Frequently Asked Questions
These are some of the questions that I’ve been asked over 35 years, so I thought you might share some of the same questions. If you don’t see the answer to your question, please e-mail me in the contact form on the website.
What is contemporary impressionism?
Contemporary impressionism is basically recent or current artwork that is created in the manner first begun by the French Impressionists. It is characterized by larger, bolder strokes without painting every detail to death. It lets the viewer become a participant by allowing the viewer’s eye to see things that aren’t always quite there. Contemporary impressionism usually celebrates the light or play of light over landscapes and objects, and often uses a lighter, brighter palette of colors. But…there are as many variations of contemporary impressionism as there are artists so be your own judge. If it feels right, it is.
Some of your early work seems very realistic to me. Why did you give up this type of realistic painting?
Styles change, tastes change, and artists change. When I began painting in the 1980s, superrealism was in vogue and many artists were doing it. As a young artist, it was a personal challenge to paint in a photo-realistic manner. However, after awhile, I realised that superrealism wasn’t really a challenge anymore and I began to look for deeper meaning in my work. How did the subject make me feel? What was I trying to convey about the subject? It turned out that I felt my paintings were more alive when I painted the mood or impression, than a photo realistic object.
I still paint in a generally realistic style, but it has evolved. I know what I want to emphasize and what I want to ignore. I know the feeling that I’m trying to convey to the viewer. Sometimes the magic just happens.
How do you choose your subject matter?
That basically depends upon my mood. I may decide to go outdoors and do some plein air painting. If the weather is crummy, then it will usually be a still life or other studio work. It’s more important to be able to eliminate what I don’t want to paint. I’m not much interested in industrial subjects and I don’t like cutsey but who knows; I reserve the right to change my mind. Sometimes I challenge myself with a particularly difficult subject or explore a color theme or objects. I never run out of subject matter.
Why don't you do prints?
I am pretty committed to original art. There are so many artists out here, painting their hearts out, than practically anyone can afford some original art. A commercial print is basically a photograph of a painting. That’s fine as long as you understand that you are not getting “real” art. And I totally discount those artists who have 5,000 prints made and then add a dab or two of paint just to call it original. Really?
I don’t totally rule out doing prints in the future. It’s a way to get my art seen by more people. The only prints that I have done are some limited run black and white prints for charity. I still have some left, by the way. The online on-demand printers seem to be a happy medium of providing “wall art” for the masses. Just know what you’re getting.
What mediums do you use?
I painted exclusively in watercolors for over 20 years until I just didn’t feel challenged anymore. I’m a signature member of the Indiana Watercolor Society and have exhibited across the country from the Salmagundi Club in New York, to the Cocoran Gallery in Washington D.C., to exhibts in the Rockies and on the West coast.
Watercolor is generally agreed among artists to be one of the most difficult mediums to master. There is little room for forgiveness. It requires much forethought and planning. A good watercolor should show some spirit without being overworked.
About 15 years ago, I decided to switch to oils. That required a whole different skill set. I’m still learning but it has been rewarding.
Then a few years ago I took up painting in acrylics. I did this primarily for my health as I didn’t want to breathe the fumes of the oil painting materials in my studio. Acrylics seem to have both the best and worst characteristics of watercolors and oil but I’ve enjoyed the challenge.
Of course, there is always pencil, charcoal, pastel, and pen and ink for sketching.
What supports do you use for your painting?
For watercolors, I always use a very heavy grade paper, 100% cotton or linen. The heavy grades will not buckle like lightweight papers and should last for centuries if properly cared for.
Oils and acrylics are painted on several supports. Either stretched cotton or linen over wooden stretcher bars. I also buy standard sizes of ready made canvases, and stretch unusual sizes if the work demands it. And, sometimes I use canvas boards which are prepared board with canvas stretched over them. These are lighter weight and easier for traveling but they are all artist quality and should last for decades if not centuries.
Occasionally I will use prepared wood panels which were, after all, the first painting supports. These are hardwood panels that have been gessoed and sanded.
All of the materials I use are artist grade and should last for years, even centuries.
Which artists have influenced your work the most?
If you’re going to paint contemporary impressionism, then, of course, you will be influenced by the original French Impressionists – Monet, Manet, Pissaro, etc.
I am a huge fan of Sargent, both his oils and his watercolors. It takes great skill to get the swoosh of a skirt just right. From my readings, he often wiped out a day’s work to begin again and again.
Edgar Alwyn Payne for his landscapes. And some of the other Western painters of the time.
Childe Hassam, especially for his street scenes in New York.
I love Edward Redfield for the energy he put into his work. I’m actually a big fan of all of the Pennsylvania Impressionists at the turn of the century.
The Hoosier Group right here in Indiana were very well-known throughout the country in their time. This would include T.C. Steele, Edward Bundy, William Forsyth, and more. There is something about the hills, valleys and terrain that is appealing, perhaps because this is where I live. They called it an opalescent light but it really is the humidity in the Ohio River Valley which makes the light as it is.
Anders Zorn, Sorolla, Carl Larsson and Ken Howard are some other artists I admire.
This is not to say that I haven’t been influenced by so many other artists, both recent and long ago. Rembrandt, Vermeer, Michelangelo, etc. More recently by Grant Wood and Edward Hopper.
Women artists are more scarce but I love the bold colors of Janet Fish, Georgia O’Keeffe, and Mary Cassatt.
We stand on the shoulders of so many artists.