The New Yorker Who Fell to Sarasota

What the heck just happened?! It has been ages since my last post.

Two and a half years have flown by since my last post!. Off the radar. But busy. I am forever inspired.

I left New York City in August 2015, and moved both home and studio 1,200 miles south to Sarasota. It was never in my plan. But I was and still am in love with Amy Davis,  and wherever she is I call home. And I have discovered that without Amy I would be an artist and not an artist in business. That said, “everybody” told me it would take a year or two to start to feel at home. And it has.

Yes, it is staggeringly beautiful on the Gulf “SunCoast”. Parenthetically, it is pouring rain and chilly as I write. And cold here is surely not the cold of the NorthEast. However, the general consensus here is that we do indeed live in paradise.

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The foliage is alien; in fact, I feel like I moved to a different planet. The leaves never turn color; there are myriad species of palm trees.shrubbery and plants that yield out of this world flowers and seed cases.

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When it does get cold enough in the winter;  a plethora of critters seek shelter in our home, including, but not limited to, palmettos, more species, some actually benign, of spiders just in our yard and house. I am admittedly an arachnophobe; I have no idea which are actually benign (and assume the worst). I know for sure that a Wolf Spider bite means dial 911. I’ll save that photo until I find it. Maybe I’ll do a special post.

That said I live in the only sub-tropical state. I am minutes from Siesta Key, a beach voted most beautiful so many times the sign is starting to rust.

A new world of inspiration.

 

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

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

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.

2013o_0018_geometry1

The Tower ANGLES

2013o_0018_geometry3

The Tower ARCS

2013o_0018_geometry_lineage

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

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.

2013o_0018_geometry1

The Tower ANGLES

2013o_0018_geometry3

The Tower ARCS

2013o_0018_geometry_lineage

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