Three Promised Detail Shots from last night’s Camargue Memory

oil paint is glorious, and only takes about 40 years to learn proficiency

Jonathan Herbert landscape oil painting of the Camargue

The Paint on Camargue Memory (detail 1)

Jonathan Herbert landscape oil painting

Camargue Memory (detail 2)

Jonathan Herbert landscape oil painting

Camargue Memory (detail 3)

More artwork by Jonathan Herbert at http://jonathanherbert.com

Eine Kleine Tag Musik

a little canon g15 preview before the big shoot in two weeks

close-ups of the brushwork soon

Jonathan Herbert oil painting landscape France Provence Memoir

Camargue Memories
14 x 18 inches Oil on linen

The trip of a lifetime.

More art by Jonathan Herbert at http://jonathanherbert.com

THE INDOLENT AND IMAGINARY LIFE OF THE ARTIST

Theft is Applause, I have decreed.

Theft is Applause, I have decreed..

The Painter’s Secret Geometry: The Tower

The Tower 3o18. 60 x 40 inches. Oil on Linen.

The Tower. 60 x 40 inches. Oil on Linen.

I believe my mentor, Jan Cox, turned me on to THE PAINTER’S SECRET GEOMETRY by Charles Bouleau in the 1970s when I showed him underlying geometries that I had found and drawn into my own work or if It is something I found after reading about the Golden Ratio. I don’t think it matters; what matters is what we can see under the surface.

While at the SMFA I did use underlying geometry as the entry into an artwork. What I have found is that working in that direction is not necessary and the analyses post facto show the same hidden beauties. I no longer start with such artifice. I pick up a piece of large will charcoal, make a rough sketch, and start painting.

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The Tower ANGLES

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The Tower ARCS

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The Tower AGGREGATE GEOMETRY

2013o_018_geometry.jpg The Tower with Geometric Substrate

The Tower FULL OVERLAY

Look for the Secret Geometry Posts again.

THE FULL JONATHAN HERBERT WEBSITE

New Oil Painting: THE TOWER. 60 by 40 inches. oil on linen

Make changes or they will be made for you.

http://www.jonathanherbert.com

The Tower 3o18. 60 x 40 inches. Oil on Linen.

The Tower. 60 x 40 inches. Oil on Linen.

This card is not what it seems on the surface. It is a card of opportunity: a wakeup call and a reminder to make changes that may be difficult, rather than having them made for you.

New York City: Population Immersion and Studio Isolation

A previous body of work really put me out there on the street.

New Yorkers are not known for their reticence; therefore, I found myself interacting often with people while painting. I believe that I live in the most fascinating city in America—I can’t imagine living anywhere else. New York makes me high: this New York where I find there to be a wealth of intelligent people, intelligent conversation, and utter wackos, all of whom offer interaction and entertainment in their own unique way. I have made quite a few oil paintings of that lovely, dirty, gritty New York City full of buttinskis.

If you think about it, being lonely and isolated is a choice—or perhaps a matter of temperament. It’s not in my nature to be solitary and reclusive. The insanity of isolation makes painting an odd career choice for a guy like me. Then again, if being an artist is a career choice, you are fucking doing it wrong . . .

Photograph of Jonathan Herbert studying a painting in progress.

I saw the play RED on Broadway. Incredibly it was real and important theater. This is how Rothko often worked.

Photograph by EMMANUEL CAYERE 2013