Tuesday, February 18, 2014

My Muse

Often, people ask me which model inspired and moved me the most as an artist. I have known many women and had many relationships but my answer is simple: LISA. My amazing, beautiful, incredible wife and best friend. We first began as an artist-model relationship. Upon my first meeting with her, I felt compelled to paint the figure again after a long drought. Her lines are exquisite, her looks are mesmerizing and her soul is deep. She also moves into graceful poses like no other model I've known. I painted nearly 40 paintings of her on canvas after our first session with many more to this day along with perhaps a couple hundred drawings and watercolors as well as a special limited edition lithograph printed at the famed Paris printing house, IDEM-Mourlot.  Below are just a few paintings of the extraordinary feeling she evoked out of me. My dear and close friend, Janet Hubbard-Brown, captured our relationship in the phrases of her brilliant poem written specifically for when Lisa and I were married:


.'Lisa' lithograph printed at the IDEM-Mourlot Atelier (Paris), 30x22 in. on Arches paper
'Lisa with Arms Overhead'      oil on canvas     23 x 27 in.

'Lisa Asleep'     acrylic on canvas     23 x 27 in.

'Lisa on Moroccan Tapestry'      acrylic on canvas     30 x 24 in. 

'Lisa with Stockings'      acrylic on canvas      27 x 23 in. 

'Lisa Reclined on Flowered Couch'   acrylic on canvas, 40 x 30 in.

 'Lisa with Red Flowers'   acrylic on canvas     30 x 40 in.
 'Lisa in Striped Hat'      acrylic on canvas     27 x 34 in.

'Lisa Looking at the Sunset in Spain'  acrylic on canvas  44 x 34 in. 

'Lisa Gazing Out the Window'   acrylic on canvas    54 x 46 in. 

'Lisa in the Bath'      acrylic on canvas     34 x 42 in. 

'Lisa in Repose'     oil on canvas     23 x 27 in.

Monday, November 25, 2013

Le Beaujolais Nouveau est arrive !!

Again, it's my great pleasure and privilege to present my 2013 Beaujolais Nouveau label and poster design commissioned by Les Vins Georges Duboeuf ! My design was unveiled at Sherry-Lehmann  Thursday November 21 where my dear friend, Franck Duboeuf and I greeted a large thirsty crowd who were anxious to taste and purchase this fine 2013 vintage.

Everyone agreed: it's one of the finest vintages in years - robust, a rich floral bouquet, balanced acidity and an incomparable freshness that only the Gamay grape can bring to the table. Once again, the Duboeufs have given me great freedom in creating this year's design which for me encompasses the fresh spirit and joy that this special wine brings to our lives.Vive le Beaujolais Nouveau !!

The New York Times ad which ran all week !

The posters in prominent display on the Sherry-Lehmann entrance.

One of the many case displays at Sherry-Lehmann.

My long-time friend, Franck Duboeuf, and myself.

The line was long til the end!

The crowds kept coming...


Those wonderful over-sized 'cork' sculptures were designed by Franck Duboeuf's very talented wife, Anne. She also installed a magnificent Christmas window display for Sherry-Lehman - don't miss seeing it!


'Jovial' says it all !

Monday, June 3, 2013

Art to Transport the Soul

'Colors of My Mind' - 30x40 in., acrylic fiber paper on canvas.

'Four Day Rider' - 30x40 in., acrylic, fiber on canvas.

'Horse and Rider' - 40x50 in., acrylic on canvas.

'Sunspots' - 30x40 in., acrylic, fiber paper on canvas.
I want the canvas to sing, to create a 'color sound' that will envelope the viewer - a perfect acoustic marriage of color and form. I want my art to cause a spell that transports the soul. Color that penetrates and surrounds the viewer in a state of ecstasy: a removal of now into suspension of time and place.
The true miracle of art is being able to transport and transcend our moments into timeless wonder. 

Wednesday, December 12, 2012

All is process

  Late Late Show   acrylic on canvas   30x40 in.  

 Lavender Hill  acrylic on canvas  30x40 in.

Marshmallow  acrylic on canvas  30x40 in.

Softly Lightly  acrylic, fabric on canvas 40x 30 in.

All is process, as is art. The artwork itself reflects the ongoing, non-static, evolving activity of discovery.  Non-artists produce products that gain acceptance by the commerce-crazed art dealers. Canned, dead objects are constantly pressed upon an ignorant public. True art mirrors the ongoing process of exploration and discovery. Artists must only reflect the process as it naturally bursts forth through pen, brush and chisel. 

Wednesday, September 12, 2012

Fire Island Series

The first pure draughts of ocean air and the nakedness of space, stretched away in the sky drenched in all its own silence and majesty. Fire Island is a magical escape from the frenzy and heat of summer in Manhattan.  This series reflects the feeling of being out in that vast space of sea, light and pure air as well as the found objects on the beach formed by nature: driftwood, stones, shells, kelp.

All images measure 12x16 inches and are mixed media works on heavy-weight paper.

Fire Island Series #1

 Fire Island Series #2

Fire Island Series #3 

Fire Island Series #4

 Fire Island Series #5

Fire Island Series #6

 Fire Island Series #7

 Fire Island Series #8

 Fire Island Series #9

Fire Island Series #10

Saturday, June 26, 2010

Evoking Emotions

'Play it Pretty' - acrylic, paper on canvas / 30 x 36 in.

'Dutchess County' - acrylic, paper, fabric on canvas / 24 x 36 in.

'Baby Oh Baby' - acrylic, paper on canvas / 30 x 36 in.

In mystical terms, when you're in a state of grace, all of 'it' happens effortlessly. I keep creating paintings, seeking moments of 'Divine Grace.' One can try to analyze a painting but it's not easy. You don't need to know the 'recipe.' In our contemporary world, we are so removed from our emotions and feelings. If you create a painting, you are supposed to evoke an emotion, a 'rasa.' For instance, Bach knew which tones would evoke certain emotions. I too base my work on specific moods. Most of my work is about exuberance and joy. That's it. Often when I paint, I turn the canvas to lose my sense of up and down. After a time, I became more comfortable with not working with a specific subject or a 'something.' My paintings just developed where each paint-stroke dictates the next. I enjoy to paint loose and free of not having to represent a 'something.' The painting is a representation of my mood. Like a symphony, there are many moods. When I step back and look at the painting, a 'little voice' tells me which color to use next. This is the intuition or sense which guides me - when I am in the 'groove.'

Sunday, June 6, 2010


I'm not concerned with what's in the 'how.' Art must convey an atmosphere. The nine Indian 'rasas' (love, joy, wonder, peace, courage, sadness, anger, fear, disgust) are essential
energies that define a set of emotions. It's important for us to have this in mind when we look at art. If none of these emotions strike you, then all you have left is simply seeing the artist's technique. If admirable technique is not even present in a work, then there is nothing at all. Vincent Van Gogh was not much of a draftsman. But, his emotional intensity over-rode this missing capacity. He was labeled vulgar and crude by the fine art academicians of his day. Artists are either masterful or mediocre. Styles are as infinite as those of personalities, like one's handwriting which is strictly their own.
'Red Sunset' - acrylic, fabric, paper on canvas, 30 x 40 in.

'Fireball for Julio' - acrylic, paper on canvas, 25 x 36 in.

Tuesday, May 11, 2010

Meeting Oskar Kokoschka

'Portrait of Oskar Kokoschka' - crayon on paper, 20 x 16 in.

Meeting Oskar Kokoschka was like being hallucinated: I was mesmerized! When people ask me details about his home and studio in Switzerland where I often visited, I cannot remember many details. I was caught in the eye of the tornado of this great man, like Dorothy caught in the storm in the 'Wizard of Oz'. There was a lot of laughter - he was easy to laugh with. He was also charming to the females, yet very masculine. He could be 'Peck's bad boy' as well. He had a child-like quality about him and at the same time, he was a sage - even with all the difficulties he had experienced. I spent more than 20 years under his tutelage. He cared for me, which is all I can assume since he allowed me such access to his life for so long. He rarely allowed me in to his studio. Once, he allowed me to view his commissioned painting of 'Manhattan' the day he finished it - it was magnificent. He then wrote a personal message to me on the inside cover of his Marlborough exhibition catalogue: 'Do never forget your Oskar Kokoschka.' One can try to analyze a painting, but it's not easy. Kokoschka critiqued a lot of my artwork and I received very few compliments. However, it wasn't a constant 'criticizing'. He often told stories to demonstrate or help me. It was in these analogies and stories that I reflected upon ... and learned.

'View of Duluth' oil on canvas, 40 x 44 in.

'Salzburg, Austria' oil on canvas, 36 x 40 in.