Lauren and I were recently able to visit the latest Lynn Boggess exhibit at Principle Gallery in Alexandria, VA. An amazing show, in a beautiful gallery, in the heart of a wonderful section of the Old Town. As part of the gallery's "Principle Art Talk" series, they interview Boggess about his methods and inspirations and share that experience with readers. Click on the image above to see photos of the exhibit, info about Boggess, thoughts from the gallery's director Clint Mansell, and a one-on-one question and answer session with Boggess himself. Enjoy!
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Inspiration and good friend Lynn Boggess was recently featured in Blue Review's "8 Artists Who Are Absolutely Fearless". Of Boggess and his work the site says: Do not be fooled by the seemingly effortless application of paint in Lynn Boggess’ landscapes — this is an artist who is seriously disciplined about his methods. Before placing a single mark on his canvas, Boggess constructs his workspace, a process which can involve erecting a full canopied platform to provide a level surface where he can comfortably paint among the rocks and streams he favors. Using a cement trowel in lieu of a palette knife, Boggess lays down lush, decisive marks with the same efficiency in which he prepared his station. Beyond his sumptuous treatment of the paint, where Boggess truly excels is in his application of color. There he proves a reliably deft observer, leaving viewers in awe of his precision and a visceral feel of his surroundings. Photo by Creed Holden John Clovis, retired Fairmont State University art professor, contributed heavily to my development as an artist. I've mentioned his impact in the past here and here, and intend to write more blogs about how his influence is still felt today. In this blog I'd like to share another story about how one of his comments 20 years ago brought about one of my recent paintings. In his "Intro to Design" class, Clovis loved to create projects centered around the Elements and Principles of Design. During the project on Composition, he set up a still-life with a cow skull which he had us draw, then cut up the drawings and arrange into a composition that we then painted in acrylic. Untitled, acrylic on canvas, 1999 - My attempt at this project. On the back he wrote: "Pretty Good" Well painted with good contrast of value. Composition - your choice of content could have been stronger. 3.7 (out of 4 or maybe 5?) While we worked, he usually enjoyed discussing stories from art history, contemporary art, his own experience, and many other topics. On this particular occasion, while we intensely studied the skull, he asked me if I was familiar with the story of Samson and the jawbone. I told him I was not, so he briefly explained how the biblical hero had defeated an entire army of Philistines armed with only the jawbone of an ass. Maybe it was the skull that I had been looking at for so long, or maybe it was the way he told the story with such feeling, but the image of Samson always stuck with me. Recently the story came into my mind again and I determined now was the time to put that scene into paint. Samson and the Philistines, latex paint on canvas, 43 x 55", 2019 Many thanks to John Clovis for all his influence and the faith that he had in me from the beginning. I've always appreciated that and wouldn't be where I am today without his belief in me.
Hercules and Cerberus by Peter Paul Rubens, oil on panel, 1636 Hercules and Cerberus by Francisco de Zurbaran, oil on canvas, 1634 Hercules removes Cerberus from the Gates of Hell by Johann Koler, oil on canvas, 1855
This 4-piece series, which draws it's inspiration from Michelangelo's "Rebellious Slave" sculpture, wasn't wholly intentional. I set out to only paint a single figure in this particular pose. Once painted however, I was so struck by the pose that I decided to paint 3 more at different angles with slight variation. This allowed me to fully capture the tension that I found so captivating, and the "in the round" treatment pays homage to the sculpture from which it was inspired. Figure, captive, latex paint on canvas, 30 x 48", 2018
My 2010 mixed-media painting, "Man with infant", is a piece that has gotten many comments in the years since it was painted. The piece now permanently resides in the West Virginia State Museum. However, I don't believe I've ever described the inspiration behind the piece. Man with Infant, graphite, latex/acrylic paint and photo transfer on canvas, 26" x 30", 2010, West Virginia State Museum Collections At the time, I was focusing on a series of mixed-media paintings, combining a minimal figure with photo transfers of my own digitally manipulated hands. The hands, being so different in application to the rest of the figure, were intended to convey the intent, actions or character of the figure. Coincidentally, I came across this ancient sculpture that I had always admired, but the prominence of the hands thrust forward in a cradling position, spoke perfectly to the poses I was working to achieve. The piece (a Roman copy after an original by Lyssipos) depicts Silenus, the tutor and caregiver of the young Dionysos, who would grow to become the Olympian god of wine. Silenus holding the child Dionysos, marbel, 1st–2nd century CE, Louvre, Paris
This 4-piece series, which draws it's inspiration from Michelangelo's "Rebellious Slave" sculpture, wasn't wholly intentional. I set out to only paint a single figure in this particular pose. Once painted however, I was so struck by the pose that I decided to paint 3 more at different angles with slight variation. This allowed me to fully capture the tension that I found so captivating, and the "in the round" treatment pays homage to the sculpture from which it was inspired. Captive man, acrylic paint on canvas, 36 x 48", 2018
This 4-piece series, which draws it's inspiration from Michelangelo's "Rebellious Slave" sculpture, wasn't wholly intentional. I set out to only paint a single figure in this particular pose. Once painted however, I was so struck by the pose that I decided to paint 3 more at different angles with slight variation. This allowed me to fully capture the tension that I found so captivating, and the "in the round" treatment pays homage to the sculpture from which it was inspired. Captive figure, latex paint on canvas, 36 x 48", 2018
I've always been fascinated by the concept of "Standing Stones" or "Menhir" - mysterious stone monoliths spread across the world. Thousands of years old and with debatable origins and purposes (ranging from boundary markers, sites of religious rites, astronomical or seasonal calendars) they nevertheless occupied an extremely important role in early people's lives. We know this due to the amount of work that must have been required to transport the stones to their locations, and the fact that many of them remain intact and upright to this day. A standing stone in Ireland. Photo source Often solitary, they can also be found forming a circle (or henge), in rows, or creating loose structures known as "Dolmens".
The scale, mystery, age and importance of these stones have always resonated with me. Their heaviness, both literal and figurative, as well as their isolation in the elements and endurance in time are something to be marveled at. Furthermore, their allusions to the figure are obvious. I can't help but look at them and suspect that at least some small part of their purpose was to appear like standing giants. It is this strength, endurance, mystery and isolation that I've often sought to translate into my figure paintings. Below are some examples that I feel capture these qualities well. Inheritance, latex paint on canvas, 36x48", 2016
Like many artists that have come before me, and the many that will follow, I have long been inspired and awed by the figures of Michelangelo's "Last Judgment". My recent painting "Stricken Man" owes a specific debt to this iconic and amazing piece below. Detail from Michelangelo's "Last Judgment", Sistine Chapel Alter, Rome The self-contained conflict of this piece is remarkable and sparks infinite speculation about the figure portrayed. A pale comparison, of course, but my "Stricken Man" takes its influence from this figure's mysterious inner turmoil. Stricken Man, latex paint on canvas, 30x48", 2018
Lynn Boggess was recently featured in a Portrait of the Artist with The American Scholar in a piece by Noelani Kirschner. Boggess was one of my art professors during my student time at Fairmont State. His work and views about art making were and still are a huge influence on my own work. Please click on the link or the image below to read his own words about his style and methods. March 4, 2017 by Lynn Boggess, 46 x 40 inches, oil on canvas
Michelangelo's work is often on my mind. It has been even more so lately as I was able to visit the Met's "Michelangelo: Divine Draftsman and Designer" exhibit. The experience was amazing and you can see my sketches of his work on my blog. The Italian word for stonecutter is scalpellino and Michelangelo identified with this profession as much as he did as an artist. As a child, he was reared in a stone quarry and felt at home among the cutters and carvers. This painting is a portrait, of sorts, of Michelangelo and all the other strong and hardy scalpellini that came before and after. Stonecutter, latex paint on canvas, 36 x 48", 2018
In this series of blog posts, I chronicle ongoing paintings series. This particular series deals with paintings of the royal house of Thebes, from classical Greek mythology. Each post will highlight a painting, and offer a short explanation of the corresponding story behind the image. Check out the previous installment here.
In this series of blog posts, I chronicle ongoing paintings series. This particular series deals with paintings of the royal house of Thebes, from classical Greek mythology. Each post will highlight a painting, and offer a short explanation of the corresponding story behind the image. Look for other series as well, including a series of the Life of Hercules.
The inspiration for two of my newest paintings, Gilded Man 1 & 2, came in part, from the Hercules of the Forum Boarium (an ancient Roman cattle market), that now resides at the Palazzo dei Conservatori in Rome. Hercules of the Forum Boarium, 100-200 BC, Palazzo dei Conservatori The power, simplicity and obviously, the gold shimmer of this ancient piece is captivating. When I was recently reacquainted with it, I was struck with a desire to "gild" a figure (or two) of my own. Having used metallic spray paint in the past, as attributes to the figure, I decided now that I would use it on the figure itself. Very happy with the results! Gilded Man 1, latex and metallic spray paint on canvas, 30 x 48" (76.2 x 121.92 cm), 2018 Gilded Man 2, latex and metallic spray paint on canvas, 30 x 48" (76.2 x 121.92 cm), 2018
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