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"Ancient Egyptians used the same word 'SESH' to describe Paint and Write, as both were for them the same thing: communication. This is true for me too." — GP

"As so many others, I started my art career as illustrator. Working exclusively in oils, rather than other faster and easier mediums and techniques, I attribute my rapid success as a fine art painter to the particular challenges which commercial work presented, with its tremendous technical demands and requirements, and its insistence on communicating directly with the viewer. I consciously used these challenges to gain command of how to use oils, always with the goal in mind of parlaying this technical acumen into the painting of fine art." — GP


"Of special interest to me is the Painting Art scene which took place from the mid-nineteenth century to the beginning of the last one. I am thinking of painters such as Alma-Tadema, Bonnat, Carolus-Duran, Lord Leighton, Gérôme, Bougeureau, Sargent, Fortuny, Waterhouse, Cabanel, and many others who were part of it. It is unfortunate that this group has been somewhat overlooked by critics and historians in favor of the Impressionist movement. But one thing for certain about the artists named above: in the technique of drawing and painting they were second to none. I consider myself within their tradition, and like they did, I strive to achieve a balance between line, color and texture, in that order of importance." — GP

'Job' (1880) Oil on canvas, 161 x 128.9 cm - 63 3/8 x 50 3/4 in. Musée Bonnat, Bayonne, France.

"From all painters from the turn of the last century, the one recalls most recently my attention is Gustav Klimt, because of his masterly eclecticism. Klimt's art achieved both individuality and extreme elegance by blending representational figures, main focus of his paintings, with abstract compositions that preceded Kandinsky's abstraction in the time. Abstract compositions that remind me so much of the abstract mosaics by architect Jujol in the Park Güell, and which give Klimt's paintings a very familiar look to me." — GP

'The Kiss' (1907-08) Tempera on panel, 180 x 180 cm - 71 x 71 in. Austrian Gallery, Vienna, Austria.

"Difficulty of making realistic paintings is that they are absolutely transparent to the viewer and any small mistake in the execution is easily detectable. Thus, when they involve human figure, my favorite subject and the most difficult challenge that painting has to offer, the road to success becomes very demanding. The human figure is the acme of painting art and a must for any artist willing to face the most - a 'must' that is if he wants to make progress in his technique." — GP

'Art Critic' Norman Rockwell, The Saturday Evening Post, April 16, 1955 (cover). Oil on canvas.

"The line, or drawing, is the main pillar that supports all my pictorial work. This is its 'architecture' or composition if you will. I like to use strong, almost primary colors, but I do not intend that they dominate the picture, as too often happens in contemporary figurative painting. I love the addition of very thick impastos whenever possible, but only when possible, otherwise they become a cheap trick used to fool the public into thinking a picture is important. Too much paint in fact can cheat one of the most important qualities of oils: its transparency. The old masters added thin layers of transparent oil colors to give the illusion of depth and light. I work in this wonderful, though time-consuming manner, which is rarely used in today's market. And I use to make my paintings on panel instead of canvas. Painting on panel has a long a venerable tradition, much older than painting on canvas. Panel allows me to make more preliminary work and always look flat and stiff, instead of canvas that must be strengthened regularly." — GP

'Fiesole Altarpiece' Fra Angelico (1428-1430) Tempera on wood, 212 x 237 cm - 83 3/8 x 93 1/4 in. Chiesa di San Domenico, Bologna, Italy.

"I am studio painter. My paintings are too laborious to be executed en plein aire. Natural light changes very quickly and it is impossible to work on the same painting for a sustained period of time. Besides, there is an added benefit: by working in my studio: I free my imagination and I allow my personal impressions and memories to suffuse, and this way idealize the subject matter. This is particularly so in my paintings of Urban Landscapes." — GP

"The smaller shops that I paint are a counterpoint to contemporary buildings that are anything but human in scale. Around these shops there is a kind of modern 'agora' where people can meet and socialize. In my painting of facades, I want the viewer to be able to (almost) get inside. I especially love those old shops with their many layers of paint overlapping one another like a charming old lady who puts on too much make up to disguise the fact that she has seen better days." — GP

"All that a painter may dream about in a painting subject is found in Venice. First the line, the fascinating and different lines of its architecture, the ornate baroque buildings and the renaissance palaces, the gothic style mixed with oriental cupolas... Second, the color: facades of all colors, one next to the other almost as if in a wonderful competition with each other. Pale and richly colored sit side-by-side. And third the texture: the perfect setting to add thick impasto! Layers of old paint overlay one another, cracking so as to make plainly visible the humble bricks, which contrast so dramatically with the rich marbles with which they have been juxtaposed. And all of this is multiplied without end. As the water reflects and distorts the architectural lines, it makes the colors shine even more, and the thick impasto competes with its smooth, glassy surface." — GP

'The Stonemason's Yard' — Canaletto (1726-1730) Oil on canvas, 124 x 163 cm - 48 3/4 x 64 1/8 in. National Gallery, London, UK.

"When I first visited Minorca, in the Balearics, I could not resist the temptation to make a series of paintings based on its architectural details. These 'minimalist' figurative paintings have won praise for their clarity of light and simplicity of composition. Binibeca is the name of the town in Minorca where I have done most of my sketching. Its wavy and odd shapes remind me of those of Gaudi's architecture, except that they are simpler and whiter. The curves of Binibeca's architectural elements lend a movement to the composition that I find very interesting." — GP

"The good thing about still-life is that I am in complete control. I do not depend on a model or on a beautiful landscape. I choose the subjects to paint and I place them where I need them. I decide how to light them. I create it all." — GP

"Although my paintings in general, and my still-lifes in particular, may look hyper-realistic when viewed in small sizes or from some distance away, my pictorial style is Realism. I consider myself a Classical Realist painter, I work realistically though not photographically. I like to leave my brush strokes visible and the imitation of reality is only apparent. This is where the true magic in painting is to be found for me." — GP

"I do not seek original subjects for the sake of originality, but for their pictorial challenges. I pretend my paintings go beyond current trends and fads in painting styles popular today. My intention is for them to endure the test of time." — GP



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