Terry Miura is a graduate of the Art Center in Pasadena and has a professional background in commercial art, having worked in New York as a freelance illustrator for magazines and newspapers. Originally from San Diego, while in the Big Apple his paintings naturally turned their focus to cityscapes. Now that he’s returned to his native state, settling outside Sacramento, he’s once again delving into California’s rural landscapes for inspiration. He uses a wonderful tonalist palette, reflecting his gentle vision of rustic California as well as a humbler approach to the role of painting as just one of the arts contributing to an architectural interior. His loving depictions of northern California’s rustic scenery, executed in his distinctive and beautiful palette, celebrate the land with an extraordinary sensitivity.
Terry’s work is a part of the collections at the California Museum of Fine Art, Los Angeles, the Smithsonian Institute in Washington, DC, and the Crocker Art Museum in Sacramento, CA to name a few. He has also been featured in print in the June 2015 edition of Plein Air Magazine, and in Southwest Art, and American Art Collector, among others. As a very popular teacher, Terry holds painting workshops across the country, and information on his workshops can be found on his website.
Terry has been featured in several shows at the Gallery, most recently in the spring 2017 exhibit, “Paul Kratter and Terry Miura: A Language of the Land.”
Landscapes, Cityscapes, Figurative, & Still LIfe Paintings
April 28 to May 26, 2018
One Saturday Afternoon
2017. Oil on linen, 9″ x 12.” Framed in No. 22.6 CV—3”. A slope with chamfered sight edge and beveled back edge, both carved; in quartersawn white oak (Saturated Medieval stain), with a gilt slip. $1,900.
2016. Oil on linen, 18″ x 24″. Framed in Compound Mitered Frame No. 14.2 CV + Cap 400 CV in walnut (Medieval stain) with 23 kt gilt slip. $4,875.
Back on the Road
2017. Oil on linen, 18″ x 36″. Framed in a custom compound carved mitered frame in quartersawn white oak (Dark Medieval) with a 23k gilt liner. $6,500.
Days Go By
2017. Oil on linen panel, 10″ x 20″. Framed in No. 321 CV—3” in quartersawn white oak (Dark Medieval Oak stain) with pale gold slip. $2,850.
Take the Shortcut
2017. Oil on linen, 12″ x 21″. Framed in mortise-and-tenon No. 4000 Special–3” and 2-1/2” members, with square plugs and carved gilded ovolo liner, in quartersawn white oak (Dark Medieval stain). View from side angle… $3,150.
2016. Oil on linen, 12″ x 9″. Framed in compound No. 2.3 CV—2-1/2” + Cap. No. 400 CV—3/4” (3-1/4” total profile width), hand carved capped slope in quartersawn white oak (Dark Medieval Oak stain), with gilt slip. $1,950.
The Packer’s Trail
2016. Oil on linen, 12″ x 9″. Framed in No. 22.6 CV—2-1/4”. A slope with chamfered sight edge and beveled back edge, both carved; in quartersawn white oak (Dark Weathered Oak); with gilt slip. $1,850.
An Alpine Meadow (Above Ediza)
2016. Oil on linen, 12″ x 9″. Framed in No. 320 CV—2-1/4” scoop with back-beveled back edge, in quartersawn white oak (Dark Weathered stain), with gilt slip. $1,750.
Oil on linen, 9″ x 12″, 2016. Framed in a No. 26—3″ with a 23 kt gilt slip. A 3″ wide frame in quartersawn white oak with a Medieval oak stain that has a steep 1/4″ chamfer (45 degree bevel) at the window edge that leads to a 1/8″ wide slip in 23kt gold leaf. $1,685.
Oil on linen, 9″ x 12″, 2016. Framed in a No. 1.4 CV profile with and 18kt gilt slip. A 3″ flat profile in quartersawn white oak with a Van Dyke stain. The inner 7/8″ of this frame is a rounded hand-carved cushion shape. $1,650.
2010, Oil on linen, 12″ x 21″, framed in hand carved No. 108 CV—3-1/2”. $2,675.