Grandpa left 'er for another

My father had a nineteen-fifty-something Studebaker. That was a really great-looking car ... way ahead of its time.

When I chanced upon this 1952 Champion I wondered what stories it might tell: Somebody took it home brand-spanking new, and probably scrubbed it every Saturday until the shiny wore off. That was before seat belts so kids were free to punch each other and wrestle in the back. Maybe some French fries found their way under the seats and soda spilled onto the hump down the middle. And maybe it transported two high schoolers to  the prom. The suppositions go on.

Grandpa left 'er for another / oil on canvas / 20 x 30 inches

It was then no doubt traded, repaired, re-tired, crashed, trashed and left to rust. Then I discovered it and painted the portrait of a once proud motorcar. Rust and all

Know your artist during American Artist Appreciation Month (August)

A curious eMail arrived recently from the folks at Patience Brewster, known worldwide for their Holiday cards, Christmas ornaments and figures. I was encouraged (as well as some other artists) to answer five get-to-know-you-better questions during American Artists Appreciation Month. I thought I’d pretty well covered that in previous posts to my blog, but it’s sometimes good to re-account one’s peculiar characteristics. Here are the five:

Larry Kassell / Selfie with Frame
oil on canvas / 24 x 20 inches

1. As a child, do you recall a significant moment when you felt truly affected or inspired by any particular artwork or artist?

2. As an artist, what do you hope to convey with your work?

3. What memorable responses have you had to your work?

4. What is your dream project?

5. What artists, of any medium, do you admire? (Famous or not!)

My response:

1.   Waaaay back in the early 1950s my limited exposure to fine arts was the Sunday comics. Smokey Stover was a favorite along with Pogo and Peanuts. I particularly admired the brush-and-ink work of Walt Kelly’s Pogo. Colorful comics stood apart from the droll black-and-white of newsprint, and the humorous exaggerations were more enjoyable than news of the day (even then).

    My parents were realists who thought hard work was the way to success, and daydreaming about art was a waste of time. Doodling in the margins of my wide-lined grade school tablet did not earn me extra points as I thought it should. I persisted, however, and in the mid-1970s  I developed a comic strip about a photographer and his family, but was unsuccessful in having it published. 

2.    I believe that God is the best artist ever. I choose to paint realistically to best demonstrate the vision and skills the Creator has given me. I think every painting should be our best, and then the next one will be better. I hope that my paintings will show those who choose to visit them something they may not have seen or known about the subject. And hopefully there is a story somewhere in there that draws out a positive response. Oh ... and I add some humor when it’s appropriate.

3.    The ultimate praise for a painting is when someone actually buys it. That’s happened a few times. Other high praise is being invited to show paintings in an esteemed venue. Notable responses from gallery receptions and guest books range from: “That brings back memories ... ” to tears of joy for a portrait of a loved one. It’s always a blessing when someone else agrees with my perspective. Plus, that approving grin from my wife, Julia, is ever important.

    When it’s all over for me I hope some esteemed art critic will say: “He really got it!”

4.    My dream project is to write and illustrate a book for preteens to maybe fourteen years. I’d produce contemporary-realistic artwork that would teach and encourage young people to appreciate who they are and that they’re best off when they implement God’s instructions.

5. Best painter ... Norman Rockwell. My favorite expressionist-illustrator was Bernie Fuchs. A contemporary favorite painter is James C. Christensen. Wildlife: Robert Bateman. All realists.

Of course there’s Boyd’s Bears and Patience Brewster for collectibles. Tim Conway and Don Knotts for their entertainment brilliance. And Bill Watterson for his ‘Calvin and Hobbes’ genius.

    Happy final chance at American Artist Appreciation Day for 2015. Hug an artist.

What to name a painting?

In some ways titling a painting is like naming your child. Usually the moniker sticks with the artwork for its lifetime, and hopefully no one pokes fun at it on the playground.

    I like humorous paintings but find they don’t sell well. So, create a serious painting and give it a witty title. 

    For “A Pontiac, Buick and a Dodge Went in to a Bar ... ,” I considered “Three Rusty Buddies,” “Ah, the Stories They Could Tell” or “Rust in Pieces” but where’s the lesson in that?

"A Pontiac, Buick and a Dodge Went in to a Bar ... "
Oil painting on linen by Larry Kassell, 24 x 36 inches

My last six paintings

I like food and love type (as a graphic designer for 40 plus years), hence, the poster-like depictions shown in this food series. Inspired by Vicky's Mud Pie I chose food favorites from dunots (donuts) to a burger with fries. 
    I thought for sure these paintings would be a cinch to sell in a gallery ... to be hung, maybe in a kitchen, as constant no-calorie reminders of pleasant moments past. But no.
    I've been told that these 20 x 16 inch original oil paintings look too much like posters, are too derivative of Andy Warhol (really?) and I should have left off the text. So, this blog is my gallery.
    Since I like food and love type I think the two go together like latte and scones.
    What do you think?
    Did I mention these six pieces are for sale? Or prints thereof? Please contact me by eMail with your interest:
kassell.concepts@gmail.com.

Six individual 20 x 16 calorie-free oil paintings on canvas ... for sale!

Christmas is all about the Presence

This original oil painting is in the traditional-realist style of Norman Rockwell who rendered many Christmas-themed covers for Saturday Evening Post magazine, calendars and advertisements.
    The charming subject in the center of it all is Granddaughter Brittany from a photo I took about twenty years ago.

Christmas Presence / oil on canvas / 28 h x 22 w

    With the faded glitter of a trimmed tree behind her, she realizes that the lasting joy is in the Presence of our Lord and Saviour whom Christmas Day is, after all, named for.
    Merry Christmas 2014.

Artists and their hats

My guess is that Rembrandt van Rijn wore a hat to keep his head warm during those cold 1600s days in The Netherlands – before “global warming” made us all comfortable. And it could be Mr. van Rijn chose floppy lids because baseball caps that proclaimed his favorite team were not yet in vogue. 

    West Bank painters in Paris chose berets to cover their heads. Imagine painters who struggled to paint differently yet elected to dress alike. Even today when the word artist is mentioned, most folks conjure an image of a person with a palette and a beret . I’m guessing that the wearers pulled the beret’s poofy part to one side so rain would drip in the direction of their choosing.

    Rembrandt, Vincent van Gogh and Norman Rockwell portrayed themselves wearing hats and Angelica Kauffman often wore head coverings in her numerous self-portraits. Sofonisba Anguissola portraited herself sans head covering in her studio but wearing a flowered straw hat in a sunny outdoor setting. 

    These days painters can choose most any type of cap they wish and often select a distinctive, repeatable style to represent their public persona and then it becomes their trademark. I find far more men that women wear hats while painting indoors. Whether they’re to keep the cold out, paint off of, or good ideas in, hats and painters seem to have an affinity that is timeless.

    If you have a good artist and hat story, I’d love to see your comments here.

Self-portrait in Rembrandt garb. Oil on canvas, 20 x 16 inches.