A graduate of Yale, Sheridan Lord was for many years a teacher and administrator, notably at the Brooklyn Museum School. He didn't take up the brush full time until 1970, a year or so following his move to Long Island. Lord became increasingly accomplished at capturing the sweep of the fields in Sagaponack. Hedgerows and clumps of trees and farm buildings divide his canvases into color zones and are a means for marking distance in a flat land. One thinks of the work of the Dutch painters, although Lord's light tends to be warmer--more Fairfield Porter than Ruysdael. Lord was a painter who never strayed far from his home in Sagaponack. The rolling fields seen from his front porch proved to be ample artistic inspiration for his luminous paintings. His return in the mid-1980s to painting still lifes (he had worked in this genre in the 1950s) went hand in hand with this withdrawal from the landscape of the South Fork, where, as he states in Alan Gussow's 1993 book, The Artist as Native, "many, if not most, of the open panoramas have disappeared."