|A Pool With A View, by Bruce Bundock, is an example of the artist's worldview.|
|Baroque Arch, Rome, is an example of Brad Marshall's meticulous drafting.|
What do those differences mean? Do they reflect something about the personality? I doubt it. Brad Marshall (whose show Italia is opening at the Fischbach Gallery on September 12) is a far more methodical and controlled painter than me. He’s more of a risk-taker in his 9-to-5 life—hanging from scaffolding on the side of tall buildings—but there are no glaring differences between our values, our lifestyles, the cars we drive, or our homes.
Certainly the content of a painter’s work reflects his worldview. Consider, for example, Bruce Bundock’s Faces of Vassar: An Appreciation, which opened last February. I love his work because Bruce is less interested in the grand than he is in the everyday.
|Millbrook Hill, a pastel by Marlene Wiedenbaum, is wonderfully romantic.|
I had a conversation last week with a successful, professional painter lamenting her lack of formal art education. Many formal art programs teach very little about actual painting and most artists do most of their learning on their own, after the classes and workshops end. Since she paints beautifully and her style is fully realized, there is little she can gain from a teacher now, and much she could muddy up.
|Whereas Autumn Glow, a pastel by Laura Bianco, is absolutely graphical.|
I don't think style comes from the personality, but I do think it comes from the soul. The goal in painting is to get rid of the stuff that stands between us and our true self. Personal style is what’s left when we have tried our hardest to tell an accurate story with our brushes. It’s an artifact of imperfection. True personal style can’t be taught or learned. It comes from within. That's why teachers who try to create copies of themselves among their students inevitably fail to foster greatness.
Message me if you want information about next year’s workshops. Information about this year's programs is available here.