3/21/2021 0 Comments Jeremy Lipking Portraits
In this interplay of sharp and loose, the painting literally opens up and breathes.His talent, which rivals that of the late nineteenth century painterly realists such as John Singer Sargent, Joaquin Sorolla and Anders Zorn, is outstanding for a painter of any age.Like these great painters of the past, Lipking is a virtuoso artist.
His canvases convey the magical aura of convincing imagery emerging out of a field of paint. In truth, when practiced by a painter like Jeremy Lipking, realist painting is a powerful creative force. Many viewers are drawn to his art thinking that it looks just like a photograph. Actually Lipkings vision is the opposite of what a camera does. A photograph tends to flatten an image, reducing all relationships of color and shade to a stiff mechanical pattern. Lipkings skill lies in his ability to probe in and around his subject. With a highly sensitive eye, he sees nuances of value and hue that the camera and most people can never see. More incredibly, he is able to translate his highly nuanced vision into a painted image. Seeing one of his paintings involves entering into the pictorial world he has created. Like all great realists, he has the ability to generate powerful fictions. I have had the pleasure to watch Lipking paint on a number of occasions. Lipking begins his paintings in a surprisingly loose, painterly manner-something I never would have expected. He makes initial marks to find the scale and proportions of his subject. Then he applies a broad underpainting of color to capture the desired hue and value. At this stage his paintings look almost abstract, consisting of a pattern of large color shapes. Lipkings characteristic brushwork or gesture is what I like to call the open touch. What I mean by this phrase is that Lipking applies paint in broad, loose facets, often leaving areas of bare canvas in between. In subsequent additions the open areas are gradually filled in, creating a breathing lattice-like structure of paint. In a curious way, the method is somewhat like Cezannes manner. But whereas Cezanne emphasized the discontinuity of his touches, Lipking works with close values, so that the result is a seamless veil of color. As he progresses, he gradually refines each area, adjusting relationships of color and adding deft touches to define select elements.
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