For more extensive artist's bio, articles and list of exhibitions, visit artist(s) website(s). Many of the images displayed on this site are copyrighted, and are used here only for purposes of education or critical review. All rights are reserved by the artists who created the works referenced herein.

Painting is silent poetry, and poetry is painting that speaks. Simonides

Dean Fisher






















Dean Fisher



EDUCATION

1978 - 1982 American Academy of Art, Chicago, Illinois

1984 – 1988 Independent Study; Copied Master Paintings in the

Prado Museum; Madrid, Spain, The Louvre Museum; Paris

France and The National Gallery of Art; London England



GRANTS, SCHOLARSHIPS and SELECTED AWARDS

2008 Connecticut Society of Portrait Painters- 1st Place Drawing Greenwich, CT



2006 New Haven Brush and Palette Club 1st Prize



2005 Connecticut Society of Portrait Painters 2nd Prize

2004 Silvermine Arts Center, AONE Award for Painting

1981 Elizabeth Greenshields Foundation Grant

1980 Terrance Gallery Award

1979 Arts Club of Louisville



1978, 1979, 1980 American Academy of Art Scholarships



1978, 1980 Union League Club Scholarships


PERSONAL

Instructor of Painting and Drawing & Guild Member, Silvermine Arts Center, New Canaan, CT



Living and Working in Milford, Connecticut




















Artist Statement:
While normally being inspired to paint or draw just about any form which is bathed in light, I am particularly interested when challenged to arrange a grouping of forms within the format of my canvas or paper to suit my aesthetic needs.

The physical, “real” world is visually fascinating to me; I strive to represent solid forms with fidelity; figure, tree, cup, etc. with a sense of breathable air around them combined with a tactile quality of surface which can bring the viewer closer to the painting and the made by hand process which was employed to make it.

My preference is for suggested color as opposed to saturated color.

I seek an interrelationship and fluidity between the forms represented.

The feeling which is most often repeated in my work is that of equilibrium and balance and occasionally a gentle lyricism.

Most importantly, I purposely try to avoid over explaining my art with the hope that the viewer comes away with her or his own impressions, interpretation or narrative of the work, when that happens naturally I feel the work is serving it’s purpose.


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