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Mr. John Pototschnik

Classical (Classic) Realism – Part 3

Mr. John Pototschnik · Aug 6, 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.

Juliette Aristides – Yael - 25″x 20″ – Charcoal on toned paper
Juliette Aristides – Yael – 25″x 20″ – Charcoal on toned paper
In concluding this three-part interview series on Classic Realism, I want to thank our three participants: John Angel, Juliette Aristides, and David Hardy. Their insight and knowledge of the subject…and their ability to express themselves so clearly concerning this important movement…has been a valuable contribution to what’s going on in the contemporary art world. They will continue to be strongly influential in training the next generation of fine artists.
In this final part of the interview, our interviewees consider the importance of having a knowledge of art history and of the arts, how to encourage creativity, and why art students should attend their schools.
Juliette Aristides – Mother and Child – 48″x 36″ – Oil
Juliette Aristides – Mother and Child – 48″x 36″ – Oil

 

Why is it important for an artist to have a knowledge of art history?

Angel: Edmond Burke, the English 18th-century philosopher, wrote that those who don’t know history are destined to repeat it (‘s mistakes). Why waste one’s time re-living the failures that led to the understanding of compositional and technical principles? The paintings of the past are inspirational and instructive, and paintings are painters talking to each other over the centuries.
Aristides: It helps to have a context for human achievement. Being an artist is a very difficult calling (for all but a few). It is a source of real encouragement to see the artists of the past, not as gods, but as real people like ourselves with hardships and struggles. A knowledge of art history can brush away the dust of the past and help us see ourselves in a bigger picture.
Hardy: Art history gives us clues, as artists, of who we are, what we are, why we are, and how we got that way.

Michael John Angel – il Poeta - 20″x 15″ – Oil
Michael John Angel – il Poeta – 20″x 15″ – Oil
Michael John Angel – Richard Carson – 47.25″x 31.5″ – Oil
Michael John Angel – Richard Carson – 47.25″x 31.5″ – Oil

 

How can parents best aid and encourage the development of their child’s imagination and creativity?

Angel: Send them to a good school.
Aristides: Limit media, provide plenty of opportunities to be outside experiencing nature, and provide exposure to the arts. This is harder then it seems, parents are under a lot of stress – it is difficult to role model a life of imagination when so few of us have the time, resources and support to do so ourselves.
Hardy: By encouraging children, when possible and appropriate, to make decisions. Also by accepting, respectfully, childish outreach into the unknown by means of fantasy.

David Hardy – An Orange with an Attitude – 12″x 9″ – Oil
David Hardy – An Orange with an Attitude – 12″x 9″ – Oil
David Hardy – Portrait of Sarah – 15″x 10″ – Oil
David Hardy – Portrait of Sarah – 15″x 10″ – Oil

 

Can creativity be taught, if so, how?

Angel: Creativity cannot be taught, but it can be nurtured. All human beings are more or less creative. What modern artists need is technical instruction, philosophy and art history.
Aristides: I don’t think it can be taught as much as encouraged and fostered. The environment needs to be stimulating while providing space and time.
Hardy: By helping the individual to accept themselves and dare to make decisions.
 

Why are the fine arts (painting/sculpture) important?

Angel: Life without the arts – drawing, painting, theater, novels, films, dance – would be bleak indeed.
Aristides: It has many functions and is important for a multitude of reasons. The fine arts provide us a glimmer of an alternate truth – that there is more to a human life than progress or acquisition. We have an innate love of beauty, learning, challenge. and encouragement which can be provided through art. Fine art provides us with a different vision and something greater, something noble to strive towards that can last through the passage of time. It holds up a mirror to our society and is the expression of our culture and becomes a legacy for future generations.
Hardy: Because the fine arts are a part of the total human range of responsiveness with which we as humans are endowed. Not only are painting and sculpture important, but also music, dance, drama and literature are part of the gift with which we are endowed. Much like the fact that muscles grow and function more fully for us in proportion to being used, so our involvement with the fine arts becomes more enriched and rewarding when we open up to it.

Juliette Aristides – Talia – 24″x 18″ – Charcoal and sepia on toned paper
Juliette Aristides – Talia – 24″x 18″ – Charcoal and sepia on toned paper
Michael John Angel – Melissa – 31.5″x 23.68″ – Oil
Michael John Angel – Melissa – 31.5″x 23.68″ – Oil
David Hardy – The Ginger Jar – 12″x 12″ – Oil
David Hardy – The Ginger Jar – 12″x 12″ – Oil

 

Are art and beauty synonymous?

Angel: No
Aristides: I think we would be hard pressed to say that.
Hardy: I think this depends upon how we perceive art and how we perceive beauty. “Beauty is in the eye of the beholder”. Artists of the Ashcan School responded to the beauty of simple, everyday things and happenings. But that does not forbid me my love of the miraculous beauty of a rose.
 

How do you encourage and help your students find their own creative path?

Angel: We make them aware of the myriad paths within the discipline of Representationalism. We do this by teaching them technique, the play between Conceptualism and Empiricism, the dialectic between the real and the abstract and a study of art history. We also encourage the students to copy paintings (contemporary, as well as pre-21st-century ones) and explore (absorb?) these various voices.
Aristides: We have a fourth year in our Atelier – a thesis year, where students work with mentors (high achieving professionals in the field) as role models. Students put together an artist’s statement, formulate a plan for a body of work based solely on their artistic vision and have an academic year to create it. The work is then placed on exhibition. We then arrange for the graduates to have their first professional show within a year after leaving the program.
Hardy: Belief in and acceptance of one’s self is crucial, in my opinion, as a bedrock for creativity. Combine this with the daring to make decisions – to be able to choose the superior between two whatevers that are almost equal, almost identical, is also important. Sometimes it is better to replace “why” with “why not?” When planning student projects, I prefer to have students take responsibility and try out their ideas. If a certain set-up is not quite working. I suggest some possible advice, but it is up to the student to reach final decisions. Even if (very rarely) something doesn’t work, there is much that can be learned that will enrich future projects.

Juliette Aristides – The Arrangement – 36″x 26″ – Oil
Juliette Aristides – The Arrangement – 36″x 26″ – Oil
David Hardy – Tryst Nautical – 14″x 15″ – Oil
David Hardy – Tryst Nautical – 14″x 15″ – Oil
Michael John Angel – Margaret Graubard, New York – 12″x 8″ – Oil
Michael John Angel – Margaret Graubard, New York – 12″x 8″ – Oil

 

Why should art students attend your school?

Angel: I honestly think that we are one of the best. As well as thorough training, we have Florence and the rest of Italy to draw on (Rome is an hour and a half away by train, and Venice is three hours away). The atmosphere at Angel’s is convivial and friendly, while the quality of instruction is very high – all one has to do is look at the student galleries on our website: www.angelartschool.com/galleries.html. In addition, we are one of the very few academies that teaches the business side – professional painting means painting for a living – as well as the creative.
Aristides: Art students should attend some form of rigorous education to become challenged to produce their best work. There are many great schools out there right now. Aristides Atelier is located in Gage Academy: www.AristidesAtelier.com and as such we benefit from a lot of cross fertilization.
Hardy: Because we help and encourage students in how to be effective in their artwork, understand themselves better and prepare for today’s professional art world. We train champions. The core of good instruction, in my opinion, should be accessibility and effectiveness (another way of saying dependableness). In line with this way of thinking. I have in many instances invented my own ways of presenting time-proven traditional art technology. The School of Boston did not have a strangle hold on important art procedures and viewpoints. My training came down to me from the Julianne Academy in Paris, plus the Royal Academy in Brussels and the Superior Institute in Antwerp.
 

Four must-see videos

//www.youtube.com/watch?v=DsiP2pUT2qQ
//www.youtube.com/watch?v=lUd1J4wMijQ
//www.youtube.com/watch?v=ijzxRfR5odI
//www.youtube.com/watch?v=-tYbd9DnuyA

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

David Hardy – Without Warning – 16″x 24″ – 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
Michael John Angel – Pippo – 12″x 10″ – Oil

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

David Hardy – Fallen Rose with Reflection – 6″x 8″ – 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
David Hardy – Portrait of Young Woman – 12″x 12″ – Oil

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

Juliette Aristides – Early Evening – 30″x 24″ – 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
Juliette Aristides – The Spanish Pitcher – 36″x 24″ – Oil

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

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

  • Michael John Angel
  • Angel Academy of Art
  • Juliette Aristides
  • Aristides Atelier at Gage Academy
  • Aristides Atelier
  • David Hardy
  • Atelier School of Classical Realism

Other valuable related articles:

  • Realism in the Visual Arts
  • The Academic Tradition
  • Impressionism’s Influence
  • Reality Sets In
  • R.H. Ives Gammell

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
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
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
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
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?

Juliette AristidesAristides: 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.”
David HardyHardy: 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.
Michael John AngelAngel: 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?

Juliette AristidesAristides: 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.”
David HardyHardy: 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?

Juliette AristidesAristides: 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.
Michael John AngelHardy: Because they were there “firstest with the mostest”.

Why the fascination with ancient Greece and Rome?

Juliette AristidesAristides: 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.
David HardyHardy: 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?

David HardyHardy: 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.
Juliette AristidesAristides: 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:
Michael John AngelAngel: 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 Headshot
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.
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.
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.
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.

David Gluck as Charles Bronson

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.
Medicine  –  20″x 12″  –  Oil

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.
Still Life with Meat  –  14″x 11″  –  Oil

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.
Vanitas  –  20″x 24″  –  Oil

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”.
Hunters  –  16″x 9″  –  Oil

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.

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