14

Adams' pastel, "Etched Sunlight"
1964
Okanagan Lake, BC

Credits:
Irvine Adams
Robert Borsos
Penticton Herald, 1965

15

Adams' pastel, "Winter Shoreline"
1964
Okanagan Lake, BC

Credits:
Irvine Adams
Penticton Art Gallery

16

Adams' pastel, "Silver Thaw"
1963
Revelstoke National Park, British Columbia

Credits:
Irvine Adams

17

Adams' pastel, "On the Way to Miller Lake"
1965
Revelstoke National Park, British Columbia

Credits:
"Jennifer"
Sherril Foster

18

James Roe wrote in the Penticton Herald in 1965: "Adams feels closest to such stalwart traditionalists as Andrew Wyeth in his approach to art. His realism is a magic barrier against the vague maunderings of the current crop of non-objective types. In nature he sees pathos, tenderness, poetry and grace and abstract cast that is more abstract than the abstractionists' attempt at intellectual interpretation. The modernistic clique has dominated the art world for much too long, Adams says, and I heartily agree. He sees not a breakthrough for the traditionalists, but a new belief among art appreciators that art from one end of the spectrum to the other is all of a piece."