Construction & Demolition

Wrecking Ball, acrylic on canvas, 27 3/4" x 27 1/2", Private Collection

8th St Synagogue & Construction, watercolor on paper, 13" x 15 1/2", 2005, Private Collection

Dome and Construction, watercolor on paper, 13" x 14"
Phillips Collection, Washington, DC

DC Split Construction/Demolition, acrylic on paper, 36 1/4" x 11'8", 1996

Dome & Construction Squared, acrylic on canvas, 14" x 13"
Private Collection

Demolition Detail, Convention Center, acrylic on paper, 15 1/2" x 15"

Bergman's Laundry Orange Crane & Demolition, acrylic on canvas, 30 1/2" x 60", 1986, DC Commission on the Arts and Humanities Collection

Convention Center Site, acrylic on museum board, 18" x 26", 2008, DC Commission on the Arts and Humanities Collection

Cars, Yellow Crane & Demolition, acrylic on paper, 28" x 36", 1990, on loan, promised to Federal Reserve Board Collection

Demolition and Cars, DC,  acrylic on paper, 18 1/2" x 25"                                                     &nbs

Demolition and Cars, DC, acrylic on paper, 18 1/2" x 25"
Private Collection

Salem Generation 2, Private Collection

Demolition, Red Tractor (detail), acrylic on paper, 22" x 38 1/4"

Salem Generation, acrylic on canvas, 50" x 80", 1989 Fralin Museum of Art at the University of Virginia

A Time in September, watercolor and gouache on paper, 15 1/2" x 11", 2014

Little Red, acrylic on canvas, 12 1/4" x 22", 2000, Private Collection

Deere John, John Deere, acrylic on canvas, 24 1/2" x 36 3/4", on loan, promised to Federal Reserve Board Collection

Rubber Demolition (Convention Center 2), acrylic on paper, 13" x 18 1/2"

Big Red, acrylic on canvas, 40 1/2" x 60 1/4", 1990

Maiden & Demolition, acrylic on canvas, 11 1/2" x 29 1/2"

Having chosen not to pursue Architecture, his dream as a youth, Val Lewton found ways to incorporate his love of spaces, shapes and buildings. He had arrived in Washington, DC as the newly developing field of Museum Exhibit Design began its growth, and found his home. By the 80's another growth was happening in the Gallery Place area, the beginnings of gentrification. Huge efforts at demolition were underway, accompanied by bulldozers, diggers, wrecking balls and cranes, resulting in exposed and shattered edifices... a treasure trove for this urban landscape painter. Sharing glimpses of 'the life that had been", now partially demolished, but partnered with the machines of destruction responsible, Lewton, in his painting, formulated the shapes, colors and light from that moment in time into beautifully painted architectural visions, Later as buildings were constructed, Lewton's interest progressively flagged. He preferred the rich detail of the work in progress.