When asked what he, as an artist, wanted to communicate to the viewer in his paintings, artist Chuck Rosenthal gave a superb, nearly poetic answer. He said:
"I like to show the paint to the viewer with brushwork in some areas of the painting, but like all artists and particularly the most successful ones, I want the viewer to be able to participate in the work. I want the viewer to feel that if it's a landscape, it's a place where he wants to be. If the artwork is a still life, it should have some ineffable familiarity to the viewer, and create a feeling that 'this is right, I know this.'
He further explained, "That is the universal impingement of a really good piece of artwork. I want the viewer to be able to escape for a moment into my painted world that has, in the viewer's eyes, a rightness, a balance of placement and light values that is in agreement with the viewer's own internal universe."
For an example, take a look at Rosenthal's "Houses on the Marshland, a 16x20 oil painting (it's on his website www.chuckrosenthalfineart.com). The houses are in the background, but the eye of the viewer is drawn into the painting by the fabulously bright sunlight that colors the grasses and wetlands in the foreground, making them various shades of yellow and orange, with some contrasting dark blue shadows.
There was probably only one place in time when that location existed - when the light was exactly as it is in the painting, and the artist was there and captured it. The actual location isn't important. Now the location is in the artist's mind and the viewer's mind. Perhaps it makes the viewer long to be in that location to enjoy the colors and creations of nature, but in any case the artist has added his own creation to it, and the place will always be as the artist painted it.
Have a look at the still life "Grapes and Nectarine" (also on the artist's website). Although this painting has been sold and now graces someone's living or dining room, or perhaps the den, it gives you a taste of what the artist meant when he was talking about "ineffable familiarity to the viewer" and to create a feeling of "this is right, I know this."
The textures in the painting appear so real that you think you could reach out and touch them - but they are just paint - just paint applied by an expert. The grapes look so cool and smooth against the thick, rough cloth on which they rest.
You are invited to look at these paintings anew, keeping in mind what the artist wrote about his intention in painting these subjects. Contribute to the paintings yourself. Enjoy. - 32160
"I like to show the paint to the viewer with brushwork in some areas of the painting, but like all artists and particularly the most successful ones, I want the viewer to be able to participate in the work. I want the viewer to feel that if it's a landscape, it's a place where he wants to be. If the artwork is a still life, it should have some ineffable familiarity to the viewer, and create a feeling that 'this is right, I know this.'
He further explained, "That is the universal impingement of a really good piece of artwork. I want the viewer to be able to escape for a moment into my painted world that has, in the viewer's eyes, a rightness, a balance of placement and light values that is in agreement with the viewer's own internal universe."
For an example, take a look at Rosenthal's "Houses on the Marshland, a 16x20 oil painting (it's on his website www.chuckrosenthalfineart.com). The houses are in the background, but the eye of the viewer is drawn into the painting by the fabulously bright sunlight that colors the grasses and wetlands in the foreground, making them various shades of yellow and orange, with some contrasting dark blue shadows.
There was probably only one place in time when that location existed - when the light was exactly as it is in the painting, and the artist was there and captured it. The actual location isn't important. Now the location is in the artist's mind and the viewer's mind. Perhaps it makes the viewer long to be in that location to enjoy the colors and creations of nature, but in any case the artist has added his own creation to it, and the place will always be as the artist painted it.
Have a look at the still life "Grapes and Nectarine" (also on the artist's website). Although this painting has been sold and now graces someone's living or dining room, or perhaps the den, it gives you a taste of what the artist meant when he was talking about "ineffable familiarity to the viewer" and to create a feeling of "this is right, I know this."
The textures in the painting appear so real that you think you could reach out and touch them - but they are just paint - just paint applied by an expert. The grapes look so cool and smooth against the thick, rough cloth on which they rest.
You are invited to look at these paintings anew, keeping in mind what the artist wrote about his intention in painting these subjects. Contribute to the paintings yourself. Enjoy. - 32160
About the Author:
Looking to find the best deal on oil paintings, then visit www.chuckrosenthalfineart.com to find the best advice on still life for you.
