7 1486

doing a painting, I don't thinh of an,v-

thing else," he remark. "If I am eoing towork this long on a piece, I pretrt. muchlike to know where I'm going before Ibegin."

When he decides to paint a figure, firstthe artist photographs the model in vari-ous poses. He also paints an oil sketch,because he considers it a better record ofcolor and value than a photo. If his sub-ject is a nude en plein aiq planning isespecially important, since lightingchanges quickly and the logistics of paint-ing a nude outdoors are challenging. Lip-king tends to do those pieces in thesecluded area around his family's moun-tain cabin, and his wife is usually the

20

obliging model. The result of one such

session is Plein Air I'{ude.

The visual richness and muted tones

Lipking achieves in his paintings are atestament to his admiration of the elegantr'rrtuosity ofJohn Singer Sargent and theluminosity of Joaquin Sorolla. Lipkingfavors Winsor & Newton and Utrechtpaints. His extended color selection,which he arranges cloclorv'ise on the glass-

topped end table drat serves as his palette,includes titanium white, cadmium yellowlight, yellow ochre, cadmium orange,

cadmium red, alizarin crimson, transpar-ent iron oxide red, burnt sienna, ultrama-rine blue, cobalt b1ue, viridian, and ivoryblack. For works such as Seated Model,

Above, left: WrnferContemplation,2002,oil on linen, 40 x24.

Above, right: Ashley, 2001,oil on linen,36 x 24.

Opposite paget Octobet Sky,2001, oil on linen, 30 x 20.

,{N{ERICA]\ ARTIST

t just 27 years old, JeremyLipking is in high demand.Since he made his entryinto the contemporary aft

world three years ago, dealers, col-lectors, and journalists have been

clamoring to connect with this giftedpainter. In 2001, he won the ArtistsChoice Gold Medal Award at theCalifornia Art Club's 91st AnnualGold MedalJuried Exhibition. Thefollowing year, his painting AntiqueCbair received the Leslie and RobertZasa Museum Acquisition Award at

the 92nd Annual Gold MedalJuriedExhibition.

Lipking's path to acclaim began at

the California Art Institute in West-lake \Allage, a school that offersclasses in traditional painting tech-niques. While there, the artist dedi-cated himself to long hours of study,

and after only a year, he was invitedto become a drawing instructor. In1999, during a stroll around thegallery-rich area of West Holly-wood, he and his wife, Danielle,walked into the elegant EdenhurstGallery, where they met TomGianetto, the co-owner and director.With one look at photos of theartist's work, Gianetto immediatelyasked him to participate in theupcoming California Spring Salonexhibition. At that event, LipkingmetJeffrey Morseburg, the ownerand director of Morseburg Galleries,who offered to represent and mentorthe artist, giving him his first soloexhibition at his West Hollyroodgallery inJanuary 2001. Now, Lip-king is also represented by Water-house Gallery in Santa Barbara, Cal-ifornia; Legacy Gallery in Scottsdale,

Arizona; and Arcadia Gallery in NewYork Ciq4 where his show this win-ter was a sellout.

Although Lipking paints land-scapes and still lifes, his refined fig-ure paintings-usually of women,often posed outdoors in dappledIighting-attract the most attention.He prefers to work on one Paintingat a time, taking about two weeks tocomplete a canvas, and he chooses

his content carefirlly. "When I am

JLrLY 2003

Above: Af the Door,2OO2,oil on linen,50 x 30.

Opposite page:Antique Chair,2OO2,oil on linen,40 x 30.All artwork this articleprivate collection.

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however, the artist employs a limitedpalette of only titanium white, cad-mium yellow, ochre, cadmium.red,and viridian. "You can do a lot morethan you think as you limit your col-ors," he advises.

Lipking starts each painting byblocking in the composition, keep-ing his layers thin so that he can

rework areas as needed. He avoids

using paint direcdy from the tube atthe early stages, preferring to mix hiscolors with a medium of 1 partdamar varnish, 1 part stand oil, and

5 pars turpentine. The artist holdsback the darks to "leave room to goa litde darker if I have to later on,"he explains. To achieve the richcolor harmonies that he aims for, hegrays most of his colors to foil oneor two areas of intense color. Anexcellent example of this approach is

At tbe Door, in which the dulledblues and purples make theturquoise and orange sing.

Design, for Lipking, is para-mount. In his teaching days, he

directed his students with themantra "Shape. Edge. Value." A fol-lower of his own advice, in AntiqueChahi the artist crafted a slighdyirregular edge for the kimono, there-by creating a more interesting back-ground shape. Then he orchestratedthe light pattern of the kimono so

that the value both blends and sepa-

rates the figure from the chair.For all the well-handled formal

elements, as well as the confidentbrushwork, the sheer presence ofLipking's figures is most captivating.For example, in Winter Conternpla-

tion, ayoung woman standing insnowy woods is wearing a none-too-warm winter coat and weather-wornboots. The viewer is enthralled witha narrative half-told, just as theartist's own story is only partiallywritten. However, if past perfor-mance is any predictor of futureresults, even more exceptional paint-ings are to come. I

Molly Sipk is a regalar contihutor to the

Califomia Art Club's nett;sletter She is an

artist member of tbot organization.

Abovei Spanish Girl,2002, oil on linen,2V,x24n.

Rlght StftwHat,200[z,oil on linen,30 x 20.

Opposite page:Plein Air Nude,2OO2,oil on linen, 20 x 11.

AMF,RICAN ARTIST