The Golden Gloves, 2016.

The Golden Gloves, 2016
oil on linen canvas - 80x60cm

In the second of my new works for 2016 I returned to a familiar subject. My Grandfathers boxing gloves, which hang on the wall of my studio, were left to me upon his passing in 1994. 

In August 2014 I created a smaller sketch in oils of this personal and iconic symbol. I hope placing a broken egg shell under the gloves in the original composition would contrast the sometimes violent sport and my gentle Papa while at the same time evoking the idea of the fragility of life and the dreams we create.

These gloves were worn by my grandfather Dick Hearns when boxing for Ireland v USA at Soldier Field, Chicago, in 1933.

Dick fought Max Marek in the light heavyweight division.  Marek had defeated the legendary Joe Louis in the final of the US Amateur Championships that year.  Louis became one of the greatest Heavyweight Champions of the world.

The following is an extract from the report of the match in The Chicago Tribune -

"The 40,000 patrons put up a terrible squawk when the decision was given to Max Marek, veteran Chicago lightheavyweight, over Dick Hearns of Ireland.  This happened to be the bout which clinched the championship for the US and though Phil Collins the referee, decided for Hearns and properly so, the judges gave it to Marek.

Though the decision went to Marek, giving the US a certain victory, the crowd did not take kindly to the decision.  Hearns traded punch for punch with Marek all the way and the margin, if there was one in this bout, might have been given to the Irish lad.  Certainly the crowd seemed to think so, for it seemed as if 40,000 varieties of booing, stamping of feet and plain and ordinary squawking resounded through Soldier Field for a long time making the introduction of the heavyweights who fought in the closing bout an impossibility".

Dick Hearns was my Grandad.

New Works: Container 2016

Container, 2016 
oil on linen canvas - 80x60cm

Just put my signature to this painting which is the first in a series of recently finished representational still life paintings. 

Created in my studio the painting along with several others were began several months ago.

I have much news to share with you about my travels and recent experiences in my practice. But I just want to concentrate on my work for now. 

- Richard

Winter newsletter coming soon.

Guys, I've just completed a little work updating my Official Website and am about to finish and post my Winter Newsletter which will contain details on coming shows, images of works in progress and future plans for 2016. Visit www.richardhearns.com And add your email to the subscribe feature to receive this quarterly newsletter.

Work in Process

Before leaving Ireland on this trip I was working on a number of important commissioned portraits. Here is an image of one such portrait on my easel - The Legendary concertina player Chris Droney.

Darkness to light through love and inspiration

Article: Darkness to light through love and inspiration.
http://www.independent.ie/entertainment/theatre-arts/darkness-to-light-through-love-and-inspiration-for-artist-richard-hearns-34311426.html

Above a link to a recent feature/article and interview by Hilary Adam White which appeared in the Sunday Independent newspaper on December 27th.

Happy New Year to all my friends and family around the world.
Wishing you a joyful,  peace filled, creative and prosperous New Year 2016.
- Richard and Boo Hearns

Rembrandt's Bed

Rembrandt's Bed, 2015 - oil on canvas panel.

Wishing you all a cozy, joyful, festive and peace-filled Christmas.

Yours In Paint,
Richard Hearns.

Adoration

Adoration, 2015 - oil on panel

Private Collection, Ireland.

‪#‎oilpainting‬ ‪#‎stilllife‬ ‪#‎realism‬ ‪#‎richardhearns‬ ‪#‎studio‬ ‪#‎art‬

Two Works Old and New

'The Painters Lunch' and 'Lead White'.
oil on panel - 12x9

contact, info@richardhearns.com for pricing.

A Basic Precept

For the longest time now I'd been meaning to post an image of this Monet painting that I encountered for the first time at The Fogg Museum on the grounds of Harvard University, Cambridge MA in October of this year.

On seeing this painting, which I feel is one of Monet's finest little works, something fundamental occurred to me. Other then being an expression of his influences, namely Eugene Delacroix's romantic large flower paintings and the other impressionists' interpretations like Manet's studies of the Spanish, Dutch and French still life traditions, particularly his copies and emulations of the works of Jean-Siméon Chardin, whom I love - this small unassuming painting illustrates something wonderful.

That is, that on seeing this piece it reenforced in me the basic precept that fundamentally a picture or painting first and foremost should be an expression of its materials! It seems a basic enough idea and quite an obvious one you might say, but there exists so much work out there in the world that does not measure up to this basic need. An oil painting should be 'painted' and an expression of the medium. The subject matter is secondary to this basic idea. This point is clearly stated in any masterpieces which transcend and elevate even the most basic subjects. It's my believe that the statement is made through the way the paint is applied. How the artist understands and uses his chosen medium is of utmost importance.

I believe the evident lack of this basic precept in many works is largely due to the painters misunderstanding and seeming lack of empathy for his primary concern - the stuff of paint itself.

Claude Monet's - Red Mullets, c.1870
Oil on canvas

#monet #eugenedelacroix #chardin #oilpainting #stilllife #impressionism #realism #richardhearns #studio #harvard #thefoggmuseum

Supper for Hecate

The ancient Greeks and Egyptians were known to leave Garlic outdoors to evoke the deities.

I created this simple composition in Valencia, Spain earlier this year as I scoured a kitchen late one evening simply looking for subjects or objects in order to 'keep my hands moving'. 

Hecate, the ancient Greek Goddess was associated with crossroads, entrance-ways, light, the moon, magic, and a knowledge of herbs, poisonous plants, and sorcery among other things!
The origin of the name Hecate is not known, but suggested sources include the word in ancient Greek for 'will' and from some obscure texts including Ovid's Metamorphosis: "she that operates from afar", "she that removes or drives off", and "the far reaching one" - which all kind of sounds like how Garlic operates doesn't it!?  - What with it's pungent smell, and how in regards to more recent folklore and myth it's been used to ward off sinister spirits. 

The Greeks left offerings of garlic at village and town crossroads to appease this Goddess.
Hecate is often depicted as a three formed figure - omni present and manifold in her mystic nature.

I like the idea of 'crossroads', metaphorical crossroads that is. How often in our lives are we faced with a decision to make? A defined juncture? A new leaping off point into a vastly uncharted place. Don't some of us wish for this excitement each day and to be brave enough to leap out into the unknown freely!? But as human beings we also have a tendency to pine after the familiar. 

I'm confident that in many ways the process of making or creating draws us in and presents for us new junctures and crossroads daily - allowing the opportunity to investigate, build faith through our efforts and expand further to ever uncharted places through our chosen medium.

Supper for Hecate, 2015  - oil on panel - 12"x12"
Composition with Garlic Bulbs and Basket.

#art #oil #painting #stilllife #realism #richardhearns #fineart #studio

On the Pavement.

Leaf, 2015 - oil on panel - 12"x12"

Buoy

Often times due to my enthusiasm and admitted lack of patience I plunge ahead and post an image or even exhibit a painting before it's 'complete'! It's actually this precise act that at times leads me to want to take the painting back into my studio to work on again. 

I'm convinced seeing paintings in different environments helps one to evaluate the work anew and am sure this is the case for very many painters. In fact I've heard many artists including the renowned Frank Auerbach and Anselm Keifer admit the same when it comes to their practice so I'm sure it's all part of the process. At the same time I find it's vitality important not to brud over a piece. It's such a delicate balancing act!

On getting home after my exhibits and travel in the US this year I saw a 'way in' to a number of pieces and decided to give them more time - seeing if I might be able to improve and add further resonance to the works. It's  a curious relationship! 

It can be a curse reworking images and you must be careful, but as I mature I'm finding I have more patience and want more time in many cases to spend with my paintings and bring them to where I want them to be.

Buoy, 2015 - oil on panel 12"x12"

#art #painting #stilllife #richardhearns #studio #frankauerbach #anselmkeifer 

Buoy

Often times due to my enthusiasm and admitted lack of patience I plunge ahead and post an image or even exhibit a painting before it's complete. It's actually this precise act that at times leads me to want to take the painting back into my studio to work on again. I'm convinced seeing the my paintings in different environments helps one to evaluate the work anew. And am sure this is the case for many painters.

The painting below was one of the paintings that featured at one of three private collector viewings organised in New York City this October. On getting the piece home I once more saw a 'way in' and decided to give it another go seeing if I might be able to improve the piece. I'm satisfied that I could and did in this case. It can be a curse reworking images but as I mature I'm finding I have more patience and more time in many cases to spend with my paintings and bring them to where I want them to be.

This painting of a Bouy, with it's ...... contains many of the attributes I find appealing in a painting.

Buoy - oil on panel 12"x12"

Pencils and Postcard

Pencils and Postcard - oil on linen - 12"x9"
Private Collection, Maine ME.

This Still Life painting depicts my jar of my colouring pencils and a postcard reproduction of Sorolla's painting 'Alberca del Alcazar de Sevilla' from the Museo Sorolla in Madrid.  Myself and Boo first visited Madrid in 2009 on our honeymoon and then again a year or so later when I had the chance to visit Joaquín Sorolla's home which is now a Museum. Sorrolla's painting of an archway and pond struck me as I was made aware that this painting, along with an array of other pieces painted in his home garden were some of the last works the artist created.

For ten years leading up to these pieces Sorrolla had been inundated with a huge mural like commission for the Hispanic Society building in New York City and an array of commissioned portraits. Some say that this grand commission for the Hispanic Society headquarters very nearly killed the artist both physically and artistically. I've seen that mural in Harlem and think it is one of the most incredible accomplishments in the history of representational painting. That being said it is necessarily stylised and staged in it's depiction of the many different regional cultural aspects of Spain but it also shows the breath of Sorrolla's knowledge with regards to composition, brush handling, problem solving and colour etc. It's an incredible feat of accomplishment.

All the same, I really enjoyed spending time with his quieter garden scenes and sketches as they struck me as 'the real Sorolla' and I'm sure provided him with an oasis of sorts at this time in his later years. 

My painting entitled ' Pencils and Postcard' is lite by north light which filters in all diffused through a side window in my kitchen. I hoped this softness would echo that quietness and stillness in those works of Sorolla. 

In this work I applied a harmonic pythagorean grid or the armature of the rectangle to aid me in the placement of the various objects at the outset of the painting, allowing two pencils at far left and right to run in exact correlation with two of the major diagonals.

I hope you like it.

- Richard Hearns

In Orange and White

This piece was all wrapped up in a far off land this past year or so. It's been great to reunite.

Many times on seeing an old work you beat yourself up a little, recognising elements in your painting that needed improvement or recognising things you didn't quite understand. But every once in a while you give yourself a pleasant surprise. This certainly was the case with this painting. It's great to have it back and I'm confident to find a home for it in the coming weeks.

Still Life with Orange and White, 2014 - oil on linen - 12"x9"

Still Life with Pumpkin and Grapes

Hailing back to an earlier colour approach, this liner composition works to create interest by the contrasting of subdued colours and neutral tones set against a warm coloured centre of interest.
Working mostly in cool greys and blues in the surrounding space and background, I also kept the detail in rendering the individual grapes to a minimum so as to lead the eye to the centre of interest created by the punch of warm orange and reds found on the active surface of the pumpkin.

I'm really quite fond of the 'paint handling' and varied surface quality found in this piece.

I hope you like it.

- Richard

Still Life with Pumpkin and Grapes - oil on panel - 12"x9"
For pricing and purchase information please message me or email info@richardhearns.com

Hand turned Bowl

Hand Turned Bowl - oil on canvas - 20"x20"

The challenge of describing a dense wooden turned bowl and a delicate thin glass vessel with the same brush gave me a feeling of accomplishment. It's always like this when painting directly and from life. You are confronted by your chosen objects and must find a way in - a way to begin. A good deal of trust is necessary at this stage and many people on seeing the initial stages of the painting would not be sure or convinced at all of where the piece might be headed.
I'm not at all saying I can see the finished work in my minds eye and work towards that end but I do endeavour to solve one problem after the next until the piece is resolved.

This painting also featured in my exhibit in LA at the end of last month.

For purchasing information please contact, info@richardhearns.com or message me here.

Aqua de Valencia

Aqua de Valencia - oil on linen - 20"x20"
Private Collection, Pasadena CA.

Started some months ago the 'pulp' of this painting was created in the first couple of sittings but I returned to work on it later intermittently. 

I brought this painting along to feature in my most recent solo show in LA. It's always an amazing thing to see where a painting ends up and who connects strongly with the piece. It's my belief that a painting always finds it's rightful collector - thus completing and continuing the cycle of it's creation.

A Mans Work

A Man's Work - oil on panel - 12"x12"
Private collection, Pasadena CA.

One of my recent still life pieces which I brought to the U.S. to feature in my first Los Angeles solo exhibition. The title generated some interesting conversation!

The work has found it's way into a very special home and private collection.
Huge thanks to all who attended and supported my show 'Communion' which opened at All Saints Church with the help of the Former Director of the Armoury Centre for the Arts, Jay Belloli.

I'll post more images of the opening night as soon as I can.
I think I may even have a recording of my conversation with Rev Ed Bacon to share with you all too.

- Richard

North Light with Tea Pot and Pumpkins

It's all about Halloween here in New Orleans. In fact it's hard to find food that hasn't got additional pumpkin in it. Even the coffees have some additional flavour from the cucirbit (squash) family.

I created this painting entitled North Light with Tea Pot and Pumpkins just before I left to New York. It's found its way into a very special collection north of here in Scarbourough, Maine.

Hope you like it.

Best wishes from The Big Easy.

- Richard 

North Light with Tea Pot and Pumpkins - oil on canvas - 20"x20". Private Collection, Maine ME.