![robert liberace work robert liberace work](https://smhttp-ssl-60380.nexcesscdn.net/media/wysiwyg/artists/Joseph_Red_Chalk.jpg)
I managed to take several detail photos of his paintings to share his brilliance with you (click on the photos to enlarge them). I am sure Mann would be thrilled to know this.
![robert liberace work robert liberace work](https://figurativeartconvention.com/wp-content/uploads/sites/7/2018/06/Liberace.jpg)
You can be sure I have already placed a couple of brayers in my Amazon shopping cart. Mann admitted to me that he likes to use which ever tool will achieve the most ambiguous mark as in “how the hell did he do that?” Personally I find his work extremely inspiring because getting more “painterly” with my technique is exactly what I am gunning for now. He is known for working with non traditional tools such a squeegees and brayers (that last one I wrestled out of him) as well as his brushes. His paintings completely seduce you with his play on textures, predominantly tertiary color harmony and lost & found edges, all while maintaining a strong level of realism. Mann is what I would call a “painter’s painter”. And you know what I found out? He more than lives up to it!
![robert liberace work robert liberace work](https://scottsdaleartschool.org/wp-content/uploads/2013/07/Liberace-hercules-1-768x1024.jpg)
Last Friday I attended the opening of Jeremy Mann’s “The Realness” show at the Principle Gallery in Old Town Alexandria mostly due to his hype as American Artist Magazine’s, “25 Artists of Tomorrow”. Its the way I roll baby, try and keep up. So don’t be surprised if a couple months from now you check in on another WIP only to find I have changed things up considerably. I am always tweaking it in an effort to achieve better results in a shorter amount of time. I see my “process” as kind of a moving target. Normally I build up the entire canvas at the same time which is what was taught to me back in art school, but I have come to realize since then that a lot of realist painters paint one section at a time trying to get as far as they can in one area with the time they have available (in more of an alla prima way). Then I jump right into painting the local color thinly because I want to achieve the “fat over lean” recipe. I lay in the initial drawing with Conte pencil and then make the lines more permanent by going over it in oil with burnt umber. I transfer images to canvas the old fashioned way because I don’t want to skip out on any of the drawing–especially if I am working from a reference photo as I am doing here. Notice the faint vertical and horizontal lines all over the grey primed canvas? They are grid marks. I thought it would be a good idea to post a WIP shot of my latest painting commission (click on the photo to enlarge it). Work in progress on a commission for my father–a portrait of him and my son.