PAINTING OF THE MONTH

Serendipity

Oil on Linen

Image 16 x 20 - Framed 22 x 26

$2100

Some artists are so full of ideas about what to paint they could never complete them all in one lifetime. Others, though they may have great skills, are clueless about what to paint and are happiest when someone commissions them to paint something. I fall somewhere in the middle. I have many images that I want to commit to canvas but also like to be available for fresh inspirations. One painting frequently leads into the next one but occasionally the chain of thought is interrupted. At those times I often grab a few simple, familiar objects, take them to my studio and play with light and composition and color. Chopin might have called them études, Beethoven bagatelles, I like to think of them as serendipities....

The Painting of the Month is a special offer to my blog readers (click on the image for a larger view). This month Serendipity, which retails for $3200, is being made available for $2100 (includes shipping, VT residents add 6% sales tax). To purchase this piece contact me at thomastorak@gmail.com. Payment is by check only please, no credit cards. If you prefer you may make 3 monthly payments. This offer is available for 30 days from the date of this post.

Spring Landscape

9 x 13 Oil on Panel

The Metropolitan Museum recently rediscovered a painting by Velazquez. The painting entered the Met collection in 1949 as a Velazquez Self Portrait. The origins of the painting are unknown, it first turned up in the 18th century in a German collection. It was initially thought to be a work by Van Dyck, then Velazquez, possibly Mazo, Velazquez again, then school of, workshop of, and finally Velazquez yet again. The sitter has been unknown, a self portrait and now unknown again. It was never really lost but the attribution was downgraded twice and it was finally hidden in storage for many years. Experts, curators and historians were clueless. It's as if the painting was in the witness protection program. Perhaps it saw a restorer overclean a masterpiece and then testified against him. It was given a new identity and relocated to the Met where it might easily blend into the museum's massive collection. That seems to have worked for quite a long time, it was restored twice without being discovered, but then someone in the museum recognized the piece and handed it over to the head of the restoration department who roughed it up a bit for being a snitch before hanging it back on a wall in the museum. It has now been publicly identified as by Velazquez again but not as a self portrait and, since its recent cleaning, is considered an unfinished portrait.....

Silver and Pink

20 x 25 Oil on Linen

My students are beginning to think I am the descendant of a cyclops. I am constantly telling them to see with their third eye. Situated on the forehead above and between the two eyes, the third eye is on the meridian between the left and right hemispheres of the brain. It is also known as the inner eye or the mind's eye, the eye of enlightenment, wisdom and knowledge. Your two physical eyes are not meant for painting I tell them, they are there for survival, constantly on the lookout for predators, for food, for sexual stimulation. So when we look at the model we see all the details, the eyes, the nose, the shoes, the fingernail polish. We study the gesture and attitude. We take in all these things to tell us if we are in danger or have found food or a mate. But the third eye is not interested in details, it takes in the whole of what is before it. It sees the model, the background, the room, the light and space as one. It is the eye of unity and harmony. Now there is no doubt that we want to know and express the individual characteristics of our sitter, but the sum of those details does not add up to a great painting. It is the oneness, the unity and harmony, the wisdom and enlightenment of the third eye that will turn a well painted head into an unforgettable portrait.....

Oranges and Eggs

16 x 20 Oil on Linen

While driving my car last week I happened upon an interview with Stephen Sondheim on the radio. At some point he began to talk about his childhood. He grew up on the upper west side of Manhattan and apparently had a rather unhappy childhood. When his parents divorced he was sent away to the New York Military Academy, a college preparatory school with a military structure. The interviewer suggested that must have been difficult for him. No, Sondheim replied, it was a very good experience. The education was good and the military aspect of the school brought order and discipline to his unstructured life. Learning order was a very valuable lesson which has served him well in life, he said, because after all that's what art is, bringing order to chaos.....

PAINTING OF THE MONTH

The Red and The Black
Oil on Linen
Image 16 x 19 - Framed 21 x 24
$1800

William Merritt Chase and Robert Henri were two of the finest American painters of the early 20th century. Chase was known as a fairly progressive painter. He embraced the ideas of the impressionists which he incorporated into his classical training. Henri agreed with this artistic philosophy and was invited to teach at Chase's New York School of Art. Soon Henri, 25 years younger, began to experiment with some of the radical new thoughts floating about the art world at that time. Gradually the two friends became rival instructors. Chase wanted to hang on to certain principles he thought were important to good painting, Henri was willing to let things go to look more modern. His compositions became more daring, his colors bolder, his effects intense. My paintings generally tend more to Chase's way of thinking but in The Red and the Black I allowed my palette to play in Henri's ashcan school.....

The Painting of the Month is a special offer to my blog readers (click on the image for a larger view). This month The Red and The Black, which retails for $3200, is being made available for $1800 (includes shipping, VT residents add 6% sales tax). To purchase this piece contact me at thomastorak@gmail.com. Payment is by check only please, no credit cards. If you prefer you may make 3 monthly payments. This offer is available for 30 days from the date of this post.

The Artist at Work

30 x 24 Oil on Linen

Artists say the strangest things.

I have a friend, an artist, who is a devout Mormon. He considers work on Sunday sinful, it is supposed to be a day of rest. So when I saw him painting by the side of the road one Sunday I stopped and asked what he was doing. "I'm doing a watercolor" he said. "Isn't that against your religion?" I asked. "Oh, no" he said "oil painting would be wrong, that's my serious work, watercolors are just a hobby."

A friend who was once married to an artist asked me if I painted every day. "Of course" I said "why do you ask?" "Well, I would often come home from work and find that my husband had done no work all day. Once he went four days without doing anything." She was working to support his art so she finally asked him why he hadn't painted. "I wasn't inspired" he replied "you can't expect me to just paint."

When I was a student the League asked me to deliver something to the studio of one of the instructors. I was a big fan of his work so I was anxious to meet him. When he answered the door he was holding a broom. "I hope I'm not disturbing your work" I said. "Oh no, I was just sweeping up" he replied. Then he added "nothing makes me happier than painting yet I do everything I can think of to avoid getting started".....

Day's End

10 x 12 Oil on Panel

Each time an artist paints he is born and he dies. The artist that is painting today is not the same one who painted yesterday. Each day he brings something new to his work. Everything he has done and everyone he has met since he stopped painting has an effect on what he will paint next. His painting reflects the sum total of his being on that day, everything he has been, seen and done, everyone he has touched and everyone who has touched him. A new person will work on the painting he started yesterday and someone else will work on it tomorrow.

Easter Sunday

30 x 34 Oil on Linen

In a recent post I noted Chopin's 200th birthday. Now, 20 days later, it is the 325th anniversary of the birth of Johann Sebastian Bach. I will spare you a list of Bach's extraordinary compositions and his influence in the world of music. He was such an enormous talent, so well known and loved, that I will move right on how his music has affected my painting. When I listen to other composers I often find myself noting a beautiful passage or a lovely melody, but when I listen to Bach I am unaware of any part of the music but rather immersed in the whole piece. The music progresses with such fluidity that to stop, even in appreciation, would ruin the experience. I go into a kind of meditation. Unity. Harmony. Continuity. It would be wonderful if we could go to our local art supply store and pick up a couple of tubes of harmony and unity, but then there's no challenge in that. So how does an artist create the kind of continuity that sends the viewer into a meditative state? By not letting their eye wander about the painting noting a beautiful passage here or a lovely color there. By having control of the palette, moving deftly from light to dark, in and out of color, warm to cool, subtlety to intensity, so that the viewer is given no place to rest. No one part of the painting is more magical than another. No stroke, no color calls attention to itself but serves to enhance the whole. To have such balance in all aspects of the painting, composition, color, massing, light and shade, that the painting can be taken in in a moment. And that one moment becomes a lifetime and contains all the mysteries of the universe.....

Gourds

20 x 24 Oil on Linen

Sometimes the artist and their gallery see each other as opponents rather than teammates. Tension creeps in and strains the relationship. I've given this a bit of thought over the years so maybe I can help each side to understand how the other is thinking. Let's start by defining why each one exists. The gallery is a for profit business, the artist prizes aesthetics above all else. Galleries are not museums, if the artist does a masterpiece that doesn't match the gallery clientele it is still a masterpiece but of no use to the gallery. Now, if the artist is resricted to painting only what matches the gallery clientele he begins to feel like he is doing factory work and his creativity suffers. The fairest compromise I've seen is that the gallery starts by showing only what the clientele wants, then gradually slips in something different as the clients gain confidence in the artist. I like to use this waiting period to show what the gallery isn't ready for in juried exhibitions. Juried exhibits want to show masterpieces and if your work is really good you might win a prize. Another area of conflict is exclusivity. I understand that a gallery does not want their clients walking down the street to buy the artist's paintings at a rival gallery after they put time and money into promoting his work. The artist, however, feels that he needs to have as many people as possible see and buy his work and wants to hang it everywhere that is available. The solution here is quite simple. If the gallery sells everything the artist gives him there will be no question of exclusivity because the artist will have no work to give to anyone else. Otherwise, more people will see the work if it is spread out over a larger geographic area so the artist should respect the gallery's space and send their work a bit farther away. Both sides get what they want with this arrangement. Many other problems can arise but I'll address them in another post. If galleries and artists can each put themselves in the position of the other, understanding and compassion will have them working on the same team.....

Evening Stars

16x 16 Oil on Panel

Last week was the 200th anniversary of the birth of Frédéric Chopin and to my great delight his music has been playing frequently on the radio. Not an hour goes by without a nocturne or an étude, a mazurka or a polonaise. Anyone who plays the piano knows his music well, and many professional pianists have made recordings of their favorite Chopin pieces. I've heard a variety of interpretations of his work over the past two weeks and frankly some were much better than others. The music is so glorious that even the more mundane performances were beautiful. Some musicians seemed to feel that the music speaks for itself and played the notes as precisely as they could while others sought to bring out the meaning of the score. So I began to ask myself why one performance made my heart soar while another did not. Then of course, because I cannot take a breath without thinking about painting, I began to wonder how this applies to good painting. There are schools in painting that agree with the first group of pianists, who feel that the subject matter speaks for itself and the artist should render it as accurately as possible. Others feel they can add to their work by expressing something more than just what they see before them. I belong to the latter group. I happily paint what I see before me but I also paint what I perceive. I cannot see space or weight yet they are important to my interpretation of what I am looking at. I can't see character or personality but they are vital to a good portrait. I might draw a head correctly and copy the color perfectly but that doesn't mean that my portrait will make make my heart soar. Consequently my poor students have had to endure me saying over and over again "Don't just paint the notes, paint the music".....

PAINTING OF THE MONTH

View of Rupert Mountain

Oil on Panel

Image 10 x 12 - Framed 15 x 17
$900

Is there such a thing as masculine or feminine painting? Could you, or should you, be able to tell if a painting was done by a man or woman by simply looking at it? I know some subject matter is usually assumed, correctly or incorrectly, to be by a man (battle scenes, etc.) or a woman (mothers and children, e.g.) but what about generic subjects like still life or landscape. If you can tell does that mean there is little or no commonality in the way each sex describes its experiences? If you can't tell does that mean that neither men nor women have anything unique to express? I'm not trying to be sexist or controversial, I'm only thinking about it because my View of Rupert Mountain seems to have a certain femininity to it. I'm not sure I can explain why, it's just a feeling that I get when looking at it. Perhaps it's because Schumann's music was playing in my head as I was painting it, not Robert but Clara Schumann.....

The Painting of the Month is a special offer to my blog readers (click on the image for a larger view). This month View of Rupert Mountain, which retails for $1800, is being made available for $900 (includes shipping, VT residents add 6% sales tax). To purchase this piece contact me at thomastorak@gmail.com. Payment is by check only please, no credit cards. If you prefer you may make 3 monthly payments. This offer is available for 30 days from the date of this post.

The Jolly Pumpkin

24 x 36 Oil on Linen

A few years ago I went to see an exhibit by a self taught artist. Now, if you will allow me to be cranky for a moment, it seems to me that a self taught artist is studying with someone who doesn't know anything. That being said the fellow did well enough to have a show at his local art center. He loved Vermeer's paintings and took them as his model. All of the paintings in the show were small interiors with groups of figures going about their daily business, lit by daylight from a single open window. The paintings had a certain charm but they did not have the depth and complexity of a Vermeer. What they did have was a smooth pretty surface with clean, unmuddied colors. I wasn't very impressed with the work but I did come away with something that I think of every time I see an exhibition. As I looked at his work an amusing little play on words came to me. Now when I look at a painting I always ask, is it near Vermeer or mere veneer.....

Dawn (dramatic version)
24 x 36 Oil on Linen


Dawn (lyrical version)

When I was painting the plein air study for Dawn many years ago I heard it as a piece for solo cello. Later when I decided to do a larger version I wanted it to be bigger and bolder. I wanted to give it a voice, rich and powerful, not just a tenor but a dramatic tenor. The clouds became intensely colored, the sunrise overwhelming. I made it as big and romantic as I could then sent it out to a gallery. After a while it came back and I sent it out again, with a little less confidence this time. Recently it came back again and I sat with it and listened. I still liked the tenor voice but maybe not so dramatic, perhaps a lyric tenor might be more sensitive. So I stripped off the varnish and reworked the painting, this time giving it more of a bel canto feeling. It is the same scene, the same aria, only this time it is sung pianissimo, the clouds sotto voce. I like it better now, it has more breadth and subtlety. It is a difficult scene to paint because it can seem rather trite and cliché, but if it is sung with the right voice it can be stunningly beautiful.....

Silent Symphony

30 x 40 Oil on Linen

Snow, softly falling, gently blowing, it was the quietest day the world had ever known. It had been snowing all morning. No motors humming, no dogs barking, everyone and everything had stopped what they were doing to listen to the silent symphony. I opened the door to go outside, but hesitated, not wanting to disturb the innocence of the scene before me. Then a few snowflakes landed on my jacket inviting me to come outside. I was afraid I was going to crush the snow but the snowflakes huddled together to carry my weight as I walked around to the side of the house. The landscape that lay before me was breathtakingly beautiful. The trees and fields were magnificent in their white robes. I could feel a quiet, gentle yet palpable energy. The snowflakes felt it too and each one improvised its own dance as it fell from the sky. A few of the performers landed on my face, took a quick bow, and then disappeared forever. The air was as pure as the snow. I closed my eyes and breathed deeply hoping to cleanse my spirit. I was becoming a player in the symphony. Nothing was happening, there wasn't a sound, yet I never felt more alive.....

PAINTING OF THE MONTH

The Sheep Quartet

Oil on Linen

Image 9 x 12 - Framed 13 x 16

$600

I often talk about music and painting together on this blog so to celebrate my 100th post I want to invite you to a visual concert. It is an original piece called The Sheep Quartet and all you have to do is listen to the painting. The music will, of course, have a pastoral theme. I hear it as a string quartet, 2 violins, a viola and cello. If you prefer you may substitute a flute or recorder, or maybe a piano or harpsichord, for your version. Sheep have been with us for a long time so my piece sounds like something that might be played by members of an early music ensemble, perhaps using original instruments. But sheep are also contemporary so your version may be more modern, played by friends that you have invited to your home to play for you, or with you.....

The Painting of the Month is a special offer to my blog readers (click on the image for a larger view). This month The Sheep Quartet, which retails for $1600, is being made available for $600 (includes shipping, VT residents add 6% sales tax). To purchase this piece contact me at thomastorak@gmail.com. Payment is by check only please, no credit cards. If you prefer you may make 3 monthly payments. This offer is available for 30 days from the date of this post.

After Hale finished his anatomy lecture he would go to the back of the room and critique drawings. Those who wanted to draw would work from the model while the rest of us watched the critique. One day a young man put a drawing of a standing male nude before the instructor. "I see you put a rather prominent bump on the flank of your figure. Why did you do that?" Hale asked. "Well I saw a bump so I copied it" the student replied. "After you've studied that part of the anatomy you will come to realize that the bump you saw is the external oblique. It starts at the rib cage and extends down to the crest of the pelvis" Hale said. "It has a form and a function" he continued "and the more accurately you can draw it the more human your figure will become. But you can't draw something until you know it exists." What a profoundly beautiful way to think about drawing, or life. To discover the existence of things or ideas or characteristics, of healthy food, of philosophy or music, humility and compassion, that, when applied to our lives, make us more human.....

It always takes a few minutes to get into your rhythm when you start painting, to get your hand and mind working together. Most artists just flail around during this period and hope that they don't ruin what they did the day before. I don't like to leave anything to chance when I paint so this was a problem that had to be solved. I began to look to other disciplines to see if they had a similar situation. A musician would never step out on to the stage to give a performance without first warming up. A singer needs to vocalize. A dancer would not perform without first stretching, a runner would not begin a race without doing the same. So how does an artist warm up, vocalize, stretch? I keep a small sketch pad in the classroom and before I start to paint, or teach, I like to draw. It doesn't take very long, sometimes 5 minutes but never more than 15. Whatever I was thinking about when I entered the classroom begins to melt away, I study the model and the pose, my hand starts to feel the flow. My mind, heart and hand are working as one. I feel confidant, I'm ready to step on to the stage, to teach, to paint, let the performance begin.....

Peonies and Lace
16 x 24 Oil on Linen

Gemstones and precious metals are the usual way to acknowledge wedding anniversaries. Being an opera lover I prefer to recognize them by composers. Your 1st anniversary, for instance, might be your Donizetti anniversary (I'm thinking here about his lighthearted paean to love L'elisir d'amore not Lucia di Lammermoor, which might be better for your 1st night anniversary, should you survive it). The 10th anniversary would be the Mozart anniversary, glorious and joyous. The 25th would be the Puccini anniversary, undeniably passionate. The 50th is the Verdi anniversary, profound and beautiful. The 75th would be Wagnerian, for longevity. Today Elizabeth and I celebrate our 25th anniversary. We observed the occasion, appropriately enough, by attending last night's performance of Puccini's Turandot at the Metropolitan Opera. It's one of those rare dramatic operas with a happy ending. The final line of the opera has the Princess Turandot announcing that she has discovered the name of the unknown prince, "Il suo nome è Amor!", his name is Love.....

The Artist's Studio

20 x 18 Oil on Linen

When an artist starts a new painting he stands facing a flat surface. In the art world this is known as the picture plane. An artist who does trompe-l'œil painting endeavors to convince the viewer that the objects in the painting stand in front of the picture plane. Most artists, however, attempt to create an illusion of depth and three dimensionality that could be described as penetrating the picture plane. The viewer stands outside the picture plane and views the objects within as if looking through a window. I prefer to think of my canvas not as a blank surface but as an empty space. The space in my painting is the same space that I am standing in, the objects are lit by the same light and breathe the same air as the artist creating the painting or the viewer encountering the piece. The model or chair or drapery, or apples or grapes, are not objects trapped behind the picture plane, they are on one side of the easel and I am on the other. They are the current inhabitants of the painting, they have entered the space that is my canvas. I like to think that they could leave the space at any time and someone or something else will come to visit me, will enter that space, and become my next painting.....

Pip Meets the Aged P
12 x 14 Oil on Panel

After I left the classroom (you don't graduate from the League you leave whenever you are ready) I stopped painting figures for awhile. I had painted portraits and nudes week after week for many years and wanted to paint something else. Besides I didn't have enough money to hire models to pose for me privately. So I painted landscapes and still lifes. Still life quickly became my favorite subject because of the endless possibilities in composition . Before long I began to think about painting figures again and figure composition. It didn't go much farther than a few doodles on the subway on a religious or mythological theme. Then a gallery in Connecticut called and asked if I wanted to participate in a Dickens themed exhibition. I quickly batted out a painting of Scrooge counting his miserly fortune. I had done many paintings of single figures so that wasn't so hard. Then decided to do a small composition. I was reading, or more exactly rereading, Great Expectations at the time so I took my theme from there. I always had a great fondness for the Aged P, Wemmick's moniker for his aging parent, so I painted the scene where Wemmick brings Pip home to meet his father.

"You wouldn't mind being at once introduced to the Aged, would you? It wouldn't put you out?" I expressed the readiness I felt and we went in. There we found, sitting by a fire, a very old man in a flannel coat: clean, cheerful, comfortable, and well cared for, but intensely deaf. "Here's Mr. Pip, aged parent," said Wemmick, "and I wish you could hear his name. Nod away at him, Mr. Pip; that's what he likes. Nod away at him, if you please.....

PAINTING OF THE MONTH

Bread and Wine
Oil on Linen
Image 12 x 16 - Framed 17 x 21
$1500

Simple or complex. If the viewer sees only bread and wine, that seems simple enough. But if it is the beginning of a great feast the meaning becomes more complex. If it is a representation of the Eucharistic meal it takes on yet another layer of meaning. The colors seem quite natural, quite simple. But if you realize the painting is built on a red, blue, yellow harmony then it is filled with the full complexity of the rainbow. The composition could sit quietly on the tabletop or it could be a complex swirling maze moving in and out of the painting. What is the meaning of this painting, what was the artist's intent, what does the viewer see, is it simple or complex.....

The Painting of the Month is a special offer to my blog readers (click on the image for a larger view). This month Bread and Wine, which retails for $2400, is being made available for $1500 (includes shipping, VT residents add 6% sales tax). To purchase this piece contact me at thomastorak@gmail.com. Payment is by check only please, no credit cards. If you prefer you may make 3 monthly payments. This offer is available for 30 days from the date of this post.

The Breakfast Cantata

19 x 24 Oil on Linen

I'm very fond of Bach's cantatas. His church cantatas are like small oratorios. He also wrote secular cantatas which have stories and characters, they might be called operettas by the next generation. One of my favorites is the Coffee Cantata, which concerns a girl whose father will not let her marry until she gives up her addiction to that extremely popular drink. As I worked on this breakfast painting I heard it as a rather comical cantata. There were several characters. The frying pan was a bass of course, the grapes a gossipy chorus, the eggs sopranos, the oranges tenors, and the toaster a big, burly baritone. The broken egg shells sounded a bit like a musical joke. The disappearing toaster, as described in the previous post, only added to the fun. The music was quite lively and jolly, and the story, well I'll let each viewer create their own version.....

Breakfast day 1

Advice to young artists: Think twice before taking something from the kitchen to put in your still life. I thought we didn't use the toaster very much, so if it was gone for a few days it wouldn't be a big deal and it would free up some kitchen counter space. Not long after I got my still life set up and started painting Elizabeth came to the studio to ask if she could borrow the toaster for a few minutes, she wanted to have toast with her sardines for lunch. "Of course" I replied and the toaster went back to the house and then returned to the studio after she had finished with it. The next morning I wanted toast with my eggs so the toaster made the same trip as the day before. As I worked that day, a rather chilly, gloomy day it was, it occurred to me that a pot of tea and cinnamon toast would be quite comforting. This time I brought a loaf of bread, an extention cord and a serving tray out to the studio.....

The renaissance and baroque periods, Raphael, Titian, Rubens, Rembrandt, Velasquez, are generally considered to be the height of oil painting. Later periods, in attempts to paint better, made rules and formulas, and became more and more rigid. By the 19th century these rules became dogma, inflexible and inviolable. Manet and Van Gogh didn't fit the mold, their paintings were unacceptable. The reaction against this, of course, was the modern era. Now there is a reaction against the modern era and a return to the ways of the 19th century. But why do contemporary artists want to go back to the rigid ways that brought on the modern period in the first place? Yes, Ingres and Bouguereau did magnificent work in the academic tradition, but Monet and Whistler did extraordinary paintings as well. But why stop there, why not look back farther, before formulas and correctness, loosen the screws, allow artists to draw and paint freely? How about Carravagio, Tintoretto and Pontormo, Hals, Leyster and Brouwer.....

Yellow Nasturtiums

24 x 20 Oil on Linen

Some artists paint in prose, some paint in poetry. Some artists paint facts, some paint metaphor. Some artists paint light and shade, some paint luminosity. Some artists paint space, some paint atmosphere. Some artists design, some compose. Some artists paint tones, some paint color. Some artists paint what they see, some paint what they perceive. Some paintings speak, some sing. Some artists paint to live, some artists live to paint.....