A painting done by Artificial Intelligence

It apparently is expected to sell at auction for $10,000.
We have accepted the robots to do our skilled work. The robot, by which I mean a camera, draws a "perfect" picture, or at least most people accept it as a perfect representation. These days a few people learn to draw much like they might want to hike the Appalachian Trail from end to end. It's more efficiently done other ways but the craft and challenge of it has some aesthetic and personal rewards that are still valued by those odd people. I am one of these odd people. Everyone else take a selfie. Soon A.I. will take credit for work in the galleries and museums of the world and people will find some appreciation for it. You'll have programmers that specialize in the form like we have photographers.

You TAKE a photograph but MAKE a painting.  Will we say that A.I. TOOK this painting?

"Painting" created by A.I.

"Painting" created by A.I.

To complain that it is crude is fruitless.  The process will get better and I think the majority of people will accept and even celebrate the form similar to the way we think of photography.  Here, have a look at the first photograph.  Imagine artists of the period speaking of how crude it is.

How crude this first photograph must have seemed to a population skilled in draftsmanship.

How crude this first photograph must have seemed to a population skilled in draftsmanship.

Two Russians whose names I've forgotten created a project that involved surveying thousands of people about what they like in a work of art. Then they painted it. It involved a blue sky, a woodland setting with water nearby and an animal. I think a person or family was in the scene too. I have a faulty recollection but they may have created different pieces that corresponded to the preferences of various regions of the United States.
Komar and Melamid? Their Most Wanted Project .
Soon, you'll walk into a gallery, have your brain waves scanned and preferences tallied and a work of art made from the result specifically BY YOU and specifically FOR YOU.


Combat Artists at the National Museum of the Marine Corps

This photo was taken at the National Museum of the Marine Corps in Triangle, Virginia just outside Marine Corps Base Quantico. We all gathered together for a Combat Art Symposium. Included in the group were Combat Artists from the Salmagundi Club in New York City, the Viet Nam era, and Iraq, Afghanistan, Mogadishu, Djibouti, and reaching all the way back to World War 2. Also present were curators of military art collections from the Navy, the Marine Corps, the Army, the Navy, the Coast Guard and the CIA. It was quite an impressive group and I am very proud to have been brought into the fold with my work.

Leatherneck Gallery in front of the Vietnam tableau. Attendees of the Combat Art Symposium 2018. — in Triangle, just outside Marine Corps Base,  Quantico .

Leatherneck Gallery in front of the Vietnam tableau. Attendees of the Combat Art Symposium 2018. — in Triangle, just outside Marine Corps Base, Quantico.

That was when I knew about the calligraphy of tall grasses in a lush forest

"A priority should be the focus on the root of things, not the trembling leaf of your symptoms"
Jay Shetty

The best career coaching for artists I ever got was a very talented instructor who stood in front of a group of about 30 artists and said, "most of you in this class can paint as well or better than I can but not one of you will work as hard as I do."

Long ago I tried to get a sketchbook and pen into the Brooklyn Museum. It was inside a black shoulder bag. After a great deal of discussion I was allowed in only with a large sticker on my bag that said, "Photographer" . I wish they had stickers that said ARTIST. and I hope they have changed their tune.

It's funny you think of me as quiet and painting for pleasure.  If you could hear the very loud music I listen to and the curses I throw at my easel!  ha!  you'd be cured of that misunderstanding.
My studio is very busy these days and I am happy for that.  I recently got word that the National Museum of the Marine Corps wants me to continue making paintings!  There is a possibility for trips to gather resource material at Marine Corps bases in several parts of the world I've never traveled.  Norway was mentioned as one location.  I am very happy to be doing figurative painting with purpose!  People want to buy landscapes especially here in California, but figure painting is hard to place except maybe as portraits and photography has done in a lot of that market.  So I am happy to be accepted as an artist associated with a museum.  It suggests that some people in the future may have a chance to see my work and may be somehow inspired by the nobility of the medium.  

I do not remember names, but some faces.  There was a very thin man and quite humble.  He was from Egypt and once asked for me to demonstrate how I drew my monogram.  Several months ago I came upon a couple of pastel drawings that I had saved from those days.  One was an extraordinary portrait of ME by the Russian who was the first to invite me to sit in an open space next to himself.  I had been standing there holding clean stools and a new book of pastel papers.  Looking confused and somewhat stupid.  An English woman tried to insist that he do her son in black and white for 60 Francs and he refused repeatedly holding out for 80.  When it was obvious he would not take the work and she would not leave I politely inserted that I would do the child's portrait. After way too much time of me trying to chase down all the mistakes I had made in this poor kid's face someone came from behind me and in a quiet voice in French said, "Oh, I think it's done."  and I took it as the voice of god giving me a pass on this one!  I scribbled a few more confident marks just for the show and turned it to show the lady.  She was so happy the ordeal was finally over she paid me, snatched the portrait and left me just absolutely GLOWING with, "I just EARNED 60 Francs!"  It was a magical moment for me and I fell in love with France and the French people all over again.  Another artist I think may have been Spanish or Portuguese wanted me to understand something of sculpting volume in the face and did a beautiful sketch to demonstrate.  I still have it.  I remember a girl came from Germany and was a great success because she was the only one with watercolors.  And I remember the Japanese man you introduced me to during the time of your marriage. And another from Brazil? Argentina? Chile? who I once again met on visiting their apartment when I was there for your wedding.  I remember the Chinese who were rounded up with me included when we have ventured up to the Champs Elysee at night to work under street lamps in front of the shops. I remember a group of young Parisians who found me working late at Beaubourg and wanted me to do just one more and then they sat their very ugly friend down on my chair.  I'd been working very well all day long and my pastels were just SINGING with fluid movement and I thought this young man's face was full of sadness and HUMANITY.  When I was finished I wanted to keep that drawing I was so proud of it.  And I also wanted him to have it because I thought I have shown him the real beauty of his disfigured face.  All the love and kindness and humility I saw above his shoulders.  That was when I knew for a certainty that I love doing portraits!

My way of working is to put down a couple paragraphs like this
and then edit bit by bit for the next week.

Small Doses

You gain a much larger audience if you paint for those Posterity guys.

There was a time I projected a few drawings onto a canvas. What I can tell you for a certainty is that it is ONLY a matter of confidence. You CAN draw directly to the canvas. The biggest problem at first is simply getting used to the scale.  It's larger.  Shapes are big.  Gestures require more movement.   To get used to the scale I divide the canvas and or drawing into four quarters, or even eighths. Then, start sketching and don't worry that I won't be able to do it . . . because I know I absolutely can. And the work will retain the fresh energy that is put into figuring out how things should be. I just want to toss in this little bit of, "Go for it!" It's like this, I'm on mile 17 of a marathon and it's a hot day and I've got a long way to go and then, out of the faceless crowd a hand reaches out with a bottle of water, a voice yells, "You can do this!".

I wonder if you know about turning the canvas upside down? Do you know about using a mirror? Do you know about using acrylic paints with a sta-wet palette? These are things I found made it easier to do the work. Perhaps you already know -- sorry, I'm just a very old man trying to be helpful.

Many will be interested in how you do the work, but in the end, no one cares HOW you do something. There's hundreds of ways to get a likeness. Most people will respond to and care about the end product of the effort. They don't care how long it took. They care about; "Is it any good?"

History full of thousands who can paint a figure better than me and make it come alive with light and substance. All very humbling.  I always enjoy these small doses of humbling.
So thank you to all who participate in the continuing life of the Fine Art Painting.  : )

I'm happy to answer any questions about techniques and material. I'm no expert, but I've been at it for quite a while.
1.) the mirror is a small pocket mirror. You stop painting. Pull out the mirror and hold it close to your face such that you are able to see the canvas and your reference at the same time. Like when you turn both upside down; suddenly you see where you went too long, too dark, too much  angle or not enough curve.
2.) The Masterson Sta-Wet Palette is the only sensible way I have found to paint with acrylics. It is an enclosed plastic pan. watertight when sealed. Inside is a thin wet sponge that covers the entire floor of the pan. On top of the wet sponge is a sheet of specialized paper that is prepared for use by soaking in boiling water. That paper stays wet the whole time. It will keep acrylic paint wet to use all during a painting session. It even keeps it wet out on a sunny day if you keep spraying water at the edges and corners. When the thing is closed, the both the atmosphere inside and the paper surface is wet enough to turn paints into liquid overnight. So, I scoop the paints onto a small glass for overnight. The palette paper is surprisingly durable and if kept wet can be used over and over even with a palette knife.
Well worth the purchase if you're going to stick with acrylics.

There is a common misunderstanding to acrylics for painters new to the medium.  That is the tendency to dilute paint with water for the effects produced by thin paint.  Acrylic emulsion is a necessary binder for the pigment.  For thin paint effects try using a medium to mix with the paint rather than diluting it with water.

Even if you want to use digital or mechanical means of getting a likeness, it is always good practice to see how close you can get by just eyeballing it. Keeps you tuned up.


Have Courage !

To a young artist today I wrote, "You have been drawing and painting your stories, your ideas and your friends.

They must think it is truly wonderful and revealing of your natural talent and your desire to make art.

I see you struggle with some of the great problems of representational painting.

How to incorporate a figure into an environment, for example . . . or how to balance the elements of form: 
Figure/Ground, Line/Mass, Perspective/Pattern, Hue/Value/Chroma, Image/Symbol, 
Meaning/Feeling, Imagination/Vision, Harmony/Discord, Transparent/Opaque.

These are the qualities that will carry your story in pictures however you choose to tell it. 

They combine to make a kind of visual poetry that will express Life itself when used effectively.

And it takes a lifetime of learning to master the Art of Painting.

You’ll find it is solitary work before a broad audience and you'll find a classroom everywhere.

There is much that can be described. Much to be taught. Everything to be observed and contemplated.

There are many teachers to point you in the right direction but only you are left to learn each lesson.

The steps along the way may seem heavy and hopeless or light and effortless.

Progress will trip over its own feet. Failure will reveal a delightful miracle!

The question “Why?” is asked and not answered so frequently it leaves a scar deep in your heart.

Distractions are so seductive; Disappointments are crushing; Money will shine like a trophy on the easier path.

Fun will flirt with your friends. Success will dance with your competition.

You may receive awards and sales and words of congratulation .

The thing you care about most may seem beyond reach.

Like light itself, it illuminates all you value but cannot touch. 

It is a lifetime of learning and hard won skills.

And the only possible response is to continue if you can. 

The reward you hunger for becomes simply to be able to continue the work, your exploration, your adventure, your mark.

There are some who say,

'If you can be discouraged from continuing in the pursuit of Art then you should be.'

The great challenge!"

Have courage!

On Leary and Deeds

Thank you for sharing this, John! There’s a lot that works for this image, especially in that it’s highly legible without relying on explicit detail: there's some beautiful planes at work in the faces of your subjects that are defined almost purely in color, and some very rhythmic, if not outright cinematic, diagonals at work (see attached) that frame the essentials. Your choice of complements not only suggest a convincing time of day, but are also mechanically dramatic. 

Someone asked me:
If it’s okay to ask a few questions to better inform any further comment, technical and otherwise, what’s your intent with an image like this? Do you believe that intent has been achieved, or is there a next step?

And my response:
Thank you for your comments, Jean.  I worked from a photograph for that painting.  A photograph taken by CWO-2 Michael D. Fay USMC (retired).  If there are structural dynamics that appeal in this painting it will be largely because they exist in the photograph; the color, the diagonals, the cinematic close up.  It may sound like I'm being evasive but it is simply the case that something in the photograph resonated with me.  I saw it and responded immediately.  Here is a note I wrote to the mother of one of the Marines in the painting, Mrs. Deeds, whose son died not long after the photo was taken. " I'm new to the Combat Art Group. When I saw the photograph Michael took of Leary and your son it struck me as an extraordinary portrait of these young men standing guard like combat angels over the very foundations of civilization. The brilliant morning sun and chill in the air only heightened the effect. I want you to see the painting I made in tribute to this. I send you my deep condolences and profound gratitude for the sacrifice your beautiful family has made."  

I guess the point I'm trying to make is that my input had something to do with my skills as a painter but more importantly it has to do with the certain emotional pitch inherent to this intimate scene. It was captured first by Mr. Fay. and I used the vocabulary of paint to add another layer of humanity to the image.  A painting is not a mechanical reproduction. That very conversion from photograph to paint is a statement in itself. You see the animated dance of light in textures and shaped surfaces. You see the abrasions of life itself registered in flesh tones from the wobble in my hand for example.  The uneven brushwork echoes the vulnerability of even the fiercest warrior. And these two Marines were not that. Strong they may have been, determined and vigilant yes, but they are young.  They’re colored by exposure to desert sun and darkened by the mood of a backlit sun.  Their faces cupped in helmets and balaclava. They are tired.  They are wary.  They have a job to protect the innocents living scattered lives in a war zone.  These Marines have unrealized dreams packed away in the tight script of letters back home written in pencil so neither tears nor rain can bleed their impact.  

I am surrounded daily by artists whose work captures the mundane aspects of life in the civilian world and I, myself, make similar contributions. We’re all trying to flex our muscles, show off our skills.  Show what there is of our lives that has aesthetic merit.  Some are amazing in their ability to render human form, or the petals of flowers, the light raking a landscape. However in this painting of Leary and Deeds I was able to cry humanity . . . humanity with a finger on the trigger of a deadly weapon.  The confidence of superior firepower tempered by a deep concern for parents and children, brothers and sisters, strangers.  I saw in this image the warmth of a gloved hand and the sun blinding a distant mosque tower. 

How long does it take?

Someone wants to ask, "How long does it take to do that?"

You tell them you were very direct about it and proceeded from beginning to end with deliberation.

That the painting was done in the amount of time it takes to do that much brushwork on that much canvas with a bit extra thrown in for corrections.

They will be amazed to hear it and back away blinking and thinking you're some wonderfully talented painter.

On Victor's drawings

Thinking of Victor Juhasz drawings

The common man with honest eyes sees extraordinary things in the fleeting moment and responds with the rush of a pen and a whispering line to bear up startling figures and action brought abruptly into eager focus. "I can see it!", I think. And for a moment it feels like I was there with you, with your open book story and life tossed and turning on the page.

All it takes is one beer and I start writing like that. LOL

Presentation to the Chiefs

I was a volunteer fireman on Long Island for some years. 

So I have some idea what the local uniformed services had to deal with during the wildfires of last year.  

All the heroic labels and stars on the uniforms aside, I know it’s a dangerous and unpredictable business.


Now I live here in Santa Rosa and I like it very much.  

I am an artist.  A painter.  I do portraits in Oil.  


I wanted to say thank you to some of the main people who participated in the fire event of last October.

This is how I can do that. With paintings.


So, I met with Mayor Mr Coursey and the Santa Rosa City Council to acknowledge the uniformed community leaders who were on duty in October of 2017 

You were not able to be at the presentation of portrait paintings I made to Santa Rosa Fire Chief Anthony Goessner.  Santa Rosa Police Chief Hank Schreeder. And Director of CalFire Ken Pimlott.  


I am happy to be here today to present this painting to you, Sherriff Giordano

The inscription on the frame of each of the paintings reads “In recognition of those on duty who rose to that daunting task October 8, 2017.”


I can say to you without reservation, Thank you for your service.

WW 1 Memorial Relief Sculpture

Project: Pershing Park WW 1 Memorial Relief Sculpture
Date: 2018-07-19

Ladies and Gentlemen -- The Fine Arts Community of the United States is sorely in need of some recognition in the FIGURATIVE TRADITION.  We have a proposal before us by the exceptionally skilled Sabin Howard for a World War 1 Memorial Wall relief depicting the depths of experience in narrative format of a soldier during WW1.  It is a very personal statement of military combat experience as well as a very public statement relating to the humanity of our fighting forces.  Please, show your support for the arts and for our country and for the military men and women who give so much of themselves for the promise of peace and security for all.

Ha, Ha !  You caught me being generous to a guy I admire for his painting skills.


Let me preface this comment by saying that I don’t want to get into some tit-for-tat argument by graduate school drop-outs on the necessity for art to be either THIS WAY or THAT.  I’m just going to put this thought out there.


I’m gonna guess that this first photo is a poor reproduction of the “four white dots” in the painting.  The painting shows up better in the photo on the jssgallery.org website.

An attempt to make the “portrait a picture” by the addition of the globe behind and the Saint Martin and the Beggar above in the composition is evidence of his willingness to move objects and people around for the sake of a better arrangement.

Since the black robes were a necessary inclusion and as the figures are likely to approach life size there is the requirement of integrating large dark areas.  


These men are teaching doctors whose careers made significant advances to the concept of modern medical practice.  How better to portray this advance than to describe upright figures robed in black that find themselves anchored to the dark yet projected forward of it —the figures thus emerging from this dense atmosphere into light.  Their occupations moved by warm currents stirred in the parquet floor, the forward projection of a desk, the draped code of academic regalia and the rising flow of that engulfing background.  An enormous globe . . . humanity, if you will . . . pressing outward from the central figures rounding to them and forming a bridge to connect the one with the other, their arabesque of hands claiming shared knowledge in the texts laid about on the table.

Quotes from contemporaries who actually saw the painting:

"A marvellously fine composition... The dextrous way in which the artist has used the hoods, the books, and the globe to relieve the gloom of gowns and backgrounds is beyond praise."   

-London Times   

"Touches on absolute mastery within the limits of its aims. ...The masses of black are strong and elastic in structure, and each brush stroke is directly descriptive of surface character. The background is nobly handled, and the execution throughout of a power and insight that belie the rather photographic arrangement of the subject."   

-The Athenaeum 

Problems solved

It's a sad comment on the culture but we all spend an inordinate amount of time trying to figure out the solution to painter's problems that had been solved 150 years ago.  Then comes a couple generations of "We don't need no steenkin badges" artists and it's almost all lost.  The last 20-30 years have made some progress.

The whole pearl

Why I never finished a Masters Degree  6/10/2018 8:02:38 PM

What follows comes on the heels of a discussion on painting with an art teacher. Sir !  

If you describe Henry Moore, Giocometti and Calder as "Sight Size" sculptors then we do not refer to the same thing.  

What I speak of is the work of sight-size observation and fine art painting as taught by the gentlemen you so uncharacteristically disparaged in your previous comments.

I have had the privilege of working on two life sized figure pieces in this method at my own expense. Your argument that this is a shape isolating method of painting neglects the essential search for observation of ALL formal aspects of the subject. Your argument hints that you have not worked extensively at this task and that you have come up short in your understanding of it's premise and benefits.
Once again, I say . . . popular though you may be . . . that you are mistaken in your short change comments about a method of working which some fine art painters have found to be exhilarating in it's promise to reveal something true, honest and dignified about our physical presence on this earth.
Do not believe that the students trained by another master will come to you carrying the whole pearl. They come to you perhaps having tried to pry open the jaws of this difficult problem but having failed. In short, you base your argument against the A+ student by referring to the evidence brought forth by D- students.
Modern life surges with a tide of image makers of every sort and at every turn. So few practice the art of fine painting and not so many more than that are interested in investing in the practice. We should not be reduced to a battle cry at every meeting with someone in this small community by the thought that they may increase their audience only by reducing ours. 
You are a wonderful artist and an excellent teacher but you diminish your effectiveness by these thrusts.  
By the way, I have a wonderful photograph of you with your little dog. It is one of my fondest memories from the Portrait Society Conference.

Room enough

The visual experience of a painting happens between an audience and the canvas. Those few square feet of air are room enough for the imagination of mind to explore countless and subtle emotions, time and space. The photographic image is ubiquitous and the population believes them to be authentic. Even despite the advantages and disadvantages how can photography not be a valid reference for painters ?  

The human touch

I think people have now and will continue to have a hunger for things made by hand. Things that have been warmed in their creation by a human touch.

The real trophy

 My response to a painter who wished to have her friends success:

"I think maybe better to simply admire the skill of our friends. Painting skills in the studio are hard won from long hours of work and deserve appreciation.  'Success' is a lucky stroke given haphazardly to one of any number of similarly talented painters. You can't wish for success. If you were lucky to be recognized for your work, the real trophy is the time you have been given to continue."

Sketchbook Memory

A podcast called "You Are Not So Smart" recently had some comments about this. In an experiment, two groups were tested on their memory of a trip through a museum. One group had cameras. The other group did not. On tests of their memory after the museum visit, the group that did NOT have cameras had more accurate memory of the experience. HOWEVER, the group WITH cameras did much better as days passed . . . as long as they had access to the photos afterward so they could revisit the images. That being said, it is my experience that if I have a camera, there is a strong pull to take photos. If I do not have a camera, I do drawings and sketches. If I do drawings, I remember everything better than just from simple observation or from revisiting photos taken at the time.

A few Thoughts from the Studio.

A few Thoughts from the Studio. 2/21/2018 3:50:38 PM

1.) Paint because you love to paint . . . because that is the instrument best suited to your hand. That's reason enough to continue. Sometimes a swimmer will find the current goes against his direction, and sometimes it goes with. The swimmer continues because the current is part of swimming. A climber will encounter loose gravel; a hiker will be out in the rain. geology and weather are part of the game. If you've found the instrument best suited to your hand --keep using it.