Self Portrait with Palette
From freeparking's photostream at flickr
Self Portrait with canvas
From freeparking's photostream at flickr
1982-90 Museum copying: Metropolitan, Louvre, Prado, Uffizzi,
1988-89 Art Students League, NY
1988-89 Ecole Albert Defois, France
1987-88 New York Academy of Art, NY
1986 B.A., Columbia College, New York, NY
1983-85 New York Studio School, NY
2008 Rediscovering the American Landscape: The Eastholm Project, Hirschl & Adler Galleries, New York, NY
2007 Jacob Collins: New Still Lifes, Hirschl & Adler Galleries, New York, NY
2006 Figures, Hirschl & Adler Galleries, New York, NY
2005 Meredith Long & Company, Houston, TX
2004 Hirschl & Adler Galleries, New York, NY
2002 Spanierman Gallery, New York, NY
2001 Meredith Long & Company, Houston, TX
Nall Foundation, Vence, France
2000 John Pence Gallery, San Francisco, CA
Spanierman Gallery, New York, NY
1999 Meredith Long & Company, Houston, TX
1998 Spanierman Gallery, New York, NY
1997 John Pence Gallery, San Francisco, CA
Meredith Long & Company, Houston, TX
1996 John Pence Gallery, San Francisco, CA
1995 Meredith Long & Company, Houston, TX
John Pence Gallery, San Francisco, CA
1993 Gallery One, Toronto, Canada
1992 Meredith Long & Company, Houston, TX
Salander-O’Reilly Galleries, NY
1990 The Union League Club, NY
Founder and Instructor of Hudson River Fellowship, Hunter, NY
Founder and Director of Water Street Atelier, Brooklyn, NY
National Academy of Design, NY
Portrait Society of America, Lecturer and Demonstrator
New York Academy of Art
Jacob Collins is a leading figure in the contemporary revival of classical painting. He earned a BA in history from Columbia College, attended the New York Studio School, the New York Academy of Art, and the Art Students League. As a student, Collins also copied extensively in museums in America and Europe. His work has been widely exhibited in North America and Europe and is included in several American museums. Collins is the founder of the Water Street Atelier, The Grand Central Academy of Art, and the Hudson River Fellowship.
When interviewed by Allison Malafronte, JC said, "About 20 years ago, when I was trying to learn to paint the figure, I began to understand that I'd need to learn a lot about not only the physical appearance of the figure but also the inner structure. My original approach had been a purely optical one. I was in the habit, from my own instincts and also from my impressionist-derived teachers, of trying to get the gist of the model or the scene by squinting to see patterns of light and dark and warms and cools and looking for salient edges. At a certain point I realized that because I wanted to make more classical, pre-Impressionist paintings, I needed to undertake a study of the figure more along the lines of a classical, pre-Impressionist painter. In this spirit, I studied a great deal of anatomy, and I did a lot of cast drawing and careful, patient study of the figure in graphite.
Gradually, I learned enough about the figure to begin to paint it with some amount of knowledge and insight beyond its optical appearance. About two years ago I recognized that I was still, 20 years later, painting my landscapes in a fundamentally Impressionist mode. I'm very fond of a great deal of Impressionism, but it isn't how I want to paint. I have aspired for many years to paint landscapes in the style of the American landscape painters before me, such as Frederic Edwin Church, Sanford R. Gifford, and Albert Bierstadt. It struck me that I needed to investigate the landscape just as I had investigated the figure 20 years ago. I needed to learn the anatomy of the landscape by drawing from nature and learning more about its constituent parts. This is the sort of investigation through drawing that I undertook to transform my figure painting years ago, and I feel as though this is an excellent model for me as I am trying to transform my landscape drawing and painting."
(Malafronte, Allison. “Jacob Collins: Painting in the Tradition of the Past.” American Artist, February 21, 2008)
From The intensive workshop
Collins started the Water Street Atelier on Water Street in Brooklyn in 1994 as a small and private atelier. The atelier is now located on the ground floor of Collins’s Manhattan home and serves a group of 15 students who work with the artist in a loosely structured program over the course of several years. Generally, the students begin with drawing, progress to painting plaster casts of sculptures, and grisaille (a painting or drawing done in shades of gray), then finally, students begin painting the figure.
“The atelier is wonderful, but New York has so many artists who really care and love this approach to art, and it seemed that group was underserved,” Collins says. So he founded the Grand Central Academy of Art to offer highly focused training in drawing, painting and sculpture. The academy runs on a three-year program, the first year of which is almost exclusively drawing studies. Currently, the school accepts 15 students a year into the program, and this year the program will be accepting its second group of first-year students. The school also offers intensive night classes and summer workshops.
Collins is currently working on his newest venture, the Hudson River School for Landscape, situated in the Catskills. Rather than a standard art class, this school may become a permanent fixture, much like an artist ‘s colony. “Some colonies are located in beautiful places, with artists who aren’t interested in making beautiful paintings out of the landscape,” he says. “This school would, I hope, bring together the reawakening love of the old American painters, the vigorous but unfocused scene of contemporary landscape painting, and the urgent need for renewed reverence for the land.”
(Wurster, Lisa. “Process of Illumination.” The Artist’s Magazine, May 2007: 30-37)
Born in 1964 and raised in Manhattan, Collins developed an artistic vision very early. As a child he sketched pictures by such Old Masters as Vermeer, Velazquez, and Rembrandt in the Metropolitan Museum of Art under the watchful eye of his grandmother, Alma Binion Cahn Schapiro, who trained as an artist in Paris. His love for, and skill in, classicism was nourished by his family (his great-uncle was the renowned art historian and critic Meyer Schapiro), yet his set of concerns did not seem to have much currency in Collins’s own generation. Undaunted, he pursued his passion, attending the New York Studio School and Columbia College in New York. In 1987, he enrolled in the New York Academy of Art to learn Old Master techniques, then
moved to L’Ecole Albert Defois in France.
Collins’s first solo show took place in 1990 at the Union League in New York and since then he has presented approximately 20 solo shows and numerous group exhibitions at galleries in the U.S., Europe, and Canada. He has been commissioned to paint portraits of such personalities as J. Paul Getty Jr., George H.W. Bush, and Chief Justice Warren Burger, and his work is already in the collections of several American museums and institutions.
('Jacob Collins, A Classical Realist Who Thinks Ahead' by Wolf, Rachel, Fine Art Connoisseur, September/October 2006)
Jacob Collins paints figures, florals, still lifes, landscapes, cityscapes, interiors and portraits with the confidence and flair of a mature artist. His subjects are hauntingly composed to evoke respect for the objects being portrayed. The atmospheres are full of air and space. The colors are warm and inviting, reflecting an inner knowledge of light and skin tones in his figures are a panoply of subtle color.
(John Pence Gallery)
Oil on canvas
From Spanierman Gallery, LLC
Peonies in a Siver Cup II
Country Road, Donegal, 2003
Rathmullen Twilight, 2003
Green Onions, 2004
Dairy Barn, Virginia, 2005
Schoharie Creek, 2008
Following in the tradition of Hudson River School painters, Collins studies every aspect of sky, land, and sea as well as the movement of clouds, the patterns of waves, and all types of weather. His paintings reflect a deep understanding and appreciation of reality as he sees it. Collins's show, "Rediscovering the American Landscape, The Eastholm Project," showcases some 55 works depicting various scenes in and around Eastholm, Vinalhaven, Maine. Over a period of two years, Collins visited Vinalhaven, studying in great detail every aspect of the landscape, especially the sublime light and movement of the waves. In fact, he could easily be labeled a maritime painter like Alfred Thompson Bricher, one of the best known painters of seascapes during the latter part of the 19th century. What is astounding about these paintings is their detail and the lack of any Impressionist or abstract embellishments. No signs of man exist as the paintings are based totally on direct observation of nature. Unlike some Hudson River paintings, here nothing seems to have a religious bent or is hyper romanticized or idolized for dramatic effect. Instead, every painting appears to depict a benevolent Eden without any mysterious subtext. The centerpiece of the show is a huge painting, "The Hen Islands from Eastholm", an oil on canvas 50 X 120 inches, a commission that led to the various works in this show. This grand scale painting depicts a seaside landscape at twilight, dominated by the movement of clouds reflected in calm seashore, surrounded by mossy rocks at low tide. Another riveting work is "Waves with Perspective," an oil on canvas with white chalk that could only have been painted from direct observation. It like all the works in this show underscores Collins's reverence for the land and the sea that surrounds it. Think of this exhibition as a summons to all who see it to protect and conserve what is left of our unspoiled landscape.
(Review by Bobbie Leigh for 4th Solo Show at Hirschl & Adler, NY)
The Hen Islands from Eastholm
oil on canvas
50 X 120 inches
James Gurney painting with Jacob Collins, 2008
in their East Side warriage house
From The New York Times Company