without it.  I try to bring a painterly discrimination and sensibility to the task of resolving differences between and among disparate parts, as in such series: "Dualities" and "Trilogies", or in individual installation pieces which relate directly to specific spaces.  These constitute the vehicle with which I find I can enter the metaphysical and abstract, engaging in a process which helps me to transcend banality, sentimentality, politics and boredom."
Dealing with juxtapositions of energy and substance, gesture and concrete construction, these paintings - while definitely more pictorial than preceeding ones - continue the subject matter of the more abstract Dualities series begun in the late 1970's"

Scottish Stone Series
Duality    40x28  o/paper   1984
pastel    30x44  1982
XXVII  pastel   30x44  1982
pastel   30x44  1982
pastel   30x44  1982
DCVIII   72x54   a/c 1983
Study for the Conversation 35x46  a/c  1980
Duality  26x40  o/paper  1983
pastel   30x44  1982
pastel   30x44  1982
pastel   30x44  1984
Duality    54x68    a/c    1984
Duality    16x14  a/c    1980
Study    44x30   pastel   1980
Use this link to see more available work in the Stone Series
Cairn VII   35x27  o/c   1985
Michele Morehouse
Request Pricelist
Creighton Ridge Sky  24x36  1992  private collection
Tamalpais Triptych  1963
collection of Matt Murphy
email me
Cross Country and Mexico
use this link to see more available paintings from
Bristlecone Pines, White Mountains
Entrada de la Lagune de Barra de Navidad
Cuestacomates, Jalisco, Mexico
Delaware Water Gap 
Chincoteague River , Virginia
Badlands, North Dakota
collection of Khysie Horn
Cuestacomates, Jalisco, Mexico
North, South, East and West
Four Dyptichs      1963  oil on canvas
Gold Box paper wax wood  1963
collection of Sonja Marck
top of page
email me
North, South, East and West
Four Dyptichs     1963  oil on canvas