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Happy to share this video of sketches made during my visit to the National Gallery of Art's exhibits "Tintoretto: Artist of Renaissance Venice" and "Drawing in Tintoretto's Venice". Amazing experience!
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I recently visited the "Drawing in Tintoretto's Venice" exhibit at the National Gallery of Art in Washington, DC, and was particularly entranced by the drawings of Palma Giovane (1544-1628). Giovane enhanced his chalk figure drawings with touches of oil paint. This approach has inspired me to combine some of my own figure drawings with a touch of paint. Examples to come.  Palma Giovane (1544-1628)  Palma Giovane (1544-1628)  Palma Giovane (1544-1628)  Palma Giovane (1544-1628)
 God the Geometer, 10th century, anonymous
 Francisco de Zurbaran: Hercules Wrestling with Antaeus, 1634  Tintoretto: Hercules and Antaeus, 1570  Antonio del Pollaiolo: Hercules and Antaeus, 1478
 The Divine Geometer, latex paint on canvas, 36 x 48", 2019
 Hercules and Antaeus, latex paint on canvas, 55 x 60", 2019 On the road to the Garden of Hesperides, Hercules came across a powerful being named Antaeus. The gigantic son of the Earth, Antaeus would wrestle all passerby to the death and built a temple to his father Poseidon from his victims skulls. Never shy to a challenge, Hercules obliged the giant, but soon found something was different about this foe. The more Hercules grappled, the stronger Antaeus became. Soon realizing that the giant was drawing power from contact with his mother, the Earth, Hercules used his immense strength to heave Antaeus off the ground. As the powerful giant struggled with all his godlike might, Hercules continued to squeeze his opponent in an a terrible vise-like grip. Eventually, the giant's life was gone, and his frightful reign was over.
Awesome to see my 2017 painting The Counsel of Odysseus on the cover of Maya Phillips' new poetry collection Erou!  Pretium is the Latin word for "price" or "cost". The three large paintings in this series feature figures from mythology that for offences against the gods were sentenced to eternal punishments befitting their crimes.  The depravity of Tantalus, latex paint on canvas, 55x60", 2019 For abominable crimes, Tantalus was sentenced to an eternity of deprivation. Standing in a pool of water with a fruit tree above, Tantalus can neither reach the fruit nor drink the water - both retreat from his grasp continually. His name has become synonymous with something that one cannot acquire.
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!
Pretium is the Latin word for "price" or "cost". The three large paintings in this series feature figures from mythology that for offences against the gods were sentenced to eternal punishments befitting their crimes.  The lust of Ixion, latex paint on canvas, 55x60", 2019 For seducing a goddess, the mortal Ixion was struck down and sentenced to be tied to a burning wheel for all eternity.
Pretium is the Latin word for "price" or "cost". The three large paintings in this series feature figures from mythology that for offences against the gods were sentenced to eternal punishments befitting their crimes.  The Pride of Sisyphus, latex paint on canvas, 60x55", 2019 For his hubris of attempting to rival the gods, Sisyphus was sentenced to roll a large stone up a hill for eternity. The rock continually rolls back down before he can ever reach the top. A similar punishment was featured in the fourth circle of Dante's "Inferno".
 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.
 Sleeping man, latex paint on canvas, 30 x 48", 2019
 Samson and the Philistines, latex paint on canvas, 43 x 55", 2019 Taken from a biblical account in Judges, the theme of this painting features the Nazirite hero, Samson. The character, often compared to the Greek hero Hercules, is said to have slain an entire army of 1,000 Philistine soldiers, armed with only the jawbone of an ass.
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