Classic Realism

Subway Sketcher Revisted

2012-01-05T08:20:00.001-08:00

More musings from the Subway Sketcher. These are all graphite drawings, executed with 2B leads in a retractable Koh-I-Noor lead holder- my trusty drawing tool. Along with my sketchbook, they are always with me.

Subway Sketcher is Watching

2011-12-22T16:15:00.000-08:00

The very act of Subway Sketching is like a meditation. After a while the Sketcher detaches from the physical presence, and moves closer to being the Observer. In a sense they become a Channel , a remote witness- perceiving the universal character of humanity as expressed incrementally through the people he or she draws.

The Subway Sketcher Rules!

2011-12-20T11:49:00.000-08:00

When the Subway Sketcher arrives in the studio later that evening, they greedily open the sketchbook to sift through the gems collected that day. A glance, a smirk, an elusive quiver in the lips- they are all uncut diamonds of human experience caught in the net of the Sketchers sketchbook.

The Subway Sketcher

2011-12-20T08:56:00.000-08:00

More from New York City subway sketchbooks. For the figurative and portrait painter, the New York City subways are a goldmine. I can think of no other place where the most authentic and interesting characters are available for the artist to draw. The model is compelled to hold their pose for an indefinite amount of time- perhaps the entire route from Times Square to Flushing or from the Bronx to the furthest reaches of Brooklyn. Conversely it may be for only one stop.
The Subway sketcher has to be swift and have a penetrating gaze. They must be able to encapsulate the character and the anatomy in their visualization field and pull from their memory.
The Subway Sketcher must also melt into the background, swiftly glancing from half closed eyes at their Subject and then quickly averting the gaze to the sketchbook, lest the subject be alerted to their being observed. As the doors open , commuters pile in, finding an available seat or position from which to settle in, and the Subway Sketcher immediately sizes up the new opportunities, scanning the faces and postures for the most interesting attitudes. The Sketcher prioritizes instantly, selecting those poses that will most likely change while mentally scheduling the sleeping commuters for later, picking those most transient and beautiful "shells on the beach" first, before they are swept away.

Subway Sketcher Strikes Again!

2011-12-17T12:36:00.000-08:00

Here are some more NYC sketchbook drawings- these being portraits.

The Subway Sketcher Sees All!

2011-12-17T12:23:00.000-08:00

Characters out of my sketchbook. Authentic New York City people with stories to tell.

The Female Form

2011-12-16T17:03:00.000-08:00

Charcoal drawings of the Female Figure from Life Class.
Charcoal, willow vine and jumbo with Ivory NuPastel and Conte White Soft

Artistc Anatomy- Sumi Brush

2011-12-12T19:16:00.000-08:00

The Artistic Anatomy Class with Keith Gunderson is held both at the Woodstock School of Art and at the Barrett Art Center. The ultimate goal of this class is to train the student to obtain a three dimensional visualization of the human figure's occupancy of space- like a virtual hologram. Anatomy-the study of the human skeleton, musculature and tendons, along with the system of levers upon which the physics of translocation and exertion is based is an important part of this study, yet it is the visualization of volume which forms the core foundation of this investigation.

We use a variety of techniques to facilitate this, foremost among them is the Canon of Polycleitos and it's accompanying modalities of Rythmos, Isonomia, and Symmetria. Additional techniques such as sumi brush, negative space, bi-lateral symmetry, action line, and the tandem arcs are also employed. Lastly and most importantly, aesthetics is covered and the development of a personal approach to drawing.

Life- Sized Charcoal Figure Drawings

2011-12-11T11:06:00.000-08:00

Here are some more large scale charcoal demo drawings from the Artistic Anatomy class.
Working big on rolls of grey Canson or Borden_Riley charcoal paper with 57J Jumbo Charcoal and Ivory NuPastel.

Encaustic Painting

2011-12-05T09:01:00.000-08:00

Here are some Encaustic paintings I have completed over the last few weeks. It is a wonderful medium that has real expressive capabilities. Learning how to control the fusion action of the torch/colored wax is the challenge to understanding the huge potential this medium has.

Life- Sized Demonstration Drawings

2011-12-04T18:14:00.000-08:00

Here are a few Big Figure Drawing Demonstrations from my Artistic Anatomy Class
For these drawings I used Generals jumbo vine 57J, Nu-Pastel Ivory for the lights, on a large rolls of Canson Mi-Tientes of Borden Riley #410

Tiepolo Hand Drawings

2011-11-21T07:59:00.000-08:00

More masterful drawings by Tiepolo. Here are drawings of the hand -Disegno di Mani

Tiepolo Anatomical Drawings

2011-11-21T07:19:00.000-08:00

A student of Piazetta and Veronese, Tiepolo's facility and awesome productivity came from his knowledge of artistic anatomy and sense of volume. As Michelangelo put it, si dipigne colciervello et non con le mani” (One paints with the brain and not with the hands).

Artistic Anatomy Class

2011-10-22T07:24:00.001-07:00

Drawing materials for the Artistic Anatomy Class include

Strathmore 500 colored drawing paper pad 18" x 24"
Canson Mi-Teintes drawing paper, Moonstone, Felt Grey,Dark Grey, Cream
57J General Brand Jumbo charcoal
Vine Soft medium thickness charcoal
Chamois for erasing( purchase from auto parts store)
Kneaded Eraser
Vanish eraser
Assorted Prismacolor NuPastel sticks Sanguine#213-P, Ivory# 277-P, Cocoa Brown #253-P, Tuscan Red#273-P
Canson Biggie Sketch Pad 18" x 24"
Drawing Board preferably Dick Blick 23-1/2" × 26" Sketch Pad Boards that have alligator clips. Many boards have cheap metal clips that break easily and can cause cuts. One can make their own board by cutting a sheet of 1/4" masonite or particle board to size-must accommodate Canson Mi-Teintes 19" x 25".

On Polykleitos

2011-10-22T07:00:00.001-07:00

The Doryphoros

Ploykeitos created the Doryphoros as a way to exemplify his published theoretical work known as the "Canon" or "Rule, in which he was stating in mathematical terms the relationship of parts of the body with the whole, e.g. the proportion of finger with the palm, palm with wrist, wrist with elbow, elbow with arm. Considered the first great aesthetician, Polyleitos's aim, in his own words, was to produce the "eu" or perfection..In his sculptures there is a dynamic counterbalance between the tensed and relaxed parts of the body. In all of his known works, he shows the body stand firmly on one foot, the other bending slightly with kinetic potential, the so called "Chiastic" pose, more commonly known as "Contrapposto".

Art Students League Personalities

2011-01-15T12:45:00.001-08:00

Greg Kreutz

Frank O'Cain

Alexander Eliott

Robert Beverly Hale

Here are some quick sketches of painters, students, and educators that frequented the historic hallways of the Art Students League.

Art Students League Sketches

2011-01-15T12:37:00.000-08:00

Nick Oberling and James Prater in the ASL office

John Doyle at the first window

Selections from my sketchbook -scenes and people from my time as a student at the Art Students League of New York
Included here are views of John Doyle, James Prater, and Nick Oberling all accomplished painters who were my fellow classmates in the Mason class, working at the front desk at the League.

George Sotos

2011-01-15T10:35:00.000-08:00

Here is a conte crayon portrait I drew of George Sotos. I studied Visual Vocabulary with him during the 80's in Chicago, Florida, and New York. He currently teaches in Chicago at the Drawing Workshop.

Painting with Frank Mason

2010-12-29T15:19:00.001-08:00

The two classic aspects of Frank Mason- One with his distinctive black smock in the classroom peering over a drawing with the utmost reverence as his hand guides the red ochre chalk over the paper, and the other as the landscape painter in suspenders and joyful countenance- it was infectious and the Art Spirit emanated from the man into others around him.

Painting in Vermont with Frank 3

2010-12-29T15:16:00.000-08:00

More from Mason's class in Stowe Vermont.

Painting in Vermont with Frank 2

2010-12-29T14:52:00.000-08:00

Some more views from my sketchbook

Painting in Vermont with Frank

2010-12-29T14:29:00.000-08:00

Usually several of us would share a house in and around the village of Stowe, Vermont. For me , that was usually at the Faust House on mountain road. The house was situated near little Indian creek which paralleled the road that led to the ski resort. Behind the house was a beautiful view of mount Mansfield and sometimes I would simply walk to a spot behind the house with my paints and my dog Griz, and paint a sunset scene.

Frank Mason Landscape Painting Class

2010-12-29T14:11:00.001-08:00

Every June since the 1970's, Frank Mason taught a Landscape painting workshop in Stowe Vermont.For an entire month a loyal following of students from Mason's Painting class the Art Students' League along with a smattering of students from all over the US and abroad,would paint the local Vermont countryside. For those of us fortunate enough to have attended these classes, they were a life defining moment and would influence our artistic vision through our entire lives.I kept a sketchbook with me at all times then, a habit I formed during my years of study with George Sotos,and recorded many of those moments where on a Saturday afternoon the class would assemble in Harry Burnham's barn,for the weekly Critique.One by one, Mason would critique all the paintings that the students were bold enough to bring in for his keen evaluation.These critiques were an important helpful lesson in objectivity as more than once I was brought back to reality, mostly gently, sometimes with a thud- as the veil was lifted from my eyes and the true appearance of the painting was revealed to me.

Congruency of Biceps

2010-12-03T10:34:00.001-08:00

This illustration is from lecture blackboard notes from the Artistic Anatomy class that I teach at the Barrett Art Center in Poughkeepsie

A third Class Lever in Diagram

The Biceps Brachii of the upper arm and the Biceps Femoris of the upper leg share a offer an interesting shared function. The contraction of both muscles result in the action exemplified by a third class lever- where the Resistance ( gravitational vector or weight), lies between the Fulcrum(joint) and the Effort (Muscular contraction). Like a crane, this lever facilitates the maximum concentration of force against gravity, and is the primary force in trans-location of the body. What is fascinating is that the both muscle groups are located anterior and posterior of each other. Evolving from quadriped animal ancestors whose translocation imperative was the use of limbs oriented in the same direction for running, into an upright standing biped whose survival imperative was increased by their ability to grasp objects,the upper limbs migrated to face the front. As a result of this, the rotation of the thumb occurred- the first metacarpal of the thumb rotating along with its corresponding wrist bone, out of plane with the other four metacarpals. It would also appear that this entire process occurred after the earliest animal ancestor of man still had some use for a minimally grasping foot since the human foot shows evolution away from any grasping imperative. The tarsal bones have evolved to distribute weight more efficiently therebye resulting in fewer bones in the ankle. If this earliest ancestor had perfected its running imperative to survive, the hand as a grasping mechanism and the entire bipedal strategy would never have occurred.

Artistic Anatomy

2010-12-03T08:57:00.001-08:00

Leonardo Da Vinci once said, "beware- O Artist, that your figures do not look like sacks of walnuts". This was a caution to the student of painting that the painted or drawn figure show to the viewer, a thorough knowledge of muscle and skeleton anatomy, and not just affectatious swellings on the skin. With this knowledge comes the power to create an authentic representation of the human figure .

The Moon and Sixpence

2010-04-12T16:52:00.001-07:00

The Moon and Sixpence
by W. Somerset Maugham

Moon and Sixpence is a story of one man’s relentless pursuit of ideal beauty and how it impacted those around him. Based on the life of the French painter Paul Gauguin, Maugham resurrects Gauguin as the English stockbroker Charles Strickland, and in episodic style takes us from London to Paris and eventually Tahiti, through the eyes of a first person narrator. Through the narrator, an aspiring writer, (who we are only obliquely introduced to), we witness a mundane middle class stockbroker in fin de sicle London abruptly quit his job and leave his family for no apparent reason. Aquainted to the Stricklands as an attendee of soirees hosted by Stricklands’ wife, the narrator is tasked by Mrs. Strickland to persuade her husband to abandon his capricious decision and return to the family. Following Strickland to Paris and then later, after the death of Strickland, as a visitor to Tahiti, the narrator attempts to reconstruct his life through the recollections of others
The dominant theme throughout the story is Strickland's all-out pursuit of beauty, and for him that is the only moral rule.("He did not seem quite sane. It seemed to me that he would not show his pictures because he was really not interested in them. I had the idea that he seldom brought anything to completion, but the passion that fired him, he lost all care for it.")
It filled him with an emotion which he could not understand or analyze. he felt the awe and the delight which a man might feel who watched the beginning of a world. It was tremendous, sensual, passionate; and yet there was something horrible there too, something which made him afraid. It was the work of a man who had delved into the hidden depths of nature and had discovered secrets which were beautiful and fearful too. It was the work of a man who knew things which it is unholy for men to know. There was something primeval there and terrible. It was not human. It brought to his mind vague recollections of black magic. It was beautiful and obscene.
Sometimes people carry to such perfection the mask they have assumed that in due course they actually become the person they seem.
Charles Strickland had a profound and obsessive single mindedness toward his work which was reflected in his seemingly bizarre behavior around those in his life. Living the life of a stockbroker in London with all the trappings of a “normal” life, he suddenly quit his job and left his family to assume the life of a painter in Paris. The narrator follows him to his Parisian garrett , on a mission from Strickland's wife to persuade him to return to London and his family only to discover what true dedication was to this man.What is at issue here and which remains for the most part a mystery for the reader is the motivation which drives Strickland with reckless abandon to pursue his art. The passion is so intense that Strickland would abandon his entire belief system in one stroke to realize the dream of painting To generate this kind of intensity means that one must have suffered great pain and or loss to conjure up so drastic a change.Without considering the ramifications of his decision or whom it might impact, or how others may regard him, Strickland cuts himself free from his moorings to drift almost without any forseeable means of realizing his goal other than to embark on the journey.

To examine Strickland's artistic sensibility , it’s apparent that this man’s passion for the realization of his vision, allows him to jettison the life he has created for him and his family up to this point in his life. Disregarding what his family or others might say about his decision was a hurdle he jumps simply by almost brute indifference. It’s as though he realizes this is the only chance he has to save himself and he must do whatever it takes,even if it means becoming an outcast. His absolute indifference to the betrayal of the devoted Dirck Strove and the dastardly provocation of the suicide of Stroeve’s wife creates in the readers mind the complete self- centeredness of Strickland's impassioned response to life. It’s as though once free from the other self which he had been, he has embraced the recklessness and animalistic primitive which had been lurking inside of him all this time. Clearly a parallel with Gauguin “au Savage” who had rejected his own false self to indulge the passion of his soul, it mattered little what anyone said or thought about his actions. In some regard , Strickland actually relished the shocked reponses of those he hurt . It was as though this was an affirmation of the primitive self which he longed to become.Although the narrative is told through the eyes of the narrator?- once we are located on the island of Tahiti, and Strickland “goes native” he is free to assume the persona which has driven him along up this point. Free to be himself , aas the narrative goes, the intensity seems to diminish, only to be charged up once again when he contracts Leprosy.It is as though as the Leprosy transforms trhe actual body of Strickland, morphing him into the dark beast of pure passion, a Dorian Grey like transference evolves. The Savage is transmutated into pure paint and color onto the walls of the little hut in the jungle-“ It was the work of a man who knew things which it is unholy for men to know.”
Strickland was driven by some kind of creative desire or even pathological obsession which could only be satisfied through the exercise of participating in the attainment of that freedom of lifestyle which could only be afforded to him through painting. The act of painting was perhaps more important than the actual painting themselves-
("He did not seem quite sane. It seemed to me that he would not show his pictures because he was really not interested in them. I had the idea that he seldom brought anything to completion, but the passion that fired him, he lost all care for it.")

Whereapon he as able to rid himself of all the trappings of his previous lifestyle he also jettisoned the social constraints which in his mind prevented himself from the realization of his goal. In a kind of transmutation he sacrificed himself , including his own body, to this inner desire. In this regard the creative impulse was driven by a deep- seated desire for completeness, which paradoxically, was never intended to be acknowledged by any other than him.

Seek My Face

2010-04-12T16:37:00.001-07:00

Seek my face
by John Updike

John Updike’s Seek my face is set as a fictitious 2001 interview between Hope Chafetz, the venerated doyen of the New York post war Art scene, and Kathryn D'Angelo, a stylish and ambitious, young journalist - ostensibly sent by some Manhattan publisher to collect firsthand the memoirs of this witness of a vanishing movement in art. The setting is the Vermont farmhouse where Hope lives in self imposed seclusion. Hope Chafetz is is 78 years old, a painter, three times married, twice widowed, once divorced. What makes Hope such an interesting subject for interview is that despite being a painter of some reknown, she happens to have been married to and friends with most all the significant characters of the American post war Art scene. Updike loosely bases her character on the real life personality of Lee Krasner, with bits of Helen Frankenthaler and Grace Hartigan thrown in for good measure. Hope’s first husband was Zach McCoy- the fictitious counterpart to Jackson Pollock, the brilliant and self- destructive icon of abstract expressionist action painting and their relationship was complex and for Hope, abusive. Like the real life Pollock, Zach McCoys star burn swiftly and brightly , only to end in a alcoholic stupor on a stretch of Long Island highway during the 1950’s. Husband number two, Guy Holloway, was the penultimate Pop artist of the era- a combination of Andy Warhol and Roy Lichtenstein, with bits of James Rosenquist, Robert Rauschenburg and Claus Oldenburg mixed in. His Midas touch was for her a curse, their relationship being torn apart by his success and their marriage ended in shambles during the 1970s, after 17 years, and three children. Her third husband was Jerry Chafetz, a businessman and collector of art, and with whom she enjoyed a decade of marriage before his death in the late 1980’s.
In real life, Krasner was a much different personality than the one portrayed by Updike in the character of Hope, and despite this fanciful rendering, Updike brilliantly captures the art scene of post war Manhattan and the personalities that inhabited it. The timeline of Hopes’ recollections follow the supporting characters in Krasner’s life and are expertly woven into the novel, as Updike subtly changes the names of the personalities with such cleverness and humor as to allow the reader to match their identities with the real historical person. Updike creates a living personality in Hope Chafetz, through which the artistic mileau of New York during the post war period is recreated. In fact, to a great extent, these personalities are amalgams of these real life artists. Although most definitely acquainted with the real artists, except for Pollock Krasner was never married to any of these artists. Updike uses the historical Krasner as a template onto which he projects the character of Hope Chafetz. Hope functions as the embodiment of the New York post war art scene , and it is her life story that becomes the theme of the novel. Updike’s research into this period is not only profound but also sympathetic, and his portrayal of this time is rich in texture and color. His expert craftsmanship and profound understanding of language, allows the reader to believe this work is historically factual, which lends great authenticity to his characters. The inner dialogue of Hope Chafetz, is the voice through which most of the novel is told, and is replete with all the mannerisms and idiosyncratic obsessiveness of a real person. This stylistic rendition adds vulnerability to Hope’s personality, which only enhances the reader’s identification with her. The strong development of the Hope’s character minimizes the almost preposterous storyline of her occupying almost by accident, the central nexus around which all of modern American art is constructed.
Updike's title comes from Psalm 27 "You speak in my heart, and say 'Seek my face'. Your face, Lord, will I seek.” Seeking the face of God implies that through the act of creating Art, one is engaged in the most sacred of actions. Paradoxically, the artistic characters that inhabit the novel, create their Art in what would appear to be more of a selfish cathartic response- all about the self and not about God. Even Hope herself declares, "God's non-existence is something I can't get used to, it seems unnatural." Perhaps the notion that God as an external force separate from the Self is no longer valid. Seeking the Self now becomes the creed of the abstract artist. "That was the thing, back then," Hope says, "that everybody talked about - getting the self out, getting it on canvas. That was why abstraction was so glamorous, it was all self."
In all great Art, the artist disappears and the viewer ceases to be. They in effect merge and what remains is the universal, the vibrating energy that lingers. It is not so much the skill of Rembrandt’s modeling that we are captivated by, it is the light which reveals the human condition and strikes a chord of universal emotive power. To Hope and to Updike as well, the abstractionists were seeking to dissolve themselves away with process unimpeaded, and to distill the universal power of the action of the painting. Not all of them succeeded, for as their personas grew and they became famous in their own time, it became impossible to see the genius in their work anymore. Their own celebrity and their own consciousness of their fame, occluded the sacred process.
The prevailing theories of modern Art are a reaction to our modern era has left no place for an external all controlling deity as had been the case up until now, and the vacuum was quickly filled by the Self or super thou. Abstract Expressionism, Pop, and Post- Modern art movements evolved from themes that originated in the nineteenth century. The industrial revolution, photography, existentialism, the utter destruction of European cities and cultural icons, all influenced the philosophies behind post war art theory. These themes all contribute to the crescendo of modern artistic response as evaluated in Updike’s, Seek my Face. Perhaps the most important of these themes is the transmutation of God into Self and the dissolution thereof, for truth in Art to be attained. It reveals how modern abstract Art strove to explore ways of sublimating the self to reveal what it considered to be true expression. Further, it demonstrated how a true expression as so demonstrated could become subverted by its own popularity, thereby changing the very nature of how the artist views and expresses the Self.

Girl in Hyacinth Blue

2010-04-06T20:21:00.000-07:00

Girl in Hyacinth Blue
by Susan Vreeland

A series of short vignettes, spanning across centuries with a framed oil painting the only constant, is the theme of Susan Vreelands’ Girl in Hyancinth Blue. The painting is by the hand of Jan Vermeer, the poet painter from Delft, the players in these stories all participants in the random flow of life, all bound to each other by their love for the painting. It is an image of a quiet 17th century Dutch interior, for which Vermeer is so well known- the cool northern light of Holland filtering in through a window illuminating a girl standing next to a table. In a chronology of stories that work backward in time, the painting is seen through the eyes of a guilt ridden modern mathematician, a little girl of an Amsterdam Jewish family during the Nazi oppression, a frivolous Dutch aristocrat, a Dutch farmers wife, a young Dutch man living during the Enlightenment, his doomed serving girl mistress, and finally Vermeer, the painter himself and his daughter. The painting remains the thread that spans across the years, symbolizing the unrealized search for truth and self- realization that all the characters yearn for. Vreelands’ talent for expressing the poetry and quiet dignity of the human spirit is never more profoundly demonstrated than in the last of these vignettes where Vermeer himself describes the process of how an artist is moved to distill the essence of the world around him in his work. In a final twist, the girl standing at the window in the painting, his own daughter Magdalena, muses on the notion that she herself can live a life vicariously through the painting. A life, of which, she herself can only imagine. Through a succession of lives, the stories unfold to reveal a commonality- how a great work of Art can inspire the viewer, and capture one’s hopes and desires, creating for the viewer, the painter, and the painting itself, a kind of immortality.
The notion that a painting can be a way for the viewer to escape the confines of the circumstances they live in, and achieve a kind of immortality has existed for perhaps as long as man has been creating pictoral representations of the world around him. Even the paintings that adorn the cave walls of Altimira and Lascaux give credence to the idea that those creatures and events that flowed from the hand of some prehistoric artists’ hand could in fact magically come to life and be manifest into reality. To intelligently formulate ones desire for the things that will give you a larger life and to arrange those desires into a coherent whole, and then to impress these desires upon the formless substance, manifests the power and the will to bring to one what one wants.
. Ultimately, each of us comes to the realization that we must in some way participate in the life around us in a meaningful way and when faced with the inevitable conclusion that we are only given so much time in which to do this, look for some continuity that will give meaning to the time we have left. There exists in any work of Art a combination of colors and shapes- an image, that provokes in the viewer a feeling of something greater than the object itself. How successful the work is at captivating the viewer is the extent of that Arts’ beauty. It reflects the sense of a grand continuity, of possibility and hope. This we detect in the works of those artists who have reverently searched for the truth and imbued their work with these timeless symbols. From the books last episode, the meeting of Pieter Claez van Ruiven and Jan Vermeer, Vermeer declares; “For a painting to say something he held to be true, it took rumination, sometimes months of apparent inactivity. He could not will himself to discover truths. But he could give himself over to a painting or subject with devotion and ardor, committing body and soul to the endeavor. A man has time for only a certain number of paintings in his lifetime- He’d better chose them prudently.”

2010-04-04T19:01:00.000-07:00

Peter Max is a American artist best known for his iconic art style in the 1960s. At first, his “Cosmic 60s” art, as it came to be known, appeared on posters and were seen on the walls of college dorms all across America. Max's art work was a part of the psychedelic movement in graphic design which was the engine that drove the American Pop movement. During this time, Max became fascinated with new printing techniques that allowed for four-color reproduction on product merchandise His work was much imitated in commercial illustration in the late 1960s and early 1970s. “Madison Avenue” quickly recognized the marketing potential of this popular imagery and Max’s art was subsequently licensed by 72 corporations and he has become a household name to this day. In 1962 Max started a small Manhattan arts studio with friend Tom Daly, The Daly & Max Studio. Daly and Max were joined by friend and mentor Don Rubbo who it was said was the ampersand in the Daly & Max Studio name., and as such the three worked as a group on books and advertising. This advertising placard obviously originates during this period.

This placard displays the iconic Toulouse- Lautrec portrait image with the artists name in Max’s signature cosmic letter font, crowded within the derby style hat. This printed image is glued down to a 31 high" x 21 1/2" wide, 3.4” thick section of plywood cut in silhouette conforming to the profile of the image. This image is identical to the rare “Toulouse-Lautrec serigraph of 1974 of which there was printed an edition of only 125. Interestingly, the image of the Daly & Max Studio predates the Max serigraph by nearly 12 years.

An interesting bit of Pop Art trivia.

This object is currently being auctioned on Ebay-Check out Artsentinel item #230458165750

http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=230458165750&ssPageName=STRK:MESELX:IT

2010-03-30T16:29:00.000-07:00

Here's a full version and the position within the arch

2010-03-30T08:54:00.000-07:00

Here are some close up views of sections of the mural. These figures are life sized in scale. I painted Reverend Fr. Peter Kihm, pastor of Our Lady of Mount Carmel as a penitent monk kneeling below Christ.
One challenge was to keep the light consistent throughout. ( coming from the upper left), yet still creating the illusion of light emanating out from the body of Christ- theatrical lighting.

Mural Painting

2010-03-30T08:46:00.001-07:00

These are photos taken during the mural painting process.This project took a year to complete during which I replicated the traditional chronology of research, charcoal sketches for the initial concept, anatomy studies, small oil sketches, three different modelos, and then finally the large painting itself.

Our Lady of Mt.Carmel Church

2010-03-30T08:39:00.000-07:00

In 1910, Our Lady of Mt. Carmel church on opened on what is now Mt. Carmel Place. Nearly 60 years later, the congregation moved into the former St. Peter’s Church at 97 Mill Street. The Area has been home to many of Poughkeepsie's new immigrant populations, starting with the Irish, later the Italians. Still home to several Italian restaurants and bakeries, the area is widely referred to as Poughkeepsie's Little Italy. Every year in June Our Lady of Mt. Carmel Parish host's the St. Anthony's Street Festival.

Mural commision for Our Lady of Mount Carmel in Poughkeepsie

2010-03-30T08:10:00.000-07:00

On January 17th, 2010, Bishop Dennis Sullivan, Vicar General of the New York Archdiocese, presided over the mass to commemorate the centennial of Our Lady of Mount Carmel Church and to bless the newly installed altarpiece painting of the Crucifixion, commissioned by Reverend Fr. Peter Kihm and the parish, to replace the lost original altarpiece painting that existed at the Old Mt. Carmel Church. Conceived and painted by local artist and teacher, Keith Gunderson, this grand undertaking required a year of study and execution to complete. Measuring almost 25’ in height and width, the iconic image of the Passion at Calvary contains 17 life sized figures and is complemented by the beautiful restoration of the interior, sumptuous marbled columns and striking ceiling details, newly gilded and painted. The entire effect evokes the magnificence of baroque churches of Italy, which had sent its sons and daughters to this enclave of Poughkeepsie for over a hundred years and has created for this parish a link to its heritage.
Keith Gunderson’s work encompasses all subject matter from figurative murals to landscape, portraiture and still life. He has studied painting and drawing with many notable painters in Chicago, Pasadena. Florida, and New York. His work is reminiscent of the romantic realists, with its facile brushwork, sureness of drawing, and emphasis on the psychological aspects of light and mood.
Mr. Gunderson currently teaches popular classes in Plein-Aire Painting, Still Life Painting and Artistic Anatomy at the Barrett Art Center in Poughkeepsie and at the Woods

The Fish Still Life 4 - Antoine Vollon

2009-03-15T16:44:00.000-07:00

Antonie Vollon, (1833-1900) was a gifted and prolific French painter that excelled in landscape, marines and still life painting. Born in Lyon, the young Vollon apprenticed to an engraver and attended the Art school there. Quickly mastering the skill of oil painting, he made the still life his focus as a motif, no doubt influenced by the great 18th century French still life painters, Jean-Baptiste-Siméon Chardin (1699-1777) , Anne Vallayer-Coster (1744-1818), and Jean-Baptiste Oudry ( 1686 – 1755). In 1859 the young painter goes to Paris and finds the artistic mileau which feeds his art spirit, making friends with Phillip Rousseau,( 1816-1887), Eugène Louis Gabriel Isabey (1803 – 1886), Jean-François Millet (1814 – 1875), Augustin Théodule Ribot (1823-1891) and many of the so-called Barbizon painters. Among his friends is Alexandre Dumas, with whom he accompanies to the Normande coast. It is there that he discovers Mers le Bains, a small fishing village on the coast where he makes his studio , marries and lives for the next 20 years. What interested the artist in this rural village was precisely the proximity with the sea, which of course served its interest for the marine landscapes, but especially provided it for the fish still lives. Vollon also painted landscapes of the port of Tréport near Mers-les-Bains, was interested in the fishing vessels and made some portraits of fishermen. Vollon's painting technique is typified by a dark ground, and alluring paint quality, which he created with a swift alla prima technique coupled with translucent varnish mediums. Perhaps influenced by Rembrandt and Velasquez, Vollon and his fellow Barbizon style still life painters, explored this moody and seductive style of painting which would be seen later to exert great influence on the next generation of painters such as William Merrit Chase (1849-1916), Frank Duveneck (1848-1919),and Charles Webster Hawthorne (1872-1930).

The Fish Still Life 3-Jean-Baptiste-Siméon Chardin

2009-03-09T12:16:00.000-07:00

Jean-Baptiste-Siméon Chardin (1699 –1779) was an 18th-century French painter. He is considered a master of still life.He favored simple yet beautifully textured still lifes, sensitively handled domestic interiors and genre paintings. Simple, even stark, paintings of common household items, are elevated to an iconic idealization through his uncanny ability to capture the effects of light. He was a master of textures, shapes, and composition, and his impeccable drawing skill reflects his thorough understanding of the volumetric occupancy of space. This understanding of the three dimensional matrix allowed him to fill his paintings with the soft diffusion of light which appear to fill the air around the objects he painted. His brush carresses the form almost as if it emulates the light which passes over and reveals. One can feel the delight he had in painting the reflected lights and shiny glints of light which emerge out of the shadow. Largely self-taught, he was greatly influenced by the realism and subject matter of the 17th-century Dutch and Flemish masters. In 1728, The painting illustrated here, The Ray, gained for him admission to the Académie Royale de Peinture et de Sculpture.His love of truth and nature endeared him to advanced thinkers in France, the encyclopédistes in Denis Diderot's circle. Detecting a moral value in Chardin that was lacking in Boucher, Diderot became his chief intellectual supporter. "It is the business of art," he argued in 1765, "to touch and to move, and to do this by getting close to nature." Chardin epitomized that ambition at work: "Welcome back, great magician, with your mute compositions! How eloquently they speak to the artist! How much they tell him about the representation of Nature, the science of color and harmony! How freely the air flows around these objects!" "This is unfathomable wizardry. Thick coats of color are laid one on top of another, and their effect transpires from below upwards. At other times one might suppose that a mist had blown over the canvas: or again that a light foam had been thrown over it Draw close and everything becomes blurred, flattens out and disappears: draw away and everything is recreated and reproduced."

The Fish Still Life 2-Abraham Henrickszoon van Beyeren

2009-03-04T09:18:00.000-08:00

The Dutch painter Abraham Henrickszoon van Beyeren (1620-1690), still life painter extroardinaire, was known primarly for his seascapes, table pieces, and fish still lives . A native of The Hague, the artists also lived in Delft, Amsterdam, Alkmaar and Gouda. In 1678 he settled in Overschie, where he died in 1690. While in the 1640s most of his paintings were seascapes, Van Beyeren began to develop as a skilled painter of still lifes with fish. Van Beyeren was obviously influenced by the theatricality of Snyders yet the hyper detail and careful composition seems more in common with Willem Claeszoon Heda or Jan Davidzoon de Heem. In the three examples of his work above, the similarities between the paintings would suggest that they were all painted from the same setup. This further suggests that Van Beyeren was more interested in the pictoral aspects of the objects, such as composition and shape rather than the narrative.

The Fish Still Life1-Frans Snyders

2009-03-02T09:52:00.001-08:00

One of the more distinct genres encompassed in Still Life painting is the Fish Still Life. Apparently its origins lie in the "pronk" or "table pieces" of the late 16th and 17th century where Dutch and Flemish artists executed themed still life paintings for their wealthy patrons. One of the first and certainly one of the most gifted of these painters was Frans Snyders (1579 - 1657). Snyders was born and died at Antwerp. He is recorded as a student of Pieter Brueghel the Younger in 1593, and subsequently received instruction from Hendrick van Balen, the first master of Van Dyck. He was a friend of Van Dyck who painted Snyders and his wife more than once, Snyders initially devoted himself to painting flowers, fruit and subjects of still life, but later turned to painting animals, and executed with the greatest skill and spirit hunting pieces and combats of wild animals. His composition is rich and varied, his drawing correct and vigorous, his touch bold and thoroughly expressive of the different textures of furs and skins. His excellence in this department excited the admiration of Rubens, who frequently employed him to paint animals, fruit and still life in his own pictures, and he assisted Jacob Jordaens, Thomas Willeboirts Bosschaert and other artists in a similar manner.With an amazingly sympathetic and discerning eye, Snyders masterfully captures the nuance of light as it passes over the varied colors and textures. The fish glisten in the theatrical light of the studio. There is also a self conscious delight the artist takes in the way paint can mimic the effects of light on the objects, most evident in the contrasts between the textured impastos and smooth silky brushwork.

Winter Light

2009-03-01T09:26:00.000-08:00

This winter scene illustrates the concept of how darkening the sky value or "pitch" can strengthen the appearance of light on snow. It also serves as a great contrast foil against which the painter can place the tracery of branches and limbs illuminated by winter light. Emile Gruppe and his sympatico artist friend Carl Peters were experts at this technique.

Winter on the Hudson

2009-03-01T09:11:00.000-08:00

Here's little watercolor and gouche painting I did en plein aire at Clermont, the site of Livingston Manor, one of the grand old mansions from the 18th century which line the banks of the Hudson River. It was quite cold that day and I was the only person around, although I couldn't resist putting a person in close to the nexus point( Euclid's "Eye of God") which lies at the golden mean spiral origin. Sepia, Chinese White on Canson Moonstone.

Hudson Sunset

2009-03-01T08:55:00.000-08:00

This painting was an exercise in color from a sketch I made at the Vanderbilt estate along the banks of the Hudson in Hyde Park New York. I tried to keep the pitch down using fully saturated color so that the sun would have sufficient contrast- much the way one would pitch the sky in a snow scene lower in value in order to make the snow appear bright. The foreground trees are silhouetted in dark values to establish the vignette and range of tone. I alternated cool and warm reds in the clouds to distinquish between the sky vortex (light filled air) and the cooler cloud shapes. In the sky zenith(top of the vault), I substituted a thalo green-viridian mixture without any blue to push the color contrasts between the red and greens. I suspect this kind of color layering and emphasis is what Rothko was exploring in his "landscapes".

Fish Still Life

2009-02-28T15:56:00.000-08:00

A fishmarket scene. A fishmonger at the Fulton Street market in Manhattan allowed me to set up a still life in the refrigerated room of his stall. These fish were swimming the day before and had an amazing vitality and color. The old style wooden crates added to the rusticness of the scene. I was again inspired by the painterly fish still life interiors of Frans Snyders and Philipe Rousseau.

Boston Mackeral

2009-02-28T15:49:00.000-08:00

Another fish still life. I love the glistening color on the mackeral-very prismatic. The delight in light, texture, and color which are encapsulated in fish still life painting are all fully realized in the painting of Frans Snyders, Antoine Vollon, William Merritt Chase, Charles Hawthorne, Jean-Baptiste-Siméon Chardin , Victor Gilbert, and Philipe Rousseau.

The Hungry Cat

2009-02-28T15:42:00.000-08:00

A still Life of fish and a mysterious cat that I painted a while back.

Hudson Nocturne

2009-01-29T10:04:00.000-08:00

This is a night-time painting I did at the site of the old Brass Anchor restaurant which burned down last year. The marina was relatively empty, although I eliminated all the boats except the one up on supports on the gravel berme which forms the mouth of the harbor. The moonlight and the single boat emphasized the loneliness of the scene which was what most impressed me about the place.

Gloucester Boatyard

2009-01-29T10:00:00.001-08:00

Here's a painting I did in Gloucester last summer from Rocky Neck looking towards Gloucester cathedral. I painted it plein aire at 24" x 36"- pretty big for one shot, and then refined it a bit in the studio. Painting this big outside is quite exhilarating. It makes you feel like your really living the artist's life! Cape Ann is one of my most favorite of all places to paint.

Wallkill River

2009-01-19T08:57:00.000-08:00

I've just finished this painting of the Wallkill River for a client. Their beautiful home is situated on the banks of this river and the painting is destined to hang in a room with a large bay window that overlooks the river.

Sedona Red Rocks

2009-01-14T09:27:00.001-08:00

Just finished this scene of a moonrise over Red Rock butte in Sedona Arizona. This painting measures 32" x 48" and was made from a plein aire sketch done on site.

Baba Raj

2009-01-14T09:23:00.000-08:00

I painted this portrait of my friend and Yoga guru this week

Sunset- click picture to bid

2008-07-01T21:08:00.001-07:00

The clouds where looking awesome this evening so I grabbed my gear and headed off to Kelders fields, not far from where I live. It seemed the only way I could get the vortex bright enough was to put a dark object in front of it. In this way the silhouette actually increases the intensity of light.

Hudson Boatyard

2008-07-01T21:01:00.000-07:00

I ventured back to the New Hamburg Batyard and found this view, which I painted yesterday - as before, I'm intigued by the color and long shadows of the late afternoon sun. Boats that are in dry dock or beached have always fascinated me- perhaps its their shapes , but maybe its also some kind of metaphorical symbol- I'm not sure.

Jefferson Market

2008-06-30T07:19:00.000-07:00

I'm on a cityscape kick lately so here's another one. This is the Jefferson Market library in Greenwich village at night. I love the Manhattan night-time painting experience; the lights and reflections do things to the colors that are surprising. They also tend to be moodier than daylight paintings. Cityscape and especially nightime scenes have a contemporary feeling - a bit less derivative and "scenic" than pastoral scenes.

Ellis Island

2008-06-30T06:40:00.000-07:00

Here's a plein -aire sketch of Ellis Island from Liberty State Park in Jersey City. It's late afternoon, just before sunset, and the rays of the sun were creating this beautiful shimmering progression in the sky and water, almost like one sees in the Venetian paintings of Moran and Sargeant. That's the Staten Island ferry on the left, plowing it's way back and forth across New York harbor. Brooklyn and the Verrazzano bridge loom in the distance.

Columbus Circle

2008-06-23T18:14:00.000-07:00

Here's a Manhattan night scene I did recently from a plen-aire sketch. I was camped out on the stone benches so I had a little bit of privacy- although it was difficult to step back from it to see masses. I tried to indicate the hundreds of lights with broad strokes-more to imply them than to actually get caught up in detail which would weigh down the painting.

New Hamburg

2008-06-23T17:57:00.000-07:00

Saturday-for a late afternoon scene, looking away from the sun with all it's strong coloration, I chose a little gem of a view along the Hudson at New Hamburg. The old stone house, with it's interesting windows, became a foil for the sleek boat , proped up with supports and balancing on its keel.

Plattekill Creek

2008-06-15T15:15:00.000-07:00

I painted this one later in the day after painting the New Paltz morning view. Thunderstorms roared through over the Shawangunk ridge all afternoon, yet there was a break around 2:00-4:30. This is when I shoehorned in this one. Beautiful motif- there really are cows that come down to the creek to drink and cool off. Reminds me very much of the Hart brothers, especially James MacDougal Hart.

Early Morning New Paltz

2008-06-14T08:36:00.000-07:00

I painted this scene early this morning for the Mark Gruber Gallery's Paint the Town show. Mark holds this annual plein-aire event for selected artists where the theme of the show is the local New Paltz New York scene. This is a view down Main Street with the Shawangunk Mountains looming in the background. Very early on weekend mornings, just an hour or so after the popular college bars have closed for the night, finds the owner of P&G's, sweeping the street and airing out the bar for the start of a new day.

Peonies

2008-06-13T06:53:00.000-07:00

This time of year the Peonies are busting out and I try like mad to avail myself of these magnificent flowers during their short annual appearence. Here's one from this week, fresh off the easel. This time I've included a Japanese screen.

Poughkeepsie View

2008-06-12T09:41:00.000-07:00

Painted this scene from Poughkeepsie of a view toward the Hudson for the Millbrook Paint-Out. Beautiful old civil war era buildings frame the foreground with the Old Railroad bridge on the right.

Automedon with the Horses of Achilles

2008-06-01T18:59:00.000-07:00

On view at the Boston Museum of Fine Arts in the Leona R. Beal Gallery of European Painting is the magnificent Automedon with the Horses of Achilles by Henri Alexandre Georges Regnault. The Museum also has in it's collection the sketches that Regnault made in preperation for the final painting which measures an astounding 124" x 129".

Henri Regnault

2008-06-01T18:33:00.000-07:00

A student of Alexandre Cabanel (1823-1889), Regnault won the Prix de Rome in 1866. Rather than spending the duration of his scholarship in Italy, he requested and received permission to visit Spain. During his first trip there in late 1868, he became fascinated by the various Spanish "types" he encountered, particularly the exotic toreadors in their colorful costumes. Via Granada, he went on to Morocco and, together with his friend Georges Clairin (1843-1919), established a house and studio in Tangier where they intended to stay indefinitely. At the outbreak of the Franco-Prussian War in 1870, however, Regnault volunteered for military service and returned to France. Shortly before the end of the war he died in battle at age 27.