During a period of my life in the mid 1990′s, I believed that learning the methodology, theory and practice of the Old Masters was tantamount to being an artist. I spent many hours pouring over small oil, thin-glazed paintings on wooden substrates usually involving a religious theme. Though much knowledge was gained in anatomy, painting techniques and materials, the work never “felt” right. At some point, the reality and absurdity of the idea hit me like a lead weight upside my head. Figurative or realistic art created post-camera (1840), is completely silly for many reasons. A mechanical photographic reproduction is better for that, and is every bit art. To the naysayers, I call on you to go back to horse-and-buggy rather than automobiles if ”craftmanship” is truly your belief. Besides, the Old Masters used a camera obscura device to aid and create their art (hence the great shift in anatomical accuracy from Giotto to Vermeer). If realism is what you want, then look not toward a painter today but to film and digital cameras, motion pictures (now in digital 3-D!), computer graphics, or even three-dimensional laser scanners to create 2-D or 3-D reproductions of your exact likeness (at any scale!).
I, like most viewers of these Baroque masterpieces, was drawn into the power and seduction of the art. They were created at a time before cameras or cinematography, they were the all-encompassing visual medium. But that time has long past. After some introspection, the work had no real relevance to anything in my life, as I was not a religious person nor have I ever seen people standing around in the ridiculous poses as the subjects within these paintings (think Raphael). The art that initially grabbed me as a child was not these figurative Renaissance works, but the paintings by Picasso, Bacon, Duchamp, Pollock and Warhol plus many others that understood the role of art in a post-photographic world.
All this brings me to the aforementioned work The Thermometer. Originally painted in 1998, this small oil on board painting had no real use to me. Many of these Baroque knock-offs I created during this period were discarded or defaced (ie: swastikas on foreheads or corpsed) then discarded. This one survived after a long period when I did not create art, so was given a second chance as art, completely as a mockery of its uselessness. The painting was inverted and refitted with a “dollar store” thermometer to have a purpose.













