Here, Garde seems to revisit two of his major influences from his painting studies at the University of Wyoming: Ilya Bolotowsky and Leon Kelly, while plying his personal blend of abstraction and figuration. The title indicates bucolic calm, yet this is no quaint country scene. There is a discernible horse shape at left, but, like Bolotowsky, Garde breaks the canvas and the equine silhouette into irregular geometric planes using his signature vibrant hues. The muzzle of the horse, enigmatically, also can appear like a mask, recalling some of his more figurative work. Kelly’s surrealism seems to come through in the edgy juxtaposition of white and black udder shapes at right with shapes that appear fang-like or claw-like at right. The presentation of a coexistence of soft comfort and what are jagged, possibly dangerous forms indicates a less pastoral idyll, indicating a fuller picture of nature, where predators are natural elements of life. At Pasture was exhibited in “Harold Garde: painting. 50 Years” at the Museum of Florida Art (now Museum of Art-Deland) in 2009, and traveled to the University of Wyoming Art Museum the following year. It was also exhibited at the Orlando Museum of Art’s “Harold Garde: Mid-Century to This Century” in 2015.