Work samples
-
Open
I pushed the classical technique of painting thick lights and thin darks to an extreme with this painting. In the light the brushwork is loose and textural. In the shadows the paint is almost non-existent. There is little room for error to achieve this look. For this portrait, all the steps came together and fell perfectly into place. I strive for this with all of my paintings.
Oil on Belgian linen on board, 11" X 14"
-
Fibonacci Skull
My current direction is towards more technical and monochromatic works with mathematical planning. "Fibonacci Skull" is the inspiration for my work moving forward. A lot of thought and measurements went into this piece, and then it was executed quickly and painterly.
Oil on Belgian linen on board, 11" X 14"
-
Aureate
I have been pushing myself as an artist to be looser while employing classical techniques to achieve a realistic work with a more contemporary feel. "Aureate" uses the Fibonacci spiral with color theory during much advance planning. The actual painting is laid in quickly with juicy brushwork. The eye moves around and through the painting with the color and drawing.
Oil on Belgian line, 18" X 24"
About Rebecca
Do traditional art methods have a place in contemporary art? My career as an artist has been devoted to answering this question. I have always had a love and appreciation for the skill of the Old Masters. I came to Baltimore to study their materials and techniques in the atelier program at the Schuler School of Fine Art. For me the future of art includes a return to beauty, draftsmanship, and classical concepts.
In my own art I use traditional skills to portray contemporary themes. I… more
Portraits in Sculpture
Sculpture and portraiture are my two deep loves in art. Models and clients are always overjoyed to see themselves portrayed in such a timeless medium. Everyone I meet instantly becomes a bust in my mind. I wish I could sculpt everyone I meet. My self portrait in terra cotta is my favorite self portrait to date.
-
Day
Sculpture bust
Study in clay
-
BrianniTerra cotta with patina
-
Goya
Terra cotta. A portrait bust of Francisco de Goya, melded with one of his own characters from "The Witchy Brew".
-
John BrownTerra Cotta with patina. Inspired by the portrait of John Brown by Ole Peter Hansen Balling at the National Portrait Gallery.
-
MikelleTerra cotta
-
RosaTerra cotta with patina.
-
SamuraiTerra cotta with patina
-
Self PortraitTerra cotta
Portraits in Oil
Art has made me fall in love with humanity again. Portraits are the main reason for this. Studying someone in depth, their features and expressions, is an incredibly intimate act. I can discover traits about someone from their features without them telling me. Often what someone likes least about themselves is what I love the most.
The human form in oil is considered classically as one of the highest art forms. It involves the study of anatomy, composition, color, light, turning forms, all combined with telling the most fascinating stories. I have moved in my own art into a phase of working out bigger figurative compositions.
Vanitas
Vanitas paintings were often still lifes meant to portray the transience of life. The show the passage of time, and often mix symbols of death with wealth. The may include objects personal to the artist or client. We are reminded that life is short, but also fragile and precious. These vanitas paintings are all personal to myself. I often return to skull paintings when I have a specific story or feeling I want to capture.
Still Lifes in Oil
Still lifes were the traditional way artists learned to paint. This is where creating a concept are combined with mixing color and paint application. I have had a life long love for still lifes. They tell a story with objects by the artist using creative light, color, and technique. These still lifes are an exploration of my own journey in learning art, and have helped me to learn who I am as an artist.
Figures in Sculpture
Sculpture has unexpectably become my true love. Creating in a 3D space has been incredibly liberating for me. There truly is no limit to encacting what is imagined. Sculpting rounded forms and the study of anatomy have helped all aspects of my art. With the figure science and beauty are uniquely combined.
Pen and Ink Wash
-
Draped20" X 13" walnut ink on paper
-
Dry Docked9" X 12" Walnut ink and gouache on paper
-
Never Breaking8" X 8" Walnut ink and gouache on paper
-
The Copse11" X 15" walnut ink and gouache on paper
-
A Memory17" X 25" walnut ink on paper
-
Among the Birch8" X 8" Walnut ink and gouache on paper
-
The Fisherman12" X 9" Ink and gouache on paper
-
High Up9" X 12" Walnut ink and gouache on paper