Many of you in the Middleburg and surrounding communities know Tom Neel's paintings of Europe and Virginia, or you have seen his work featured in 'Home & Design' and 'Elan' magazines. Perhaps you are fortunate enough to have his work in your home. Recently, Tom talked about his life and work at his studio in Marshall, Virginia.

You've had several careers beginning in the automotive business and, for the last ten years, as a full-time, professional artist. What paths took you to the present?

When I graduated from high school, while I loved art and music, the contacts I had were in the automotive business, making it the most natural direction for me to go. I worked in "that" industry until I was in my early 30's.

During that period, I worked as a mechanic and technician on exotic automobiles such as Ferrari, was in professional drag racing, automotive painting and so on. All the while, I was always actively creative. I was into photography, fine scale modeling and painting.

I ended up in Los Angles in a management position as national sales manager for Rancho Suspension. I suppose I became burnt out and wanted to look for something that got my juices flowing again, so I left my position and the automotive business altogether and moved back east.

That was very brave, but true to your path.

I suppose so. It didn't really feel that way or risky at the time; I just knew I needed a change.

That is also when I met my wife, Linda. She had opened the very first art gallery in Leesburg in 1983, the Leesburg Gallery of Art. We met in 1987 and became instant friends. Soon after, we both ended up being at the gallery. I started selling my paintings there, watercolors at the time.

Two years later, we were asked by the Greenwich Workshop--at the time the major fine art publisher in the U.S.--to come and manage their East Coast art gallery in Southport, Connecticut.

The gallery in Southport was losing money and was a revolving door for management. We decided to go up there in the latter part of 1990, and we were able to stop the financial hemorrhaging. After staying for 3 1/2 years, we were able to turn it into a profit center during a period of recession.

We were co-directors of the art gallery: Linda was steering the ship, so to speak, and I was working directly with the artists. It was a natural extension, being an artist myself, to be a liaison to the gallery's and, in many cases, the publisher's artists. Names like Bev Doolittle, Charles Wysocki, and Paul Landry became friends.

They knew I was an artist and supported the idea of including my paintings in group shows. This was very successful, and I began selling through other well-known national galleries that were in the family network of the Greenwich Workshop.

I learned so much during those years, as I was surrounded by incredibly talented artists. I got to know them not only in a working environment, but also as friends. We would go on vacations together, and we had the time to talk about life and art. It was a unique experience.

As time went on, the Greenwich Workshop was making a move in a direction that was not natural for us.

I am a big believer that you will always meet people in life who have similar feelings and agendas, or similar paths. Often, you can walk parallel to those people, and it is a great experience. But if you come to a fork in the road, you should avoid realigning yourself away from your natural direction. Otherwise, you may wake up one morning and find that you are someone you never planned to be, in a place you never intended to be.

You learned your lessons well.

I guess that's true, but this time my partner and wife, Linda, was saying the same exact thing: "It is time to move back to Virginia." So we did.

Did you have a plan?

Yes, I would paint full time and Linda would do some consulting. We knew we could do this for one year without a dime coming in before we would need to look for employment. During that year we realized that my career as a full-time artist was going to be a successful one.

Now, after 10 years, where do you feel you are with your art?

The business of art and my passion for art has really treated me well.

I think part of that is due to my philosophy about wanting to have a connection to the people who purchase my paintings, and for them to have connection to me.

I'm a people person, and I want my clients to know that if they have any questions about art, they can always call me. I am dedicated to the people who are kind enough to have an interest in my work, and who make both a financial and emotional investment in my work. I am dedicated to them and to their interest in art. The relationships I have built in this way are every bit as important as anything I've ever done in the art business.

How may collectors purchase your paintings?

At this point in my career, I sell my artwork in three ways: I sell it directly, which includes commissioned paintings, through one man shows, and in a few select shops like Three Crowns in Middleburg.

I also think it's important to support the community, which I do through my shows and art donations. I'm happy to have built long relationships with The Hill School and the Middleburg Humane Foundation, just to name two.

Your paintings evoke realism and romanticism, but they are also emotionally replenishing.

That's a great compliment, and it is exactly what I try to do. I want my paintings to be relaxing for people within their homes. If they just look at my painting for a few moments and it helps them have a better day, then I'm happy; I've had many of them tell me this is true. Very few of my customers have only one of my paintings, so they must feel comfortable with my work.

What subject matter and places inspire your painting?

I feel very fortunate to live in Virginia; it's a state with such wonderful seasonal beauty, and it gives me great pleasure and inspiration. I know for me as an artist, but likely for all artists, there are the paintings we create and those paintings we just create in our minds. Here, I see paintings everywhere.

I may be thought of as a landscape painter, but I'd rather think of myself as an artist who paints landscapes because, as you know, my subject matter is broader than that. Good landscapes, especially large ones, need room to breathe, and there is a side of me that loves what I call intimate paintings just as much. Paintings that don't just invite viewers in, but ask them to stay awhile. These paintings, while relaxing, can also be a place of discovery and detail.

Europe influences your paintings.

Yes, as a matter of fact, Linda and I just returned from Tuscany a few weeks ago and I'm planning to go again in early September. I don't think of myself as worldly by any means, but I find the lifestyle and subject matter very relaxing, especially the Mediterranean areas including Provence and Tuscany.

For me, it's not so much the sea itself, but the areas inland--influenced by the sea, the light, the architecture, the age, even the agriculture--that move me. Lavender, which the world seems almost romantically possessed by and rightly so, is just a crop. I think to truly understand lavender and to paint it, you have to stand knee deep in all of its purple glory, looking at it as far as the eye can see in any direction. In Provence, they take Lavender very seriously.

We cannot grow the variety of Lavender here that they grow there. It is so strong a purple in color and mostly grown inland in a more mountain type region, in what is an arid climate, and in rocky soil. Not every artist goes there or needs to, but I do.

Tell us about your involvement with the Congressional Art Show.

I am very happy about being a judge for the Congressional Art Show. It is a program put together by Congress for all the congressional districts. Students are asked to submit their artwork, which is then divided into several categories, multimedia, oils, pastels, etc.

These pieces are then judged and given awards for first, second or third in each category, and finally a "Best of Show" is chosen for each district. All of the "Best of Show's" from the participating districts in the United States are taken and hung in the Capital for one year. This takes place in July.

I think it is a really interesting program and I've enjoyed being a part of it, and helping youth to enjoy, and or to find a way into art. I'm still a huge believer that creativity helps people in any position they choose in life.