Less is more with every Krueger painting.  For example, in Quiet, he rests the slightest little bit of peach color on the olive green tree branches and what is basically a yellow and green painting becomes a revealing moment of quietude in nature. Although, Krueger is obviously influenced by the 19th century tonalists like George Inness, it's a little more complicated than that.  He’s more of a combination of both the old George Inness, the one that is tight and controlled, and the young George Inness, the one that is wild and spirit filled. Like the younger Inness, Krueger meticulously works his surface so that every seemingly accidental looking mark is controlled and orderly.  Like a matador that makes a bull look tame, his scratchy, stringy and stippled marks are anything but out of control.  It looks as if every scratch is preordained to its exact location.  But, unlike the younger Inness, his bold and limited use of color is right out of the older Inness’s sketchbook. The unnatural color seems anything but and it speaks directly to our visual hearts.  He uses a distant but familiar language, reminding us of those moments when nature suddenly reveals its splendor and all you can do is quietly stare.