You might say that I'm a 're-energized' artist who had taken a 50-year long hiatus to consecutively work in industry, teach secondary ed. and go back to college, again and again ! I find some time every day now that I'm up to my hips in paint to pursue the educational aspects of art history, techniques, products and literature, so you can forget the adage that 'old dogs can't learn new tricks.' In order to improve at whatever craft or career you choose, learning is de rigueur and a natural aspect in the process of growth to master whatever subject in which you become involved. Most importantly, get the basics upon which to build. Without those, you doom yourself to fall short of excellence.
When I was a teenager I studied for 3 years with Perry Hoberg who was not only a professional artist in his own right but also a curator/conservator at Winterthur Museum in Greenville, Delaware, a year with Frank Della Donne, a Wilmington area portraitist, and took a number of courses at the Delaware Art Museum while I served my printing apprenticeship. Shortly after I earned my BS in graphic arts, spent a few years in various executive positions in the printing industry, moving on to teach graphic arts until my retirement 30 years hence. Since that time I've taken studio courses in drawing, painting and ceramics at the Camden County Community College art department, which has an acceptance relationship for credit transfer with internationally reknown Pennsylvania Academy of Fine Arts (PAFA), and also ongoing matriculation in courses at the Perkins Center for the Arts here in Jersey. I'm a member of Artists Equity, MCOPA (Mont Co Org of Prof Artists) and National Association of Painters in Casein and Acrylic, personally marketing my work via showing in numerous exhibits and word of mouth, happily resulting in a number of sales. For a short time I was represented by a Gallery in Bucks County, Pennsylvania on a trial basis but wasn't satisfied with the association and am on my own at this point.
Currently the number of images downloaded are limited but I would provide other images of areas you have interest in, and keep from downloading more since there has been minimal action from the time this website has been up and am working on a number of projects during the last 6 months, including a solo exhibit at the Grand Opera Gallery, located in Wilmington, Delaware, which ran for 2 months and also returned to printmaking as an alternative to painting. A number of woodcut. linoleum and intaglio prints were included in my solo show. I'm currently working on a commissioned canvas and designing another website grouping through another venue.
My philosophy is not staying with a single medium or specific application technique, although I do enjoy the challenge of palette knife painting more than utilizing brush calligraphy to experiment with form, color and texture whenever the situation presents itself to allow me to expand my knowledge and practice of Impressionism as I see that it relates to me, choosing subject matter that piques my interest to evolve rapidly in mastering my art and interpreting the essence of what it is that I observe to produce the most painterly canvases possible. My palette is similar to that of Claude Monet with a few modern pigments added to conform a little more to the concepts of the Cape School format founded by Charles Hawthorne and keeping in mind his admonition that you don't have to lay in the minute details, but to let the colors form the subject and set the values, with the details falling into place pretty much on their own without the tedium of exact drawings, which you can liesurely add at your own convenience if you feel it's a necessity.
As for the interpretation of Impressionism, I'm challenging the concept of withstanding the rigors and tribulations suffered by those who paint in the outdoors year round at all hours and weather to 'catch the light' as it were. The pioneers didn't have the advantage of our current technology to capture the light at the golden moment on a permanent enough basis to be able to transfer the image and paint the illusion at your liesure in the comfort of your studio, being able to review the artistic reference at your own conveience. So, I do that with only ocassional long-term exposure into the wild, making most of them shooting from the hip with quick sketches and a really good, high quality digital point and shoot camera with many SLR capabilities to catch the light on the subject of my observations. Why not? I'm a broken down old firehorse who continues to answer the bell to the best that my physical and medical incapacities will allow. The primary objective of the artist is to paint, and that's what I do, even in conflict with those who disagree. My brush, my palette, my canvas for evocation of texture. light, color and composition.
So, I hope you enjoy viewing my work as much as I do putting the paint on that canvas. As time evolves, I do plan to expand my efforts into ceramics and etching if my declining health and limited mobility will allow. In addition, there are a number of maché sculpting projects that I also have in mind to construct shortly.
Please feel free to contact me should you find a presented image that interests you either as an original purchase or for any type print or greeting card or if you would like to discuss commissioning a particular piece for your home or business. I also design logos and specialty greetings.
Let me point out that this is not an invitation for social networking. My intention is strictly for the sake of placing my art here for public viewing, comments and purchase. Please be assured that my not answering a socially-oriented inquiry is not an insult. I prefer to keep my private life separate from my art. Be precise as to your intention to avoid embarrassment or confusion when contacting me. Your cooperation is appreciated in that regard. I certainly will reply to your comments.
Ernie Goldberg joined Fine Art America on December 7th, 2011.