We perceive solidity and volume in nature through our interpretation of the ways in which light and shade fall on form. How amazing, then, that the artist can re-create this illusion on a flat piece of canvas, or paper. At times, one is provoked to exclaim, “But how did they DO that?!!” Meaning, how was it possible to so convincingly depict something so solid, so real, so graspable, so within reach, through the means of such an ordinary utensil as the pencil (or paint, or whatever)?

In my work, I try to perform this magic through the incorporation of the object (usually a person) with at least a piece of the atmosphere surrounding it, in order to, in effect, “draw the air.” This can only be accomplished by a careful observation of the ways in which light and shadow intermix. In fact, for me the most intriguing part of any image is the area of exact intersection between the two (I suppose technically the “plane break”). As I work, I frequently remind myself, “the magic is in the mid-tones.” I pay great attention to the ways in which a shadow confronts an area of light, whether there exists a hard or soft “edge,” and where an edge can be altogether ignored.

Children draw in line. Many professionals, for that matter, draw or paint an outline, then “color it in.” But as has often been observed by artists, lines do not exist in nature. The way in which a child draws, say, a sun, is a total abstraction, with no correspondence to nature. Since our earliest exposure to art, through coloring books and comic books for example, we learn to focus on outer contours, whether they are actually observed, or completely invented. When I was a student many years ago at Cooper Union, we were urged to ignore “shading,” as it could only lead to the great evil: rendering. Linear drawing was however acceptable, as it was by definition “abstract.” Needless to say, I now reject this premise completely.

Many great artists have experimented with the downplaying or even elimination of these defining lines, including Leonardo, Seurat, and Eugene Carrière. They have focused on the interior that lies within perceived volume.

Objects in space have edges, but rarely free-standing lines. Thus, I try to acknowledge the ways in which an object meets that which is behind it. Usually, this is defined by a tonal difference, and that is what I strive to record. Often, very little detail is observable within a light or dark area, and I then simplify those shapes wherever I can.

Returning to my work’s subject matter, usually a professional model, it is unfortunate that the issue of nudity continues, at least in the US, to be even worth discussing. The unadorned human form is, for me, infinitely more interesting to work from than, say, a piece of fruit or a vase. We are who we are. I personally am not a still life or landscape artist. Maybe not forever, but for now.

There are those who prefer not to display a nude on their walls. So be it. Personally, I find every human being wonderful to draw or paint. Although models tend to be the young and the beautiful, if the lighting is magnificent in a studio, I don’t care a bit who climbs onto the model stand.

MY Fav N*des HM

See my current listings in the 'Art Log'

My Fav N*de HM

Jean Marcellino -- Notable Dates

2008—Acquisition of oil painting, “Portrait of Sandra Day O’Connor” by
The Smithsonian National Portrait Gallery, Washington, D.C.

        
2007—    Curator’s Choice Award, Barebrush.com for November

        Participation in group show at The Atlantic Gallery, New York

        Curator’s Choice Award, Barebrush.com for October

        Award of “Red Dot” (Best in Show) in group exhibit at The Art Students League

        Visiting Artist at The American Academy in Rome. Project: drawing Bernini statues

        Smithsonian National Portrait Gallery, Washington, D.C. group exhibit, displaying
         “Portrait of Sandra Day O’Connor” (oil on linen from life)

        Consulting on exhibit of “Dancing by the Light of the Moon:
        The Art of  Fred Marcellino” at The Los Angeles Public Library

        Participation in group show at The Century Association

        Participation in group show at Dorothy’s Gallery, Paris, France


2006—    Sandra Day O’Connor poses for The Painting Group

        Enrollment in The Art Students League, drawing with Ephraim Rubenstein

        Participation in group show at The Atlantic Gallery, New York

        Participation in group show at The Century Association


2005—    Admission to The Painting Group
    
        Participation in group show at The Century Association


2003, 2004—Graphic design of annual report for The RAI Corporation

        Admission to The Century Association, participation in its Sketch Club

        Beginning of concentration on fine art, after 45 years as a graphic designer, and
        art director/creative director


2002, 2003—Launch of the www.pulcinellapress.com website

        Conception and design of “The Art of Fred Marcellino,” a book
        displaying his art work

        Inception of Pulcinella Press, a corporation devoted to the illustration, design
        and fine art of Fred Marcellino, who died July 12, 2001

        Consulting on exhibit of “Dancing by the Light of the Moon:
        The Art of Fred Marcellino” at The Norman Rockwell Museum, Stockbridge MA

        Creative Director at J. Walter Thompson