Author Archives: jsundwall

About jsundwall

I am a professional oil painter specializing in portraits of people, horses and small animals. When I'm not painting the portrait or 'genre' subjects (paintings of people doing things), you'd find me painting 'other'. 'Other' is of course any subject that suits my fancy, but much of it is 'sporting art': equestrian related (fox hunting, horse racing and polo), lots of hound dogs, plus animal and landscape pictures. My intention here is to expose my work to new audiences, and to share my thoughts on art and the making of it. As I have been a student of eastern philosophy for the majority of my adult life (specifically Advaita Vedanta), I shall from time to time write on this subject as well; it's all related. Please enjoy.

Advice to a budding equine artist

Not long ago I received a note from a young woman who found my work on the internet.  She explained that she had taken a few art classes, was passionate about horses, and was now seeking guidance and instruction in equine art.

The sample Meredith attached was a watercolor (image below), and it was only the third horse painting she had ever done(!)  Here was my response.

photoM

 

 

 

 

 

 

Copyright Mere Wynne, collection the artist

Dear Mere,

I was wondering if anyone ever went to the Horse & Hound website, I’m glad you did.  I’d be pleased to offer you what I can, but by the look of the horse you sent me you’re well on your way.  It appears to be a watercolor painting, and it’s lovely.  The underlying structure is credible, the planes are well articulated, and that’s 90% of what’s needed to paint a handsome horse.

I too am mostly self taught, which has its advantages (not having to squeeze yourself into a suit of someone else’s making, free of shoulds and shouldn’ts, the joy of self discovery) and its drawbacks (no solid foundation, no warnings of where the thin ice is located, no immediate network of fellow artists and mentors).  I’d say the single most important class I ever took was one term of human anatomy at the Art Students League, and I recommend it if you’ve not done so already.  Learning to consider the underlying structure and practicing seeing it is a great foundational tool.  Having studied human anatomy and having painted many faces and figures, the habit of looking for and utilizing the underlying structure defines how I approach everything I paint, whether it’s a horse or a dog, plant life, architecture, even a turbulent sea.  It widens your view from the inside out.

What else I would encourage you to do is to un-fixate on the horse, at least for the time being.  I’ll explain why.  For a number of years I rubbed shoulders with a wide range of equine artists in group exhibitions, many of whom I greatly admired.  I discovered that a surprising number of them couldn’t paint anything well except a horse.  Their love of painting never matured but remained fixed on love of the animal, which is not only extremely limited creatively, but a rather small art world after all.  It’s like the baker who bakes only cookies because that’s the only thing she likes to eat.  Not that there’s anything wrong with that!  But you see what I mean.  Even in paintings that are all about the horse you might want to include a credible landscape, people that look human, breathtaking skies and waters… why not be master of them all?

So I have found that my interest in and understanding of all things visual begins with the object that is closest to me: the human form.

All power to your brush!

Joe

 

 

Washington Slept Here

Whenever I have an opportunity to look at paintings, be they in brick-and-mortar or marble-columned establishments, in books, on the internet or in mind (seen once and not yet

Flash in the pan

‘Flash in the Pan’, 14 x 18 inches, oil on panel

forgotten), I am always fascinated by what the artist chooses to commit to canvas.  And as a witness to this ‘event’ happening in front of me that is a work of art, I wonder why it engaged me, what the effect of being drawn into it is, and how the artist was able to execute this feat of painterly magic, especially if it opened the heart at the same time.

Usually (and without thinking) we encounter paintings as relic – proof of a creative event that happened in the past.  Even artists forget that there is one key decision that always remains vibrant and inescapable in each work of art we produce:  What to paint?  Or maybe more to the point, Why paint this at all? 

Which raises the question of how I got into painting people and events as if we were still in the revolutionary era.

Washington slept here

But, so what if he slept here?  Before and after the great man took off his boots and lay his burden down in this rickety old canopy bed, others slept here, too.  Truth is, I’m not particularly interested in what happened long ago.  As a backdrop for a movie, okay, for the rare historical novel or the once-in-a-lifetime visit to (fill in the blank), great, but an historian I am not.

Yet last April I saw a sign in my neighborhood announcing the upcoming reenactment of The Battle of Bound Brook.  I’ve long been aware of this annual event, and on a lark decided to check it out.  As for the Battle itself, suffice it to say that the Americans were routed on 12th April and regained their ground on the 13th April, 1777.  This year they were routed yet again in clouds of acrid gunsmoke.  My hearing didn’t come back for days.

revolutionary soldiers

‘Eyes Left, Scotland’ and ‘The Patriot’, right. Both are 12 x 12 inches, oil on prepared burlap

What interests me most is what is happening right now.  And what appeals to me at these events are the everyday costumes, dragoons mounted on skittish horses, the encampments swathed in smoke from cooking fires, row upon row of unbleached cotton tents, clumsy troop gatherings, and the clash of colorful armies.  But more compelling than the spectacle captured in hindsight is the substance of the contemporary player-participant, the secret bit that one could say truly connects us all, vertically through time and horizontally in the present moment.  Their devotion to the spirit of the current (and orginal) enterprise and insistence on authenticity shines wherever you look, even if one hears a great deal of talk among reenactors themselves on how much authenticity is enough, and whether bearded actors should even be allowed to participate (Washington insisted on clean-shaven troops).

Picture of two sentries

‘Sentry Duty’, 16 x 12 inches, oil on panel

I’ve attended several historical events since Bound Brook, and as of this writing have completed a dozen works, several of which are shown here.  I’ll be painting more of them, anyway I’m pretty sure I will.  Ultimately we don’t know why we do what we do, we just make up stories to try to explain ourselves before and after the fact.  Perhaps it’s best to be as an actor playing a part in a play or, even better, someone in the audience: a witness to whatever happens, unattached and uneffected by however things turn out.  Sometimes the players win, sometimes they lose.

See more paintings at: http://www.sundwallart.com

Acceptance notifications

Today I heard from Allied Artists that my entry to the 2013 Annual Exhibition was juried into the show.   The exhibit runs November 8 – 16 at The National Arts Club, 15 Gramercy Park South, NYC.  Gallery hours are Mon. thru Fri.: 10-12 pm & 3-5 pm.  The gallery reception happens at the end of the show, Sunday the 16th, 1 to 5 pm.

“The Silversmith” Oil on burlap, 30 x 30 inches

Silversmith

I met this man last December at a swap meet in Quartzite, Arizona.  Next to his small motorhome he’d set up several large display cases crammed with his heavy silver jewelry.  Self-taught, he told me he worked the swap meet circuit (who knew there was such a thing?) which took him in a loop from southern California at the bottom to Minnesota at the top.  I asked if I could get a couple snapshots of him.  Though I prefer to do portraits directly from life, I found his sun baked face and glowing eyes to be good company for a few days early this spring.

For years I’ve been painting exclusively on fine linen, but recently I’ve been experimenting painting on prepared burlap for another series of paintings.  Though there is a coat of sizing and two coats of primer on the burlap, the surface remains very rough, but it suits the rough-hewn subject well.  What I especially like about working on this surface is that it forces me to be more aggressive, to use more paint in bigger brushes, and to work more broadly than I usually do.  Nice for a change.

Also today I received an email from the Richeson art people who have regular competitions.  The Figure/Portrait show is now online if you care to see it.  ‎www.richeson75.com

“Georgie”  Oil on linen, 24 x 20 inches

Georgie

Georgie lives across the street from my studio in central New Jersey, and he has posed for several paintings.  The location is Montauk, Long Island.  The painting has been exhibited at the J.M. Stringer Galleries in Bernardsville, NJ and Vero Beach, FL.