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For most of my adult life, I worked as a creative art director at my own graphic design firm. I moved in the world of advertising in New York City, from the heady days of the ‘60s on through the ‘80s. In this period, I saw—and implemented—sweeping changes in advertising design that surely reflected the times. I prided myself on being able to meet the aesthetic needs of a great variety of clients.
About 20 years ago, I felt again the urge to draw and paint that had defined my adolescence, teenage years, and early adulthood. I enrolled at the Art Students League of New York and focused on painting in the style of realism. In particular, I worked under Jack Faragasso, a master of the acclaimed Reilly Method. My emphasis has been on portraiture and still lifes in oil, although I also tend to work in watercolor and graphite.
Over the years, I have won recognition for my work, and my paintings have often been on display. Examples include an award from Manhattan’s Salmagundi Art Club and a one-man portrait show at the Newton Public Library, Newton, Massachusetts. The Artist Magazine featured one of my still lifes on the first page of its 2000 limited edition calendar, and I was one of ten finalists in American Artist Magazine’s floral art competition.
For me, learning to paint has been fantastically rewarding, though rarely easy. Titian—long considered a painting master—best expresses this attitude: Just years before the Renaissance artist died, he said that even after so many decades of painting, and despite so much acclaim, he was merely beginning to understand his craft; he was just beginning to learn how to paint. I identify with that immensely. For me, painting continues to be a challenging yet illuminating journey.
About 20 years ago, I felt again the urge to draw and paint that had defined my adolescence, teenage years, and early adulthood. I enrolled at the Art Students League of New York and focused on painting in the style of realism. In particular, I worked under Jack Faragasso, a master of the acclaimed Reilly Method. My emphasis has been on portraiture and still lifes in oil, although I also tend to work in watercolor and graphite.
Over the years, I have won recognition for my work, and my paintings have often been on display. Examples include an award from Manhattan’s Salmagundi Art Club and a one-man portrait show at the Newton Public Library, Newton, Massachusetts. The Artist Magazine featured one of my still lifes on the first page of its 2000 limited edition calendar, and I was one of ten finalists in American Artist Magazine’s floral art competition.
For me, learning to paint has been fantastically rewarding, though rarely easy. Titian—long considered a painting master—best expresses this attitude: Just years before the Renaissance artist died, he said that even after so many decades of painting, and despite so much acclaim, he was merely beginning to understand his craft; he was just beginning to learn how to paint. I identify with that immensely. For me, painting continues to be a challenging yet illuminating journey.