It is austere and profound studies that make great painters and sculptors. one lives one’s live on this foundation, and if it is lacking, one will only be mediocre. [Fanny Field Herring. Jean-Leon Gorome. Cassell Publishing Co.. New York. 1892. p. vi. preface.]
The sorest misfortune is when your views are in advance of your work. [lean Paul Richter. The Notebooks of Leonardo da Met Dover Publications. Inc.. New York. 1970. Vol. I. p. 291. Another translation reads. -The supreme tragedy is when theory outstrips performance.”‘
—Leonardo da Vinci
When I was nine years old I decided to be a representational painter. I took art classes throughout junior and senior high school. After high school I attended college and art school where, for four years, I was discouraged by the arrogance, ineptitude and orthodoxy of my art instructors. In 1971, I left in frustration, determined to study art on my own. I immersed myself in the work of Howard Pyle and his students. Shortly thereafter. I saw a small, impressionist landscape painting on the gift table at a wedding reception. To my eye, it was skillfully executed. Upon inquiry, I was introduced to the artist, who worked at Art Instruction Schools, a correspondence school that taught painting by mail. I shared my frustration and asked if he could teach me how to paint. He declined, but referred me to an artist who had recently opened a small studio-school in Minneapolis. He said it could be just what I was looking for. The artist’s name was Richard Lack.