Julia

sanguine & white chalk 7"x8"

Luna Child of the Flame

4" x 6" study in gouache …after ???

Atlas Sketches

Studies done after "The King" Jack Kirby. Note how he would indicate the muscles of the leg and arm with a zig-zag line, and the bone with a smooth one, all of which emphasize the action of the form.
Atlas was issue #1 of DC's 1st Issue Special. He never made it past that issue so one can only guess at what Kirby would have done with it.

Q

Cat-Skull, Front View  5"x7" oil on panel

Portrait Study

study of MB acrylic 9" x 12"

Reducing reality to the essentials, those salient characteristics that best convey the individual likeness of a form, and it's particular expression. How simple can you make? Regardless of degree of finish, clarity will give the work power, not the minutiae which needs to be subserviant to the whole.

Autumn Trees

both gouache 4 5/8" x 6"

Stills in Frames

MINI WHITE PUMPKIN 5" x 7" oil on panel





GOURDS I 11" x 14" oil on canvas



Two recent paintings from an ongoing series of still-lifes. They will be on display Oct.19 thru Nov.4, as part of a group exhibition featuring local artist of various disciplines.

for more information please visit

http://www.rahwayartsguild.org/exhibits.htm

Red Chalk • Sanguine

Modern Academic Nude

14"(?) x 24" oil on canvas

Painted during my time studying at SVA under the instruction of John Murray. He was a former student of Frank J. Reilly and taught via the "Reilly Method", which I also studied at The Art Students League under Jack Faragasso. This painting has a section of the raw umber wash-in still visible. The small figure is a color-note/poster, an essential plan for your picture.

Studies - Arms & Hands

9" x 12"




Study everything you want to draw or paint, whether you work from imagination or life. If you are unclear or confused about what you want to convey, then those that view your work will be even more confused.

Landscapes

both gouache on board 5" x 7"





Two woodland-scapes with dappled light. Painted from collected reference (sketches, photos, plein air color-notes), from a recent hiking trip.

Reilly abstracts & D. Hord

charcoal pencil on newsprint


Abstract conceptual studies of drapery, twisting and foreshortened form, and a study of a Donal Hord sculpture.

Chas Curran Clouds

Two studies of cloudy skies I did from paintings by the American impressionist Charles Courtney Curran. Note the subtle color harmonies possible with-in a color scheme. Though both depict the same subject, each has its own distinctive color base. The first is blue-purple and the second is blue-green, all other colors play off of these in each painting.

both gouache on illus. board 4 3/4" x 6"

Plein Air

both- Gouache on illustration board 4 3/4" x 6"

When painting a landscape study you have to be fast. In the northeastern U.S. during the summer between 10am and 3pm you have 20 minutes to possibly 30 minutes (even less time earlier or later in the day) before the light condition has completely changed. Creating light and shadow shapes far different than those you started with. I seek to capture the first impression of the relationship of the big light and shade shapes. Then I look for the progression of color and value changes within them. All desired detail would then be painted into this.

When painting or drawing always work big to small, simple to complex, and even when working in a tight window-shading manor keep the principle in mind, or you will loose the effect of light on form.

Fantastic Argoman

"Argoman" gouache 10"x15" on illustration board

This character study was inspired by my recent viewing of the film "Come rubare la corona d'Inghilterra" aka Argoman superdiabolico (Italy), Argoman the Fantastic Superman (UK), Fantastic Argoman (Philippines: English title), How to Steal the Crown of England (UK), The Incredible Paris Incident (USA), etc. etc., directed by Sergio Grieco. Scored by the great Piero Umiliani.

Bert

Robert 12"x16" oil on canvas