Brad Marshall-Artist's Bio
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BORN |
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1955 |
New York City, NY |
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EDUCATION |
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1978-80 |
San Francisco Academy of Art, San Francisco, CA |
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1977 |
Los Angeles City College, Los Angeles, CA |
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1973-77 |
University of Florida, Gainesville, FL BA-Psychology, Suma Cum Laude, Phi Beta Kappa |
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SOLO EXHIBITIONS |
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2014 |
Italia, Fischbach Gallery, NY |
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2012 |
Diaries, Fischbach Gallery, NY |
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2010 |
Outlook, Fischbach Gallery, NY |
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2007 |
ARC, Fischbach Gallery, NY |
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2005 |
The New York Paintings, Fischbach Gallery, NY |
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2002 |
American Landscapes, Fischbach Gallery, NY |
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SELECTED GROUP EXHIBITIONS |
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2015 |
Some Like It Hot!,Fischbach Gallery, NY |
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2010 |
Night & Day / Day & Night, Fischbach Gallery, NY |
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2009 |
Everyone Loves Good News, Fischbach Gallery, NY |
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2008 |
Artists of the Hudson River, Pelham Art Center, Pelham, NY |
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2007 |
Art of the Gettysburg Review, Schmuker Gallery, Gettysburg, PA |
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2007 |
Now See This, Fischbach Gallery, NY |
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2006 |
Lost Art, Fischbach Gallery, NY |
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2004 |
New York Plein Air, N. Westchester Center for the Arts |
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2004 |
Little Worlds, Fischbach Gallery, NY |
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2002-2003 |
6 Realists, General Electric Company, Fairfield, CT |
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2002 |
H20 ’02 Paintings of Water, Fischbach Gallery, New York |
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2002 |
Contemporary Realism V, M.A. Doran Gallery, Tulsa, OK |
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2001 |
Paradise Found!, Fischbach Gallery, NY |
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2001 |
Spectrum, Hunter Museum of American Art, Chattanooga, TN |
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SELECTED COLLECTIONS |
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REVIEWS & AWARDS |
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2012 |
The Complete Painters’ Handbook, Contributing Artist |
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2009 |
American Artist Magazine, Featured Article |
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2006 |
First Prize - National Arts Club Annual Exhibit |
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2003 |
The Gettysburg Review, Summer {Cover Feature} |
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| ARTIST'S STATEMENT |
The
Twentieth Century brought us the concept that a painting was not
a representation of something, but the thing itself. This led to the
exploration of more abstract and nonrepresentational work. While I
appreciate the genius of modern painters, I do not think the millennium
of representational work should be disregarded. A realistic painting,
bringing the viewer a frozen moment of an object or a scene or a
person, and thus engaging them, so that they bring themselves into the
work, is still something to be desired and striven for. In my landscapes, I try to paint more than just a realistic image of the scene. I do not want to simply re-create a photo on canvas. I paint the sublime places I have seen, trying to capture some of the feeling of that place in the painting. Rather than painting from a single photo, I work from studies and sketches as well as many photos that I've taken at a site and use various elements from them along with my personal observations to form a more captivating picture. I try to create a composition that gives the viewers a sense of place. My hope is that they can feel something of what I experienced when I looked out at these glorious sights. And so in all my work, my hope is not for people to see pigment scattered over a surface, but rather a moment of light. For the viewer to forget that the painting is a thing itself. |
| Brad Marshall |