Mr. John Pototschnik

Classical (Classic) Realism – Part 2

Mr. John Pototschnik · Jul 1, 2013 · 8 Comments

A three-part series that highlights the origins and resurgence of Classic Realism and its importance to the 21st century artist.

“Traditional skills are necessary for developing a foundational base for the artist to work from. It is craftsmanship that opens the door to effective self-expression.” Juliette Aristides

Juliette Aristides – Back - 29″x 20″ – Charcoal heightened with white — Juliette Aristides – Back – 29″x 20″ – Charcoal heightened with white

My interest was peaked concerning Classic Realism…(I like that term, by the way, as defined by Michael John Angel in last week’s blog)…several years ago when the Classical Realism Journal was first published. From there I discovered the Twilight of Painting by R.H. Ives Gammell, and that opened my eyes considerably to what could be when it comes to the proper training of artists.
In this three-part interview with Michael John Angel, Juliette Aristides, and David Hardy, I am hoping to define Classic Realism, its origins, its resurgence, and its importance to all of us.
Actually, I’m not explaining anything. All this is wonderfully done by these three living masters. If you haven’t read Part 1 of this series, I encourage you to do so before continuing. (Part I)

And now, Part 2 of “Classical (Classic) Realism”

I’ve heard some teachers refer to classical training for the artist as a “resurrection of the humanist spirit in western art”. What is meant by that?
Angel: I may be one of the people you are quoting here. Abstract art generally turn away from the world of people and doesn’t concern itself with the nature of Humankind, except for how to grab its attention. Representationalism concerns itself very much with the world of people and how people view nature – hence Humanism.
Aristides: I take it to mean that the figure is, once again, returning as a central subject in art. It is not only a shift in content but it represents a big philosophical shift as well.
Hardy: Art is returning to the speaking about the human condition and to the miracle of existence within which we find ourselves. Much of western art for over a century has devoted itself to such things as visual engineering and conceptual involvement.

Michel John Angel – Circe – 43.31″x 31.5″ – Oil

David Hardy – Without Warning – 16″x 24″ – Oil

What is your definition of art?
Angel: Art is wide; life is narrow (to paraphrase a Latin aphorism); this also is too big a question. I will say, though, that I believe a painting or sculpture should conjure an emotion in the viewer (it can be a mild one, or strong, lyrical or dramatic) and give the sense of the Eternal behind – the Specific.
Hardy: Art, like love, is more easily described than defined. Both could be expressions of the human soul, the human essence of being. But defining it? I leave that up to the experts.
How would you define beauty?
Angel: I wouldn’t even try. Beauty is much too wide a subject.
Aristides: The discussion about “what is beauty” has been going on for millennium. Any attempt to define beauty would be an act of hubris on my part – (however, that never stoped me before – so I will give it a shot:) Beauty in art is a reconciliation of opposing elements into a harmonious unity (between design, content and execution).
Hardy: Like trying to define love, defining beauty in words is beyond my powers. Identifying examples of visual beauty is more in my line.

Michael John Angel – Pippo – 12″x 10″ – Oil

Juliette Aristides – Drawing of Jeremy – 26″x 22″ – Oil

David Hardy – Fallen Rose with Reflection – 6″x 8″ – Oil

What distinguishes classical training from other types of art instruction?
Angel: One has to learn specific skills in order to draw and paint realistically (there’s that word again!). These skills – how to make an even tone, how to measure, how to mix paints, how to create colour harmonies, how to model the illusion of form – can be taught, and are taught in the modern ateliers and academies. The state-run schools believe, rather naively, that art requires only passion and that the teaching of skill inhibits creativity. It is also true that many instructors in the state schools haven’t been taught well themselves and have no idea how to draw. There is a great (true) story of a life-drawing instructor in the Art Institute (I think) in Chicago, some years ago. It was nearly Christmas and most of his class had left for the holidays; he decided to draw along with the remainder of his students. After half an hour, he had made an awful mess and said, “This is harder than I thought!”. The life-drawing instructor in a prestigious university had never drawn the figure before.
Aristides: An Atelier is a studio run by a working artist (not an educator). An atelier provides a time-tested, progression of curriculum over period years – so that students reach a high level of technical proficiency. Drawing is taught first, then painting. Students often spend half days with the life model and the other half in their studio. In short it is a skill based traditional form of art education which places its emphasis on the student emerging as a fully trained artist able to open a studio of their own.
Hardy: Classical training involves the sharing of understanding and building of skills that constitute a visual language about reality. This is normally done in small classes with individual guidance. Advanced students in my Atelier when interested, are taught traditional procedures using layered glazing.

David Hardy – Portrait of Young Woman – 12″x 12″ – Oil

Michael John Angel – Galatea – 32″x 16″ – Oil

Juliette Aristides – Early Evening – 30″x 24″ – Oil

Why are we seeing such an interest in classical training for the artist at this time in our history?
Angel: People have always wanted to learn how to make representational drawings and paintings,and they always will. Fashion within the Art Establishment is starting to swing more and more towards Representationalism, and the new “Realists” are getting to be more visible; people are astonished and delighted to learn that this teaching is available to them. I cannot tell you how many letters and e-mails I receive, telling me that the sender thought that representational painting was “forbidden” today!! We are the avant-garde, and we are starting to have a voice – 45 years ago, when I was studying under Annigoni, there was only him, Gammell, signorina Simi and the Russian academies in Moscow and Saint Petersburg (there may have been one in China); now there are hundreds (thousands?) of good schools.
Aristides: We are living in an important time and need every tool available to fully express ourselves. One way that has been historically achieved is by looking back at our cultural legacy and building on it.
Hardy: Because we are maturing beyond rampant rejection of establishment ideas inherited from five hundred years of evolvement and refinement. We are recognizing the stupidity of believing “if it is new it must be better.”

Juliette Aristides – The Spanish Pitcher – 36″x 24″ – Oil

Michael John Angel – Red Mermaid – 59.06″x 29.53″ – Oil

David Hardy – Lemons and Lace – 20″x 16″ – Oil

Daniel Graves, founder of The Florence Academy of Art, also a living master and leader in the training of artists, talks about many of these same topics in a paper he wrote titled Tradition in the 21st Century.
He explains the difficulty of recapturing the “tradition” of past centuries.” Why can’t we produce Leonardos today? I do not believe it is just because we lack technical knowledge and expertise. I believe it is because there is something in addition to the technique that is also part of the tradition…the essence of the tradition. Given that we do not want to just repeat the work of past centuries, I think one of the great challenges we all face is that of discovering what we are going to paint and sculpt. The narratives that artists tapped into for centuries, the timeless stories from mythology and the Bible, seem less meaningful to people than they once did. To merely record the surface appearance of “reality” has never been the province of painting, whose language is far deeper. From the beginning, artists have painted, sculpted and drawn things that had meaning for them, and the images they have left behind are a living testament, a record of their consciousness on earth.”
Stay tuned for Part 3: the conclusion of “Classical (Classic) Realism”, in upcoming weeks.
For more on these important artists:

Other valuable related articles:

Classical (Classic) Realism- Part 1

Mr. John Pototschnik · May 27, 2013 · Leave a Comment

A three-part series that highlights the origins and resurgence of Classic Realism and its importance to the 21st century artist.

Michael John Angel - Lamberto (Study) 11.75 x 13.75 Mixed Media — Michael John Angel – Lamberto (Study) 11.75 x 13.75 Mixed Media

It was in college that I decided to become an artist. How to achieve that goal, well, I assumed the college knew. In my ignorance, I knew very little about what it took to become an artist, nor did I even know what questions to ask.
The 1960’s did not give a young student many options, so I took the logical, affordable one. For me, growing as an artist followed the path of trial and error with some influential and valuable guidance along the way. Mainly, however, I feel I am mostly self-taught. At one point in my career, I probably considered that a badge of honor, but not anymore. Now I consider it a shame and a powerful condemnation of the sad state of art education during my formative years.

Juliette Aristides – Family - 24″x 18″ – Charcoal and sepia on toned paper — Juliette Aristides – Family – 24″x 18″ – Charcoal and sepia on toned paper

Today, with the rise of so many great educational opportunities for artists, from workshops to ateliers, things are much different. Tastes in art are changing. Hopeful students are looking for something more than the self-indulgent painting of the modernist era…those works preferred and promoted by art critics and museums for almost 100 years.
There are now art schools around the world, many in this country, that are intent on researching and restoring the teaching methods of old that produced the world’s greatest artists.
We really owe a great deal of gratitude to those who are dedicating themselves to teaching these traditional methods, for we’re already seeing the phenomenal results of such training among many of our younger artists.

David Hardy – Carla (Study) – 25″x 19″ – Charcoal and chalk

I am so excited to bring you this 3-part interview with three of the best, all recognized living masters who have dedicated themselves to training the next generation of artists. It should be noted that my timing proved to be the worst as they were contacted just as Fall classes were about to begin. For some, my request was too much to deal with…and I totally understand. But for these three…well, what can I say but…Thank You.
In the interview that follows, my hope is that we gain a deeper understanding of what some are calling “Classical Realism”. What is it and what are it’s roots? What distinguishes classical training from other types of art instruction, and why is it important?
I think you will find this three-part interview very enlightening.

Michael John Angel

Michael John Angel was born in England but emigrated to Canada during his teen years. Searching for a teacher that would give him the training he craved, in the late 1960’s he found what he was looking for in Florence, Italy. Now recognized as one of the foremost traditional painters in North America, he is founder and director of Angel Academies of Art in both Canada and Italy. He has dedicated himself to not only passing on his love for classical and traditional art, but also to instilling the disciplines that lead to successful mastery of the necessary techniques.

Juliette Aristides

Juliette Aristides is the founding instructor of the Aristides Atelier at Gage Academy in Seattle, WA. and also Aristides Atelier, an on-line teaching website. A prolific writer, she has authored three books: “The Classical Drawing Atelier”, “The Classical Painting Atelier”, and “Lessons in Classical Drawing”. She believes that the goal of learning to draw and paint is attainable by anyone who is willing to pursue it. It is as accessible as learning to write or play a musical instrument. She has dedicated herself to helping others attain that goal.

David Hardy

David Hardy began his studies with Dallas artist, Ramon Froman, at the age of nineteen. Later he continued his studies at the American Academy of Fine Art in Chicago and the Art Students League in New York. The Atelier School of Classical Realism in the San Francisco Bay area, which David founded, focuses its attention on the marvelous range of technical artistic knowledge, understanding and observation of nature that helped make possible the impressive accomplishments of the masters of realism.

Interview

“Classically trained” and “classical realism” are terms often bandied about by fine artists today. What exactly is meant by those terms?

Aristides: Classical Realism was a term coined by Richard Lack. On the surface it looks like a contradiction of terms. Realism often refers to an unfiltered view of everyday life. Classism works within a tradition striving for an ideal between nature and design. I imagine the term Classical Realism reflects the striving of an artist to see and express the ideal in life. I love this definition of classism from an unlikely source, the Romantic artist, Eugene Delacroix: “I would readily apply the term “classical” to all well-ordered works which satisfy the mind, not only by an accurate, noble, or lively rendering of sentiments and objects, but also by their unity and logical arrangements. In short, by all those qualities which enhance the impression by creating a final simplicity.”
Hardy: The terms “Classically trained” and “Classical Realism” vary in meaning in the art community because there is a wide range of understanding and cultural sophistication amongst some of those using these terms. I choose to name my atelier the Atelier School of Classical Realism for two reasons: (1) Atelier because I have adapted some of the teaching approaches and concepts popular in Paris in the 19th century. Atelier (French for ‘studio’) studies brought a limited (small) group of students together to learn from a respected master. (2) I firmly believe, with but a few later exceptions, that the major Baroque artists brought realism to a level rarely touched since. Because of this, I have made the effort to become very involved with Baroque technology. When I think of classical realism, I think of Old Master baroque artists, such as Rembrandt, Vermeer, Hals, Reubens, Van Dyke, Carravagio and Velasquez.
Angel: I hate to start off by being pedantic, but “Classical Realism” is actually a misnomer: the adjective Classical specifically refers to things from the Classical period in Greece (c.480 to 323 BC), and classical (lower-case C) refers more generally to things to do with Greece and ancient Rome. Classic Realism is better, or Traditional Realism. A classic shoe is just that, whereas a classical shoe is a sandal. The only classical painting that we have is vase painting. Realism is a difficult word, too, implying as it does things that we see in reality, i.e. everyday genre painting. This would exclude all symbolic allegory, including mythology, Christian or pagan. It also tends to exclude Conceptualism, but more about this later. I prefer Representational Painting (or Sculpture, of course), but it’s something of a mouthful. (Another much misused word is figurative. It actually means representational: a still life or a landscape are figurative, as are figural works such as nudes and portraits.) Sorry to go on, but you did ask!!

What characteristics are synonymous among all things classical?

Aristides: It was said very well by the artist and author Kenyon Cox, in his book The Classic point of view (1911): “The Classic Spirit is the disinterested search for perfection; it is the love of clearness and reasonableness and self-control; it is, above all, the love of permanence and of continuity. It asks of a work of art, not that it shall be novel or effective, but that it shall be fine and noble. It seeks not merely to express individuality or emotion but to express disciplined emotion and individuality restrained by law. It strives for the essential rather than the accidental, the eternal rather than the momentary – loves impersonality more than personality, and feels more power in the orderly succession of the hours and the seasons than in the violence of earthquake or of storm.”
Hardy: When I think of classical things, I think of search for truth, search for the ultimate in ideals, plus clarity and accessibility.

Why do we credit and accept the Greeks as establishing the canons of beauty?

Aristides: Greek art, in the Classical period, reached a remarkable balance between adherence to proportional cannons and naturalism. The Greeks moved away from static proportional systems, identifying and formalizing the attributes of beauty from nature. When looking at images from an art history timeline, you can see the Greeks so surpassed their predecessors in sophistication that the culture almost appears to spring up out of thin air.
Hardy: Because they were there “firstest with the mostest”.

Why the fascination with ancient Greece and Rome?

Aristides: In his book Civilization, Kenneth Clark wrote that “Western Europe had inherited an ideal invented in Greece in the 5th century B.C which was so satisfying to the mind and eye that it lasted practically unchanged for over six-hundred years”. During my travels this summer it is easy to see its powerful influence in America – in old city Philadelphia. It not only affected Europe, but when the New World was being shaped our founding fathers looked all the way back to Greco-Roman times, not only as a model for democracy, but also to their arts and architecture. It was the high point in philosophy, art, architecture, civic life, mathematics, etc and became the basis for Western Culture. The ancient Greeks were seeking after permanence and a perfect balance of reason, beauty and justice. They were trying to create a model civilization, not just copying what came before them…but innovating. Perhaps we are drawn to the best of those ideals.
Hardy: Because most of the ideals and structure of western society today were fermented and given birth in ancient Greece and Rome.

Is the fascination with Greek and Roman antiquity concerned mainly with appearances or does it also extend to the philosophies of that time?

Hardy: The almost exclusive survival of Greek art has been their statues. Greek statuary was an expression of their belief that all of their pantheon of gods existed as super perfect versions of humans…more handsome or beautiful, perfectly proportioned, more graceful.
Aristides: Today, I don’t know that many artists are actually influenced by classical art, and architecture in the strict meaning of the word. Rather, I think there is a desire to understand artistic systems from the past so we can create the best art possible for the times in which we live. I think we are in such a disposable culture, the desire to make something that lasts, that attempts permanence, is compelling. We look back and are inspired to try a little harder.
Mr. Angel has combined these last four questions into the following response:
Angel: The sculpture of ancient Greece and Rome transcends everyday reality. We feel as though we are looking through the specific – the model, the subject – into the eternal, and this is why it haunts us. How do they accomplish this? All representational art should be a combination of the empirical and the conceptual. Modern ateliers teach the basic geometrical forms – at Angel’s, we teach that there are four pure ones: the cylinder, the egg, the block, and the pyramid, plus the various hybrids between these – and how to render these, illusionistically, on a two-dimensional surface. The ancients stressed these pure forms, modifying them empirically just enough to conjure the appearance of a human, but they leave us with the sense of the Eternal, the perennial flux. They combined this with a profound grasp of gesture, itself a conceptual thing, and of grace, which they created by the use of flow-through lines, rhyming forms and proportion. A great deal of our modern Realism deals only with the empirical, thinking that this is what the masters did; however, if I were to show you a reproduction of a Caravaggio (or a Ribera, or a van Dyck…) and tell you that this is a photo of some models posing, you wouldn’t believe me for a minute. Caravaggio, with or without mirror projections, has changed something; he has conceptualized (simplified and purified) the forms to make them more powerful and, ironically enough, more convincing.

For more on these important artists:

Michael John Angel

Angel Academy of Art

Juliette Aristides

Aristides Atelier at Gage Academy

Aristides Atelier

David Hardy

Atelier School of Classical Realism

Andy Thomas Interview

Mr. John Pototschnik · Apr 1, 2013 · 1 Comment

Andy Thomas

I first met Andy Thomas more than 20 years ago while participating in the Midwest Gathering of the Artists Show in Carthage, MO. His talent was obvious, so to see his career explode as it has in recent years as a painter of western themes, well, it’s really not that surprising.
His paintings now garner well into the five figures.

Spirit of the MGA - 40"x 30" — Spirit of the MGA – 40″x 30″ – Oil
Thomas captured, in his trademark style, many of the participants in the Midwest Gathering of the Artists Show with whom we became friends. I’m depicted with the highwheeler, indicating my love of cycling.

Mark Smith, co-founder of the Greenhouse Gallery of Fine Art in San Antonio, TX, and exclusive representative of Thomas’ work said, “Andy represents one of the most talented and creative painters working today. He has gained wide respect for his portrayal of the horse and its historic role in the old west and, as a result, has become one of the most sought out and collected painters of the historic time period known as the Old West. Collectors respectfully refer to Andy as a great “story teller” and compare his paintings favorably to the works of Remington and Russell. Through his paintings, Andy allows the viewer to be a participant in the scene rather than a spectator”.

Bad Whiskey - 24"x 48" - Oil At the Coeur d' Alene art auction in 2009, this painting set an auction record for Thomas's work, selling for $110,000 — Bad Whiskey – 24″x 48″ – Oil
At the Coeur d’ Alene art auction in 2009, this painting set an auction record for Thomas’s work, selling for $110,000

Things could have turned out quite differently. I remember being notified in 1996 that Andy had been injured in an explosion while working in his shop. His hands had been severely damaged. I couldn’t believe it, and feared the worst. Later, in an attempt to return to painting prematurely, he further injured his right hand. That’s when he took up painting with his left hand, producing some amazing work. Now that both hands are fully healed, he is able to paint equally well with both hands simultaneously while working on two different paintings…doubling his production…just kidding.

Bad Deal - 24"x 36" - Oil — Bad Deal – 24″x 36″ – Oil

Andy didn’t begin his professional career in the fine arts. After graduating from high school, he went to work for Leggett & Platt, Inc. in their Marketing Service Department, an in-house ad agency. During this time he also attended Missouri Southern State College, graduating magna cum laude with a degree in Marketing Management in 1981. Employed for 16 years with the Fortune 500 company, he advanced to become its staff Vice-President before finally resigning his position in 1991 in order to pursue painting full-time.

Grizzly Mountain - 30"x 40" - Oil — Grizzly Mountain – 30″x 40″ – Oil

I’ve always accused Andy of having a photographic memory because of his uncanny ability to record things he has seen or experienced. He denies my claim, but there is something extraordinary in his ability to capture a moment in time…to tell a story that is capable of transporting folks to another place and time. If he had lived in the old west, cowboys would have paid him to join them by the campfire and spin a yarn. His vivid memory and imagination enable him to create paintings pregnant with action and drama…paintings sought after by a growing number of collectors.
Desiring to learn more, Andy graciously agreed to an interview which I am pleased to share with you. I think you will find it interesting.
What would be your definition of art? I gave this a great deal of thought my first year as a full time artist. As I looked around and identified what I thought was art (including architecture, movies, comedians, choreography, etc), they all had two elements. The first was communication. That is, they all had to be received by the viewer or listener. The second was they were original in that there was no formula used. Sometimes I would find myself thinking “Gee, that’s great and I don’t know why”. So, I define art as creative communication. The real question for an artist is, “Who am I wanting to communicate with?”

Horse Thief - 24"x 36" - Oil — Horse Thief – 24″x 36″ – Oil

You define yourself as a painter of history, how do you go about translating the written account into a fully realized painting? Painting an actual event is a challenge. If I am true to factual history, many of my creative tools are taken from me. Still, I can be somewhat creative and use my craft and research to produce a work that people appreciate. Historically based paintings that are not a specific event are much easier. I get much of my inspiration from reading personal journals and memoirs of the time because they are full of feeling and impressions.

James Gang - 24"x 36" - Oil — James Gang – 24″x 36″ – Oil

Your western themes have really caught on with collectors, why do you suppose that is? There’s a little boy inside me who wants to be a cowboy someday. I suppose that makes me paint westerns with enthusiasm.
How did you find your individuality as an artist? By painting many styles and subjects until my own style emerged.
Do you consider the process of painting more important than the result? No. The final painting is always my ultimate goal. However, I’m always amazed how indifferent I am about a painting that is finished. It is the past and I am looking forward to the next painting. Luckily, my buyers don’t feel the same.

Johnny Saved the Girl - 40"x 30" - Oil — Johnny Saved the Girl – 40″x 30″ – Oil

Journey to the New Home - 24"x 36" - Oil — Journey to the New Home – 24″x 36″ – Oil

What part does photography play in your work? I use many photos for background reference but really only paint directly from photos for rifles or pistols and sometimes for hands. In the course of painting a figure, I often pose myself and take a photo to check anatomy or clothing wrinkles.
Does plein air painting play a part in your work? Plein air was one of the many types of painting I did to develop as an artist. I never learned to enjoy it and I only do them now for the fellowship of other artists.
What is the major thing you look for when selecting a subject? I have learned to fumble around with ideas until one gets me excited. Lots of thumbnails and color studies.

...And the Band Played On - 36"x 48" - Oil — …And the Band Played On – 36″x 48″ – Oil

What is your major consideration when composing a painting? That’s tough to answer. I will say this; If my little thumbnail looks like a good composition, the color study will have a good composition as will the finished painting.
How thorough is your initial drawing? Very, very loose. I really let details emerge and develop as I paint. Sometimes I move arms or legs many times in the process.

A piece currently on the easel shows the initial drawing with grid lines on a toned canvas.

Current work on the easel shows the preliminary color study which has been reversed for the larger work. Also shown is photocopy of study and a preliminary figure study.

Describe your typical block-in technique. My usual procedure starts by taking a photograph of my color study and printing the image on an 8.5″x 11″ paper. I then draw a 16 square grid on the photograph. I prepare my large canvas by staining it with a brown/black mixture (ultramarine blue and transparent red earth). I use the same mixture to brush in a 16 square grid on the canvas and redraw the color study.
At this point, I usually block-in the whole canvas with thin color and soft edges. The washed in canvas should have the correct color, value and composition of the finished painting with no details. I then begin the slow process of finished, detailed painting by working on individual figures or small areas and working around the canvas.
How do you decide the dominating mood for a painting, and how do you maintain it? My paintings are narrative, storytelling affairs and the mood of the painting is part of the story. The mood is controlled by the choice of light source, the deepness of the shadow areas and the body language and expressions of the figures. Since I use figures often, body language is important. I never paint a man just standing. My men stand in defiance, or in fear, or with boredom, etc. That’s what I try to do, anyway.

This is typical of small preliminary color studies Thomas does as preparation for the larger work.

What colors are most often found on your palette? Ultramarine blue, transparent red earth, Venetian red, cadmium yellow deep and zinc/titanium white are always on my palette. I keep cadmium yellow light and cadmium red available but rarely use them. My vision is color weak so this limited palette suits me.
What are the key points one needs to know when creating a true sense of atmosphere? Light source, light source, light source.
You have a strong affinity for illustrators of the past, why is that? I think they were the best artists. They did paintings that fascinate me. They have not had a chorus of art historians promoting them.
So, if you could spend the day with any three artists, past or present, who would they be? Howard Pyle, Charles Russell and Frederic Remington.
What advice would you have for a young artist/painter? Here’s the best advice that was ever given to me. I asked an artist I greatly admired the same question, hoping he would tell me something like “paint horses, you can make good money painting horses” or “go to this show and you’ll sell out”. Instead, his answer addressed my artwork; “Whatever you see as your weakness, attack it. For example, if you can’t paint hands, practice until you can”. I followed his advice. The same artist, when I asked him what was the most important thing about a painting, immediately said, “The reason you wanted to paint it in the first place”. Perfect answer. The artist was John Pototschnik.
What advice do you have for a first-time collector? My experience shows me that people who only buy artwork they personally like are forever happy with their choice. I was always uncomfortable when people looked at my work for decorative or investment reasons. I do know that a painting that you enjoy doesn’t require maintenance or your time like so many other things we buy.

Land of the Apache - 24"x 36" - Oil — Land of the Apache – 24″x 36″ – Oil

When you become discouraged and feel the well is dry, so to speak, what do you do? I look at other artwork. For instance, I spent a great afternoon the other day making a list of my favorite all-time paintings and printing slick copies of them off the internet. I never really finished the list and before I was done I had ordered two more art books. But I had fun and was ready to paint.
Finally, Andy, if you were stranded on an island, which three books would you want with you? Atlas Shrugged (because of the message and because it would take being marooned to get me the time to reread it), and True Grit (better with each rereading). My third book would be some sort of survival guide so I wouldn’t be hungry while reading the other two.
Thanks Andy for a wonderful interview.
www.pototschnik.com

David Gluck Interview

Mr. John Pototschnik · Mar 4, 2013 · 13 Comments

“There’s always one in the crowd”, as the saying goes…and Canadian artist David Gluck is the one.

When I received his responses to my interview questions, I found myself laughing out loud. I also realized that when you encounter a guy like this…it’s really important how you phrase the questions.
Is David Gluck a serious guy or a comedian? I guess that’s for you to decide. Even if he doesn’t take himself seriously, one thing is certain, that cannot be said when it comes to his work.

Preliminary head study for *The Trapper*

When I saw that his painting, The Trapper, won the very prestigious William Bouguereau Award in the recent Art Renewal Center International Salon, I was totally on board…a phenomenal painting indeed, and an award well deserved.
William Bouguereau (1825-1905) in his day was considered one of the world’s greatest painters. Many consider his paintings to be absolute perfection. But, as modernist thought replaced the academic, Bouguereau went the way of so many great artists…as did the training that helped produce them. Today, some of that solid training is being resurrected and we’re seeing the results. David Gluck’s work is one such example.

*The Trapper* – 30″x 24″ – Oil – (ARC International Salon, William Bouguereau Award)

The Bouguereau award is given to a figurative piece that displays a strong sense of emotion and theme. Assessing whether The Trapper really met these stringent requirements, Gluck said, “The figure; clearly a man. The theme; manliness. Emotion; pfft, men don’t feel emotions. The only emotions I feel are rage and hunger, which usually go hand in hand.”
How did he feel about receiving the award, “I was actually extremely honored to have received this award. I have been a long time follower of the ARC and they have continued to support my career.”
Wondering what he thought of the great William B…”As far as William Bouguereau goes, I know everyone is a huge fan of the guy, but frolicking wussy peasant children never appealed to me. I will say, his technical proficiency is one to be admired.”
And now, more from Mr. Gluck.

How would you define your role as an artist? I fill up inconvenient blank spaces on a wall.
How does one find their individuality as an artist? It should come naturally. I found that living apart from most other artists and being primarily self-taught was helpful in finding my voice. Also, it helps to wear a hat.
Do you consider the process of painting more important than the result? Not at all, the result is what stands the test of time. Focus on the process is simply post-modernist thought.
What is the major thing you look for when selecting a subject? A fine balance between manliness and awesomeness.
How much of your work is intellectual vs. emotional…and how would you define the difference? I am not really a man with either quality, so I am unsure how to answer that.

What colors are most often found on your palette? My flesh tone palette is Yellow Ochre Pale, Vermillion, Ivory Black, Lead White, and Raw Umber. There is also a yellow stain that might be mustard, but I can’t be sure.
How do you decide on the dominating color key for a painting, and how do you maintain it? Using a limited palette makes it quite simple to harmonize your colors. I feel the color key is often picked in accordance to the mood I am trying to portray.
I love this one…
Do you paint in layers? I typically only wear layers when painting in a cold climate, but otherwise I wear gym shorts with no shirt while painting.
Does photography play a part in your work? Sometimes. I work from life whenever possible, photos when it simply isn’t an option.

How much preliminary work do you do before beginning the final work? I would say at least half of a piece is in the planning. I always do a series of studies starting with thumbnails and preliminary drawings for tone and composition. I end with color studies before beginning on the final canvas. I try to leave very little to chance.
What is your major consideration when composing a painting? Composition of course is key. I try to work this out in the very early stages.
How does your work reflect your personality? Not very well. Most people are surprised I am an artist.
What constitutes classical painting and drawing, and why the resurgence at this time? Got me. Maybe it has to do with global warming or something.
You have the ability to paint incredibly beautiful works while using objects that are pretty common and not necessarily considered beautiful. What is the thought process behind that? Pretty objects and things don’t always make for a beautiful painting. It’s like the old saying…”It doesn’t matter what you say it’s how you say it”.

What advice do you have for a young artist/painter? Make your models bring their own towel to sit on. Otherwise you are stuck with a towel you have no idea what to do with.
What advice would you give a first-time collector? Buy my stuff.
If you could spend the day with any three artists, past or present, who would they be? My wife, Rembrandt, and Bob Ross. Actually, scratch Rembrandt, he doesn’t even speak English.
If you were stranded on an island, which three books would you want with you? One would be a choose your own adventure book to keep life interesting, Cooking with Beer, and maybe one super thick book to use as a seat.
Who has had the greatest influence on your career, and why? Easy answer, my wife. She is my primary influence being a fellow realist and the main contributor in inspiring my work.

*Still Life with Seeder* – 18″x 24″ – Oil

When you become discouraged and feel the well is dry, so to speak, what do you do? I call my good buddy Jack Daniels for moral support.
Why do you enter art competitions and how do you go about selecting paintings for them? I enter competitions to win sweet mullah. Apparently I enter the same painting in every competition.
Thanks David for participating in this interview and allowing me to share your fabulous, beautifully executed works. I’m sure we’ll be hearing more of you. I hope it’s good.

Dianne Massey Dunbar Interview

Mr. John Pototschnik · Feb 4, 2013 · 3 Comments

“I paint ordinary objects and scenes from everyday life. While I have the highest respect for artists who paint vistas and exquisite nudes and the like, I believe that there is a great deal of beauty in the world that often goes unnoticed. The amazing color in raindrops, the variety in fallen autumn leaves, the interesting greens one finds in a stack of French fries, there are endless opportunity for paintings. My hope is that people view the world just a little bit differently after seeing my paintings.”

"Red" by Diane Massey Dunbar OPA - 4x4 -Oil — “Red” by Diane Massey Dunbar OPA – 4×4 Oil

I’m a huge fan of Dianne Massey Dunbar. Her work is exciting and joyful. It reminds me somewhat of Wayne Thiebaud’s work, but I find Dunbar’s work every bit as exhilarating. Thiebaud speaks of painting as celebrating the joy of living, the thrill of experimentation and expectation, I think Dianne would fully agree with that. Her works ooze with enthusiasm and controlled recklessness.
What is so amazing to me is her fabulous ability to take the most mundane of objects and transform them into delectable treats. How can someone take a simple tube of lipstick, or plain glass bottles, or even raindrops on a windshield, and transform those things into objects of desire…paintings sought after and cherished? Dunbar does it and makes it look easy. How she does it is what this interview is about.

"Driving Through A Downpour" by Diane Massey Dunbar OPA - 12x16 — “Driving Through A Downpour” by Diane Massey Dunbar OPA – 12×16

"Driving Through A Downpour (Detail of raindrops on windshield)" by Diane Massey Dunbar OPA - 12x16 — “Driving Through A Downpour (Detail)” by Diane Massey Dunbar OPA – 12×16

Not only is Dianne extremely thorough, even fastidious in her preliminary work for each painting, but what is so admirable is her ability to take risks…to try new things. I talk to my students about not being afraid to fail, but Dianne lives in that world with every painting. Just examining a “simple” raindrop she has painted, I can only shake my head and ask, “How does she do it?” Each individual drop is not only a masterwork of texture but is also full of reflected color. Paralyzing fear must be thoroughly conquered when attempting a painting such as Driving Through a Downpour. Quite amazing.
Mark Smith, co-owner of the Greenhouse Gallery of Fine Art in San Antonio, said, “To view one of Dianne’s paintings is to experience complexity in its most artistic form. Most often, her choice of subject matter is quite complex, challenging and can be categorized as “crazy”. However, this type of complexity is the stage that most accurately reveals Dianne’s stunning sense of color and expert brushwork. Dianne is a master of articulating her inspiration and the “story” that she finds in the most mundane and overlooked objects and moments.”

"Gumdrops" by Diane Massey Dunbar OPA - 10x18 — “Gumdrops” by Diane Massey Dunbar OPA – 10×18

I wondered how she went about selecting her subjects…”I try to remain open to what I consider interesting subject matter. If I am not interested in the subject before I paint it, I have found the resulting painting looks flat. I carry a small camera with me wherever I go, and when I see something that catches my eye. I photograph it. I may or may not decide to paint the subject matter, but at least I have a subject to consider. My still life’s are painted from the objects; the other material is painted from photos. When I take photos I don’t limit myself to one or two. I may take twenty or thirty of the same subject, from different angles, cropping them, expanding them and bracketing them. Once I have an idea that I like, I then take the photos or the objects and work on designing the painting. So, I would say the composition or design of the painting is very important when selecting a subject. If the shapes and composition are not strong to begin with, it will not matter how fancy the brushwork, or sophisticated the color scheme or values. The painting will not work.”

"Cans" - 12x12 - Diane Massey Dunbar OPA — “Cans” – 12×12 – Diane Massey Dunbar OPA

I will not be featuring Dianne’s complete interview here since it is quite lengthy. Her thoughtful answers have actually sparked topic ideas for future blogs, so you’ll be hearing more from her in the future.

Visit John Pototschnik’s Blog for more articles.

And now more from Dianne Massey Dunbar…

“I want to thank John Pototschnik, whose work I have been watching for some time now and greatly admire, for asking me to answer a few questions. I have tried to answer these questions honestly and openly and I truly hope that my comments are helpful.”

"Cityscape In Green" - 8x8 - Diane Massey Dunbar OPA — “Cityscape In Green” – 8×8 – Diane Massey Dunbar OPA

How would you define your role as an artist? I think we all have an important place in the world at large and are equipped with unique skills and resources. Some of us are called to be doctors, others to be lawmakers or dancers or carpenters or electricians or teachers or florists. My world, my role, is to paint; to use my training and whatever talent I have to create images that are meaningful to me and hopefully have an impact on others. In a way it is like storytelling but my paintings are my voice. There are other aspects to the role of an artist beyond painting that may include encouraging fellow artists, leadership, teaching and involvement. Primarily through, I need to show up at the easel.

"Fire Engine" by Diane Massey Dunbar OPA - 5x7 — “Fire Engine” by Diane Massey Dunbar OPA – 5×7

How much of your work is intellectual vs. emotional…and how would you define the difference? I would define intellectual as rational, deliberate, thoughtful and thought out, planned and intentional. I believe it includes problem solving that in turn fuels creativity. I would define emotional as one’s personal likes and dislikes, opinions, sentimentality, excitement, spontaneity, responsiveness and our relational selves. As for those rare moments of inspiration, well I think they are largely emotional, but I also believe they result from an intellectual process. In my work, it takes both the intellectual and the emotional to create a painting.
For me, the intellectual part of painting is the process of designing the painting, the drawing involved, and the problem solving along the way. It is not sentimental and it frequently is not much fun. There is skill and experience that an artist draws on, and every painting, no matter how well it has been thought out, has an area somewhere that is troublesome. There are times when work is tedious or even boring. The emotional part of painting is for me what I like and don’t like, the subject matter that I paint, the thinness or thickness of paint, the “play” time I have with a painting, and the colors I may choose. And for good or for bad, I emotionally invest in my paintings.
Finding subject matter that is exciting is personal. I am drawn to simple common images: candy bars, cupcakes, rain on my windshield, jars, dishes, road crews, and reflections. After that, almost all of my preparation for each painting is intellectual and frankly a little tiresome. I study various compositions and value arrangements for my chosen subject matter long before I put brush to canvas. I tape the value studies upside down in my kitchen and study them to see if the design and the shapes are working. Once I have a design, only then do I begin painting. And for me, the beginning and early stages of a painting tend to be thoughtful and deliberate and even a little intimidating.
However, I absolutely love to play with paint, so when I have a painting far enough along, I can then begin to have fun with it. I might decide to smear paint, or flick it. I use any number of implements to play with paint, from the jagged edge of gum wrappers to torn pieces of paper towel rolls to palette knives to inexpensive brushes that I have cut gaps in. Today I experimented with my rubber kitchen spatula (I had fun but unfortunately was not happy with the result!).
I think non-artists have a notion that art is the result of “inspiration”. Well, there are times of inspiration, when instinct takes over and something happens on a canvas that I probably can never do again but I look at it in wonder. However, those times are few and far between for me. Being an artist is very much like other careers, there is leaning and thinking and hard work involved.

"From The Outside Looking In (Photo Reference)" — “From The Outside Looking In (Photo Reference)”

"From The Outside Looking In (Value Study)" — “From The Outside Looking In (Value Study)”

"From The Outside Looking In" by Diane Massey Dunbar OPA - 20x20 — “From The Outside Looking In” by Diane Massey Dunbar OPA – 20×20

Describe your typical block-in technique, the thoroughness of your initial drawing, and the part photography plays in your work? I have more than one process that I use, depending on my subject matter. If I am doing a relatively simple still life, between one and three objects, I will do one or two quick thumbnails on a piece of inexpensive canvas board, and if I am happy with the shapes, I will begin to sketch those shapes in on my canvas. On the canvas, I may do a very simple sketch, or a more complete sketch, either very lightly with pencil or with a small brush. I then paint, working from background to foreground, massing in the large areas of a single value without much regard to detail. Once I have the large value shapes in, I can begin to break them down into smaller shapes, etc. I try to work on gradation and edges as I go along.
On the more complex paintings, I generally use photographs and work with a grid system. I might start with 20 or more digital images that I study. I look at the overall design, and see what happens when I zoom in or crop the images. I narrow these down to maybe the top five and I have those printed at my local camera shop. Then I make black and white Xerox copies of the color photographs. After the copies are made, I use inexpensive poster paint in white, gray and black and paint directly on the copies exactly where I think I want the light value, the medium value and the dark value. For each photograph I might do two different value studies, to see what the resultant design is. I do this by hand instead of computer because I can make all kinds of decisions when I work by hand that might go unnoticed otherwise.

Every part of that image needs to fall into one of those three values (I have been known to work with four values, but that gets very complicated). I then tape them up in my condo and live with them for a day or two, turning them upside down and sideways to see if the design is satisfactory. It is tedious, but I have found this process works for me and I have more successful paintings. After I have a design I like, then I have that photograph enlarged. However, I keep the value study because that is my “roadmap” for the painting. So, I paint the image that I have chosen, using the values of my value study. If I am working on a square canvas, I might work from an 8″x 8″ photograph, and work on a 16″x 16″ canvas, or 20″x 20″ canvas or even a 24″ square canvas. The photograph is taped to lightweight cardboard and I use a sewing needle and thread to grid the photograph so that if necessary I can move the thread aside to see what’s underneath. I usually use 1″ squares on the photograph. I grid the canvas (the canvas must be the same proportion as the photo you are working from) with very light pencil lines, usually in two or three inch squares. I then paint each square, starting from the upper left hand corner and working to the right. After my canvas is painted, then I go back and make necessary corrections, work on edges, simplifying, etc.

"Late Afternoon" by Diane Massey Dunbar OPA - 24x18 — “Late Afternoon” by Diane Massey Dunbar OPA – 24×18

What colors are most often found on your palette? I love color! So, you would find a great many colors on my palette. My ‘stock’ colors are: Titanium White, Cadmium Lemon, Cadmium Yellow Light or Medium, Cadmium Orange, Cadmium Red Light, Alizarin Crimson (permanent), Dioxazine Purple, Cerulean Blue, Cobalt Blue, Ultramarine Blue Deep, Permanent Green Light, Cadmium Green, Sap Green (permanent), Phthalo Green, Yellow Ochre, Burnt Sienna, Burnt Umber, Torrit Grey (Gamblin).
I use other colors in different situations, especially Zinc or Transparent or Flake White Replacement. There are times I really need Indian Yellow. Caucasian Flesh is a very useful color in a number of situations. I also use Venetian Red or Naphol Red and a number of other greens, especially Emerald Green Nova. I mix my blacks, but I do have a tube of black that I use if needed.
Some of these are quite transparent in nature, and some opaque. An artist needs to know the tinting power of different colors and use the intense colors sparingly (Alizarin Crimson and the Phthalos immediately come to mind). However, a lot of wonderful effects can be achieved with a more limited palette, so you do not need all these colors to produce wonderful paintings. Indeed, if you are new to painting, you would probably be best served by using a more limited palette.

"Ten" by Diane Massey Dunbar OPA - 20x20 — “Ten” by Diane Massey Dunbar OPA – 20×20

"Nancy" by Diane Massey Dunbar OPA - 27x23 — “Nancy” by Diane Massey Dunbar OPA – 27×23

"Cups And Saucers" by Diane Massey Dunbar OPA - 10x10 — “Cups And Saucers” by Diane Massey Dunbar OPA – 10×10

How do you decide on a dominating color key for a painting, and how do you maintain it? I use the subject matter to guide this decision. If it is an overcast cloudy day, then much of my painting will be grayish. If I am painting toys, obviously the colors wil be much brighter. However, too much pure color is overwhelming. I mix almost all of my color. I reserve pure or intense color only for small splashes or small areas.
You have entered a number of significant art competitions. Why are art competitions important to you and how do you go about selecting the paintings for these shows? I usually enter two to three art competitions per year. I started by entering local and state competitions, and when I was comfortable with those, I started entering regional and national competitions. There are two main reasons that I enter art competitions. The first one is to see how I stack up against other artists. Secondly, I enter competitions to hopefully have my work seen by other artists, collectors, galleries, and even magazines. There are other good reasons as well: meeting other artists, being inspired, and being challenged. Some art competitions have seminars that an artist can attend to learn and expand their knowledge on any number of topics. And, let’s face it, competitions can be fun! As far as selecting a painting, when I have what I feel is a good to exceptional painting and a deadline for a show that I want to enter is approaching, I will try to put the painting aside and keep it to enter in the show. Be aware that competitions can be expensive, there are entry fees, shipping and storage fees, and perhaps travel fees if you decide to attend the opening.

"Ketchup, Mustard and Relish" by Diane Massey Dunbar OPA - 11x14 — “Ketchup, Mustard and Relish” by Diane Massey Dunbar OPA – 11×14

What advice do you have for a first-time collector? Speaking as an artist, it is my hope that my paintings find homes where they are loved. So, I suggest that you buy a painting that you love and respond to. Also, trust your instincts. You will hopefully have it in your home for years; you will look at it over and over, perhaps seeing something different every time. So, before your worry about who the artist is, or how the colors might work in your home, look at the painting and see how you feel about it. Does the painting interest you? Do you want to get close to it and see all the beauty in the brush strokes and splashes of paint and even fingerprints? Do you find yourself thinking about a particular painting you have seen but have not yet purchased? You will know it when the right one comes along.

"City Sidewalk" -18x36 - Diane Massey Dunbar OPA — “City Sidewalk” -18×36 – Diane Massey Dunbar OPA

If you could spend the day with any three artists, past or present, whom would they be? Every artist brings something different to the viewer. I admire so many artists, from Rembrandt to Wyeth, Monet to Van Gogh to Fechin. And, there are many current artists that I greatly esteem. I cannot begin to choose one over another, as they are each brilliant in their own individual way. However, I will state that for many years I struggled to appreciate the work of Vincent Van Gogh. Then, on a trip to New York, almost twenty years ago, I went to the Metropolitan Museum of Art. It was there that I saw my first Van Gogh in person. I could ‘feel’ the passion and the painting just by looking at it. I remember standing there for a very long time, with tears running down my face, finally getting it. I have never forgotten that experience. It was profound.

"Shopping Cart" by Diane Massey Dunbar OPA - 20x30 — “Shopping Cart” by Diane Massey Dunbar OPA – 20×30

What do you think of that amazing interview, folks? Personally, I so appreciate Diane’s willingness to submit to this interview…and being so thorough in her answers. I hope you do also.

Here are important links to see more of OPA Signature Member Diane Massey Dunbar’s work:

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Mr. John Pototschnik

And now, Part 2 of “Classical (Classic) Realism”

Michael John Angel

Juliette Aristides

David Hardy

Interview

“Classically trained” and “classical realism” are terms often bandied about by fine artists today. What exactly is meant by those terms?

What characteristics are synonymous among all things classical?

Why do we credit and accept the Greeks as establishing the canons of beauty?

Why the fascination with ancient Greece and Rome?

Is the fascination with Greek and Roman antiquity concerned mainly with appearances or does it also extend to the philosophies of that time?

For more on these important artists:

And now more from Dianne Massey Dunbar…

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