Drying Dishes at Beachcombers
| || |
Santa Fe Sunset
Jeremy Lipking (b. 1975) Born in Santa Monica California and studied at the California Art Institute. He has received both Best of Show and First Place Awards from the Portrait Society of America International juried portrait competition. Lipking is a Signature member of the California Art Club has won top honors from the Club’s Gold Medal Exhibition and received the Museum Purchase Award from the Pasadena Museum of History. Arcadia Gallery in New York and American Legacy Fine Art in California represent him, he has had six one-man shows in New York and Los Angeles. His work has been exhibited at the Arnot Museum and the Long Beach Museum of Art.
In 1997 while a student at the CAI Jeremy began teaching drawing and painting. In addition to teaching students in his studio he lectures and conducts workshops at colleges and art schools in the U.S and Europe. Lipking is also a Faculty Mentor for the MFA program at Laguna College of Art and Design.
California Art Institute, CA, 1995-1998
Pasadena Museum of History, Pasadena, California
2007 ARC International Salon, 3rd Place in Drawing category, Honorable Mentions in Still life, Figure and Landscape categories
2007 Portrait Society of America International Juried Competition Washington D.C, Awarded First Place
2007 Pasadena Museum of California Art, CAC Gold Medal Exhibition
2006 Portrait Society of America International Juried Competition, Awarded Best of Show
2006 On Location in Malibu, Frederick R. Weisman Museum
2006 PMCA, CAC Gold Medal Exhibition
2004 Arnot Museum NY, Re-presenting Representation
2002 Pasadena Museum of History, Honored with Museum Purchase Award
2001 Pasadena Museum of History, Recieved Gold Medal Award and Museum Directors Award
California Art Club, Signature Artist Member
2007 January, People Magazine, "Caught in the Act" http://www.people.com/people/article/0,,20009516,00.html
2007 Fall, American Artist Workshop: Jeremy Lipking Careful and Conscientious Rendering http://www.myamericanartist.com/2007/08/jeremy-lipking-.html
2006 Summer, American Arts Quarterly: Jeremy Lipking
2006 May, American Art Collector: Feature article
2004 Sept, ArtNews Magazine: Lipking Exhibition Review
2004 June, Art & Antiques: Wunderkind Jeremy Lipking proves his Staying Power
2003 July, American Artist: The Promise of Jeremy Lipking
2003 March/April, Art of the West: Jeremy Lipking The Young & The Talented
Arcadia Gallery, New York NY
American Legacy Fine Art, Pasadena CA
|Review of Artist's Work: |
In a remarkably short period of time, Jeremy Lipking has emerged as one of the country's premier realist artists. 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. It is all the more remarkable since he is only thirty years old. 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.
Realism has been misunderstood through most of the twentieth century as an art of imitation. 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 Lipking's 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. Lipking's 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. Lipking's true subject is his pictorial fluency. 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. The experience is both exhilarating and baffling. 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.
Lipking's 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 Cezanne's 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.
The magic occurs in the finish. As he progresses, he gradually refines each area, adjusting relationships of color and adding deft touches to define select elements. He brings certain forms to a razor sharp level of finish. Other passages are left vague and undefined. In this interplay of sharp and loose, the painting literally opens up and breathes. This is what makes his art seem so lifelike. Instead of resting as static images, his canvases pulse with the subtle energy of a living thing.
Michael Zakian, Ph.D.
Frederick R. Weisman Museum of Art