"This demonstrates the bond of family," said artist Dean Mitchell. "The child is totally unafraid because he knows he is safe with his mother holding him. The dark, unknown background could symbolize uncertainty, although that is not necessarily bad. The future's unpredictable so it's good to have this bond of a mother and child. Sometimes that's all you have. With all the violence and change in the world today, this country is realizing that the deterioration of the family structure can have an impact on society. We need to return to those values."

“Mr. Mitchell is a virtual modern-day Vermeer of ordinary black people given dignity through the eloquence of his concentration and touch,” wrote The New York Times’ Michael Kimmelman. “Mr. Mitchell's works are subtly tuned character studies with an eye toward abstract form and charismatic light.” “Eloquence of concentration and touch” expresses perfectly the entire scope of Dean Mitchell’s work. He can divine in a landscape a setting’s soul as clearly as he portrays the depths of human spirit. He is able to uncover in any subject he addresses a central sense of faith, trust and perseverance.
“I was raised in the church,” explains Dean Mitchell. “The church has always been an important symbol, not only for me, but for the community. It represents our brightest hopes and highest aspirations. Many of our most important leaders have come from the church. It was here that the civil rights movement began and was organized. It is a place we’ve always looked toward to bring us through hard times”
“I lived in Kansas quite a while and that gave me the opportunity to spend a lot of time in St. Louis. I had a number of original shows there. I came across this scene one spring trip to that city. This striking tree in full blossom, positioned as it was near the church, captured the sense of potential and renewal we all wish and hope our biggest cities. There is a particular ‘light’ to the piece that I really enjoy.”
This lovely Fine Art Giclée Edition is reproduced on a heavy watercolor paper, perfectly replicating the look and feel of Dean Mitchell’s original art. Early Spring in St. Louis is your opportunity to own an elegant example of contemporary art from one of the most acclaimed artists painting in America today.

“The title Forgive Us Lord is an umbrella statement,” Dean Mitchell begins. “I meant it as an acknowledgement by us of the fact that we have, over time and as a people, fallen short of the grace of God. Look at all He has given us: this beautiful world, full of wonderful people and limitless opportunity. And we humans, in return, have introduced into war, racism and a variety of petty vices. We, as individuals, have the ability to change this but that will only begin when we admit we have done something that requires change.” “This is my cousin, Caroline. She embodies the beauty and strength in all of us. I have dressed her in white because it represents purity. White is also the color you wear when you are baptized, a symbol of cleansing from original sin and it is in asking for forgiveness that you take the first steps of a spiritual rebirth.”
“Mr. Mitchell is a virtual modern-day Vermeer of ordinary black people given dignity through the eloquence of his concentration and touch,” wrote The New York Times’ Michael Kimmelman. “Mr. Mitchell's works are subtly tuned character studies with an eye toward abstract form and charismatic light.”
“Eloquence of concentration and touch” expresses perfectly the entire scope of Dean Mitchell’s work. He can divine in a landscape a setting’s soul as clearly as he portrays the depths of human spirit. He is able to uncover in any subject he addresses a central sense of faith, trust, and perseverance.
Dean Mitchell’s first two releases with The Greenwich Workshop, Rowena and Psalms 4:1, are highly sought-after collector items and nearly impossible to find. These extremely personal and evocative works of art touched us deeply with their riveting balance of human strength and human frailty. With Forgive Us Lord Dean Mitchell presents us again with a mesmerizing portrait of our promise and potential.

"I wanted 'Innocence' to have a dream-like quality. I tried to do a lot with the white because white is really airy. It tends to give the artwork a nice feeling, especially with watercolors. It's a painting of my little cousin. I think the original teddy bear was a stronger color but I kept it earthy so it wouldn't become the sole focus of attention. You see, the teddy bear is bigger than she is, so by muting its color and making her flesh tones deeper, it made her warmer."