Thursday, January 29, 2015


Born Zhao Kalin in Bengbu 1961, the artist has become an important Chinese master of contemporary realism. At an early age, Kailin understood that he wanted to be involved in the arts. "By eight, I knew I wanted to be a painter," Zhao relates. "It was my second grade teacher in elementary school who taught me basic painting skills and encouraged and challenged me. Most important, she taught me how to soar with imaginary wings through the secret world of art." Under her tutelage, Zhao's painting abilities matured, so much so that his work began appearing in juried shows in Bengbu.

Return to My Hometown


Splendid Attire
Images from

Memories of My Youth

Beautiful Memory of Qiuxiang

The title,"Beautiful Memory of Qiuxiang ", pays homage to an opera based on a legend about Tang Bohu .......During a trip to the West Lake, gifted scholar Tang Bohu falls in love at first sight with Qiuxiang, a maid in the residence of Hua Hongshan, a ranking official. For Qiuxiang's sake, Tang forgoes his noble status to serve as an attendant in Hua's residence. There he unfortunately meets his cousin sister and ex-lover Feng Yulan. An emotional entanglement among Tang, Qiuxiang and Yulan evolves. Eventually, however, Yulan gives way to enable her cousin brother to marry his true love, Qiuxiang.
Zhao Kailin's choice to place this portrait of a sitting beauty in the foreground among the great painting styles of Song Dynasty Emperor/Painter Ji, Zhao and the great Ming painter Bohu, Tang is evidence of Kailin's admiration for his pedigree, for his cultural roots and for his rich heritage. The beautiful young women in Kailin's composition is a direct descendent and a symbol of the lineage that is the Great history of China

Waiting for Marriage-detail

Spring Wind Over Last Night- detail

Spring Wind over Last Night
Images from

In 1988, Zhao Kailin was accepted for graduate studies at the prestigious oil painting department of Beijing's Central Academy of Fine Arts, China's most illustrious and rigorous fine arts institution. "From 1988 to 1990, I studied there and learned traditional western-style oil painting," states Zhao. "It was the most important period of art studies in my life."
During this period of intensive training, Zhao was exposed to the galvanizing portraits of Dutch Renaissance master Rembrandt Harmenszoon van Rijn (1606-1669) and was immediately taken with the work's luxuriant brushwork, jewel-like color and commanding manipulation of light and shadow inspired by Italian Renaissance painter Carravagio (1573-1610). It was during this same time that Zhao also became enamoured of the elegantly voluptuous society portraiture of American painter John Singer Sargent (1856-1925). Sargent's Madame X (1884), a full-figure portrait of a mysterious porcelain-skinned woman dressed in a long black dress that scandalized Paris's Salon of 1884, most certainly has left its silky mark on many of Zhao Kailin's portrait paintings.
More recently, Zhao's work has concentrated on depicting beautiful, introspective young women, most of whom are Asian and dressed in traditional Chinese attire. Several of the latest pieces feature females with musical instruments. These paintings capture the essential aura of young women suspended between the innocence of childhood and the smoldering sexuality of womanhood, evoking a sense of longing, dreams and desire.
"Every painting I do involves personal stories and memories," Zhao explains. "I am always striving to communicate not only the beauty and unspoken personal narratives of these women, but also the inherent beauty of Chinese culture and life."
Zhao Kailin's work has been shown in numerous solo and group exhibitions throughout Asia, Europe and the U.S. and is a part of notable public and private art collections. Winner of a number of awards for his work, and has been an influential mentor to a number of other painters currently represented exclusively by Contemporary Chinese Fine Art in Laguna Beach, California.

An Old Story of China
Images from

At Window

Graduated from the Central Academy of Fine Arts, Beijing, China

Solo Exhibitions:
"Zhao Kailin's Realism Oil Painting," Contemporary Chinese Fine Art Gallery, Laguna Beach, CA

"Zhao Kailin's Realism Oil Painting across Northern Europe Region," Kurt Svenssons Gallery, Stockholm, Sweden

"Zhao Kailin's New Realism Oil Painting," Kurt Svenssons Gallery, Stockholm, Sweden

“From the East,” Kurt Svenssons Gallery, Stockholm, Sweden


“Zhao Kailin Oil Painting Exhibition,” Kurt Svenssons Gallery, Stockholm, Sweden

“Zhao Kailin Realism Oil Painting Exhibition,” Mexican Embassy, Beijing, China

Selected Group Exhibitions:
Eli Klein Fine Art Winter Exhibition,” Eli Klein Fine Art, New York, NY

“5th China Realism,” National Art Museum of China, Beijing, China

“Kail Studio Artist Exhibition,” Gallery 27, London, UK

"Kail Studio Artists Group Show," Frames Contemporary Gallery, Perth, Scotland

“Exhibition for Kail Studio,” Powell Street Gallery, San Francisco, CA
“New Journey Beyond the Silk Road: Kail Studio Artists,” Utopia Gallery, North Queensland, Cairns, Australia

“Out of China,” Odon Wagner Gallery, Toronto, Canada
“Tone,” Art House Gallery, Kuala Lumpur, Malaysia
“American Western Coast and Eastern Culture Foundation: International Exhibition” Arts Foundation, Los Angeles, CA


“English & Chinese Culture-Art Exchange,” Framed Contemporary Gallery, Perth, Scotland

“China Contemporary Fine Arts Exhibition; Celebrating the 20th Anniversary of the Establishment of Diplomatic Relations between China and Japan,” Tokyo, Japan

Sunday, July 27, 2014




Farm at Herns Mill Rd 

Roger believes, as the historical master artists such as John Carlson and Edgar Payne, that "plein air" painting is an essential element in being a great artist. He spends countless hours studying and painting on location, to continue to perfect seeing important nuances of a scene, a day, or an object, which are necessary in creating a great painting. Roger works hard to balance the emotion of a scene, with the knowledge of painting, in every painting he paints. 
Roger's oil paintings have been displayed in galleries throughout the United States and have won many awards which include: First Place in the Barnes and Farms National Juried Art Show, Museum Purchase Award and third place at the Easton Plein Air Competition, Best of Show at the Central South National Juried Show, as well as the Gold Medal Award from the Hudson Valley Art Association. His work has also been accepted in the Oil Painters of America National Juried Exhibition, and Salon International. Roger has been published by: International Artist Magazine, American Artist Magazine, American Art Collector Magazine, and the Artist Magazine. His works are owned by private collectors across the country and include many well-known celebrities and major corporations.

After the storm

Today Roger is not only one of the most notable artists in the genre of plein-air paintings; he encourages others to step onto his vapor trail. He has become the go-to teacher in this region for the genre; any starry-eyed dreamer who hopes to become a painter in the Impressionist vein has taken classes with him. By going into the backcountry to hike, by traveling all over the country in his camper, it seems Brown has captured every rugged mountain, golden field, calm harbor, and snowy forest—and he has captured them in the ever-changing sunlight with loose, energetic strokes.

Still Harbor Sunning 

Twilight Last Glow 
Images from 


Roger Dale Brown visited the coast of Maine and painted his impressions of it. The results are gathered in an exhibition titled, appropriately enough, "Maine Impressions." This detail from Brown's painting "Sentries" shows Brown's purposeful use of value and color. Brown reports that the light yellow mark by the goose's beak was an invention. "I created the area by adding a light spot below the darkness of the goose's head," he says. "This created a stronger contrast in that area. This, along with a sharper edge and the strong shadow, is enough to make the viewer stop. This portion of the painting was placed there on purpose. I place objects, colors, or value in certain areas of my paintings with intent -- not being literal to the scene but being creative and evoking the mood and story of the moment. I want the viewer to go to certain spots in my painting -- it's like taking the viewer on a guided tour throughout your creation. You enter the painting in a certain area and there are stopping points the viewer comes to and hangs out for a while. These are tension areas or subordinate focal points in the painting. They are not strong enough to compete with the focal point, but are strong enough to pull your eye around the painting." 


Glimmering Evening 
Images from 

Roger finds himself mesmerized by the charm, history, and natural beauty of Maine. He said, It has an old soul. Artists are naturally drawn to it. It’s more spiritual.That spiritual, artistic quality is essential to Brown’s style and general approach to painting. He paints the places that speak to him, the ones that conjure some emotion. And he does so by painting from life amongst the elements that inspires him whenever possible.
To capture the beauty Roger sees in Maine, he employs a delicate mix of Impressionism and Realism. Each scene calls for a different technique. Brushstrokes can range from loose to tight, and color can be built up through thin layers to thick impasto— whatever is needed to conjure the feeling Brown himself felt that day. The result is work that feels real, like you’re there standing amongst the sand, sea and and rocks. You can almost smell the saltwater and feel the warmth of the sun. 
"Maine is an artist’s dream,” says Gary R. Haynes, gallery founder and long-time friend of Brown’s. “Artists have come here for generations, but Roger’s looking at it from a new angle. He’s aware of the history of place, but he doesn’t let that distract from his vision. He wants to share the essence of the place in a fresh way and he does that beautifully.” 


Painting in the Plein Air style by definition puts the artist in places that are not normally near their studio. That creates extra challenges and difficulties in satisfactorily recreating what you saw on location on the canvas. Roger Dale Brown, after some humorous trial and error, has finally arrived at a workable, even comfortable solution. He pulls his studio behind a burly diesel pick-up in the form of a 33’ travel trailer. He and his wife, Beverly, head out annually for 6 to 7 months - one trip in 2013 will keep them on the road for 4 months - to locations of particular beauty around the US. Their abhorrence of motels, the difficulty of schlepping all their gear and luggage in and out, and wet canvases in motel rooms pushed them into the rolling studio world. But, what a journey that has been. The first attempt at this was a 21’ RV. Seemed like a reasonable, economical choice until they took that first trip to Yellowstone. Way too small and under equipped. So, up they jumped to a 34’ RV, but that required they pull a car behind it in order to drop off canvases at in-town galleries. But the car was too small to hold the large canvases. Finally, they landed on the truck/trailer combo. However, more fun was in store for the first trip with the new rig. With the awning left extended one night and the trailer parked on a slight incline, down came the rain, flowing down the awning and right into the interior for an unwanted indoor waterfall feature. The storm and its clouds did have a silver lining - since gutting the interior was a must, the Browns redesigned the space to better suit living and working needs. Out went the dining table and large sofa to be replaced by a smaller sofa and two drawer units converted into a table with rollers, on which the couple takes their meals. That made room for each to have their comfy work space for easel, canvas, palette, and brushes. Life on the road now is much sweeter and a lot more productive. (

Wednesday, July 16, 2014


 Images from 

The strong man 

Born in White Plains, New York, Howitt was struck with a case of polio at age four. During his time of recovery and convalescing, his father drew pictures for the boy and encouraging him to draw also. As he got older and his affliction limited his other physical activies, drawing became a passion for “Newton,” and he devoted more serious attention to it. 
The young Howitt was quite studious and graduated from high school at age sixteen. He then enrolled at the Art Students league in New York City where he studied under noted the noted instructor George Bridgeman. Howitt embarked upon a career in illustration, and from 1910-1930 he led an extensive commercial career with paintings appearing in the magazines Pictoral Review, Liberty, The Saturday Evening Post, Colliers, and Delineator, all of which were extremely high profile publications of the day. In addition he illustrated several books as well as stories for the newspaper supplemental sections, This Week, New York Herald Tribune, and the American Sunday Monthly Magazine. 

Road to the village 

During the 1920s Howitt was commisioned to create advertising work for several nation-wide companies that included Jello Foods, Post Bran Flakes, Devoe Paints, Vermont Marble and Crisco Shortening. In between commercial assignments, Howitt always devoted his time to painting landscapes. He traveled extensively in North America, painting everywhere he went. He established a solid reputation as a landscape painter of high quality and he exhibited his works regulary in prominent galleries. To this day his landscapes hang in noted museuems and public collections across the country. 

The Spider July-1935 

 The Spider October-1937 

The Scorpion 
All images from 

As the depths of the Depression struck, Howitt apparently found himself on shaky ground financially. Unable to earn a living from his past markets, he turned to the pulps as a means to make a living. Howitt had reached middle-age and was much older than many of his contemporary pulp artists just beginning a career. The forty-eight year old Howitt could have considered the pulps nothing but a step down from the level of succes he had achieved. According to Mrs. Shirley Steeger, wife of Harry Steeger who knew Howitt well, he “deplored the work — but it was meticulously done.” 

 Football Player 

 Woman on a Bike 

 Sleeping Baker 
Images from 

SEP Cover, Sleeping Baker 

According to the artist,"Too much emphasis is put on art fashions of the moment and there is not enough recognition of good painting. We who are not "modernists" have found that we get no recognition today in art circles unless our work is clothed in the style that is considered fashionable. It does not matter how well or how forcibly we express it; we get no attention from critics or museums or even the large exhibitions. Museum collections of American paintings will never be important as long as they only follow the latest fad in art.
Painting should have a more solid basis than fashion. As long as it is not possible for an artist to paint for mass production and do good work, many painters today are quite willing to adapt their prices to the buyer's pocketbook. We artists are ready to meet the private buyer half-way. We believe that no painting stacked against the wall is fulfilling its function. We must sell to continue painting and unless we can continue, art will die, because painting is not a part-time job." 
 (David Saunders 2009 at 

Patriotic Employment Poster WWII 1944 
 WWII Patriotic Posters Civilian Jobs 

Because of the men severing in the military and the nation's industries increased wartime production efforts, there was a critical shortage of labor. Consequently, women were hired in increasing numbers and their participation in the job market increased extremely. During this push for greater production, the employment of women in America rose from about twelve million to more than eighteen million. 
By the end of World War Two, women made up about 35 percent of the labor force. The type of people presented on posters such as these were not haphazardly created. The selection of an "average Joe" to personify American male workers was selected to gain the "common man's" allegiance to production goals and approving use of women for the workforce. 
The average working woman on the other hand was idealized as a fashion model in denim; this carefully glamorized image was intended to convince women that they would not have to sacrifice their femininity by taking a traditionally "man's job" for war support work.
Second World War American patriotic posters like "I'm Proud, my husband wants me to do my part." helped unite Americans and mobilize the private and industrial sectors; U.S. citizens of every age, gender, and walk of life did their part to support the war effort, allied military and defeat the axis powers. U.S. citizens hoped that the Axis powers could be stopped without American military support and hoped America could avoid direct involvement in World War 2 but that all changed the morning of December 7 when Japan blindsided the U.S. military with bombs in the attack of Pearl Harbor Hawaii and other U.S. military outposts. The military might of the United States of America of course responded with a powerful vengeance but leaders knew that troops could not win the war alone. The American citizens rallied for the troops and swift mobilization of American citizenry and industry during World War II was an achievement without precedent in speed, scale, complexity and duration.
Howitt disappeared from the pulp field following the September 1939 issue of The Spider and the September/October 1939 issue of Operator 5. Howitt had moved back to the “slick” magazines exclusively, along with his advertising art; he also painted wartime posters for the Red Cross. 
He continued, as he started, painting commercial and fine art—obsessively, every day—until his death in 1958 at the age of 72, even winning awards in later years for his landscapes. It is believed that Howitt ultimately looked down on his career in the pulps despite the effort he put into it. His wife, Bertha (1880-1975), definitely did, preferring her husband to be remembered as a fine artist and teacher. There are very few known existing original pulp paintings by Howitt, and this appears to be intentional on the part of the artist or his widow. 
 (2010 Age of Aces Books)

Sunday, June 1, 2014



Richard Alan Schmid
Richard Schmid in his studio
Abbotsford House, Scotland
Richard Schmid has promoted art education through his books, articles, workshops, seminars, and television presentations. He travels widely for his subjects, and currently lives in New Hampshire with his wife, the painter Nancy Guzik.
Richard holds a Doctorate in Fine Art and is a recipient of The John Singer Sargent Medal for Lifetime Achievement. Since the publication of his landmark book on landscape painting in 2009, Richard has been involved in two major projects. The first, in 2011, was a very large painting of Abbotsford House, the Manor home of Sir Walter Scott in Scotland, which won a viewing and praise from HRH Queen Elizabeth during grand re-openning ceremonies of the house and visitors center. The second project, begun in 2011, was the new expanded edition of Alla Prima, ALLA PRIMA II, completed in 2013, and now in its second printing. Additionally, exhibitions of Richard’s art were mounted at the National Academy of Science on Cape Cod, and Wellesley College in Boston. Throughout his distinguished career as a painter, author, and teacher, Richard Schmid has been a candid spokesman for what is known as the Grand Manner—a certain mingling of virtuosity and unrestrained joy in art.

Snow Maples
Victorian Winter
All images from
In his book and videos, Schmid emphasizes some fundamentals that are often glossed over, but are worth being reminded of. One in particular is “doing the charts”; a process that young art students often think is onerous busywork, but seasoned painters know is as invaluable to a painter as practicing scales is to a musician. This is the process of painting your own color charts, in which you mix a value scale of each color, and then value scales of each color in combination with each of the other colors in your basic palette. It is a process that gives you more color mixing knowledge than a truckload of color mixing books and preprinted charts could ever begin to provide.
It is this kind of adherence to the time tested painting fundamentals, which work and have been successful for representational painters through history, which is the basis for both Schmid’s teaching and his beautifully economical and lyrically poetic paintings.

Floral Art

Still Life
Impressionistic, realistic, classical, romantic...while people don’t always agree on how to describe the art of Richard Schmid, there is no mistaking it. Painterly brushstrokes, meticulous composition, subtle tonality and use of luxurious, luminous color set his works distinctly apart. Schmid prefers to paint all prima, completing a work of extreme accuracy in just one sitting. The first brushstrokes blend with the last, conveying the excitement of the artist calls "immediate intimacy."
Schmid, born in Chicago in 1934, has spent many years sketching and painting throughout North America, Europe, South America and the Caribbean. His roving nature also applies to his subject matter; restlessly, he captures everything in sight, composing landscapes, nudes, wildlife, still lifes and children’s portraits. Schmid credits his instructors the landscape painter Gianni Cilfone and Professor William Mosby of Chicago’s American Academy of Art for much of his success. (
Mosby, a graduate of the Belgian Royal Academy in Brussels and the Superior Institute in Antwerp, was an expert on European and American realism. Studies with him involved working exclusively from life, at first using the conceptual and technical methods of the Flemish, Dutch, and Spanish masters, and eventually incorporating methods from all of the late 19th century European and American painters.
The emphasis in each period was on Alla Prima (e.g., Direct Painting) systems of the various periods. Building upon this foundation, Schmid’s individual style and the content of his work developed along personal lines.

Morning light
Schmid also acknowledges a debt to the great masters, among them the Spanish portraitists Goya and Velasquez and the Impressionists Cassatt and Manet. His work has been widely acclaimed. He has won the Allied Artists of America Gold Medal, the American Watercolor Society Gold Medal, and won the top award in the 1987 National Parks Academy. He has had no less than 41 one-man shows and his work has been exhibited at the National Academy of Design, the Smithsonian, the Gilcrease Institute and the Beijing Exhibition Center in China.
No Title
Richard Schmid’s life’s work has had a major impact on the art world. In addition to spending time creating his own works of art, he generously shares his time, knowledge and resources promoting excellence in fine art. His public appearances include workshops, charity events, lectures, and media interviews.
In January 1989, Richard Schmid launched his independent publishing company, Stove Prairie Press, LLC, with the printing of his instructional book, Alla Prima, Everything I Know About Painting. He has written and self published several art books and produced numerous instructional DVDs. 

Richard Schmid studio and palette
Richard Schmid studio and palette
Richard Schmid studio and palette

Richard Schmid studio and palette
All images from
Richard Schmid's work has been represented in the following:
The Smithsonian Institution
The National Academy of Sciences
The Pennsylvania Academy of Fine Arts
The Art Institute of Chicago
The Harvard Club
The Connecticut Academy of Fine Arts
The National Academy of Design
The American Watercolor Society
The Thomas Gilcrease Museum
The Frye Museum
The Allied Artists of America The Colorado Historical Society
The Butler Institute of American Art
The Holter Museum The St. Louis Artist’s Guild
The Colorado Springs Fine Arts Center
The Salmagundi Club
The Tucson Museum of Art
The Albuquerque Museum of Art
The Loveland Museum
The Beijing Exhibition Center, China

Saturday, April 19, 2014


For three years John Brosio accompanied storm chasers in the Midwest, gathering actual sensory information and taking enough photographs to fuel his decades-long relationship with the All-American twister. His early tornado paintings almost seem a pretense for his unabashed love of surface and intense color.
In “Edge Of Town” Brosio paints an eerily deserted street in the kind of small town where nothing ever happens--except very, very bad weather. One silhouetted, seemingly unconcerned pedestrian crosses the street nonchalantly unaware, or perhaps in denial, of the black, snake-like cloud of destruction inexorably approaching. The palpable and strange disconnect between the ominous impending twister and almost certain devastation in its path, contrasted with the calm of the pedestrian, begs a question: Is it human proclivity to ignore what we cannot control? Is it a paralysis of helplessness that leads us to pretend that our houses will protect us against flood, earthquake, fires, volcano’s, and yes, tornados? Is it hubris that we continue to build on cliffs, in canyons, on riverbanks, in forests and at the feet of volcanoes, almost daring nature to dislodge us?
Brosio is a master of the frozen moment right before the dreadful is about to happen. We become a witness, but are just rubbernecking, powerless to affect the outcome. We are stuck in this dangerous, unpredictable netherland--a place of eerie unreality--like a bad dream. Not unlike Chauncey Gardiner, in the 1979 film “Being There,” we “like to watch.” Brosio’s works are an ode to the human capacity for self-deception and inaction.
(JOHN BROSIO by Nancy Kay Turner at

Harbinger (Self-Portrait)
From John
Brosio was born in Pasadena, California and received a BFA from University of California at Davis. Earlier to that he attended Art Center College of Design in Pasadena.
The tornado in his work represents a perfect blend of mythology and science. He finds it easy to imagine it being alive and unpredictable, to view it as a god or agent thereof. One sees this mile high banshee choosing certain targets and skipping others like a jittery reaper.
Being witness to the birth, entire life, death, and interim behavior of a tornado was for Brosio witnessing a creature greater than human and hearing the footfall of a giant. And akin to a human, after all the wonder and speculation, it is returned to a mass of animated dust.


Queen of Suburbia

State of the Union Edge of Town

Ripping through the American landscape genre in much the same way as the actual twisters that serve as the subject matter for these new works, John Brosio brings an innovative sense of drama and tension to a traditional style of depicting scenes from nature.
“For me the tornado represents a perfect blend of mythology and science,” says Brosio. “It is easy to imagine it alive and unpredictable, to view it as a god or agent thereof. One sees this mile-high banshee choosing certain targets and skipping others like a jittery reaper with sound and mannerisms so evocative of a living entity.
” Brosio’s handle on the twisters he depicts comes from a deep understanding of the subject gained from doing field research as an actual storm chaser and watching the ebb and flow of these destructive forces as they make their way across the American prairie.
“Witnessing its birth, entire life, death and interim behavior leaves me feeling privy to the life of an animal greater than us—the footfall of a giant,” says Brosio. “And, after all the wonder and speculation, it is in the end, like me, just a mass of animated dust.”
However, it’s not just the drama of the scenes that attracts Brosio to the subject matter. For him, the paintings still maintain a very high degree of technical possibilities that need to be understood to fully delve into these new works. “The inspiration for this particular set of twister paintings is derived from an exploration of the figure/ground relationship, a dynamic that pervades all art,” says Brosio. “In these images, moving almost 180 degrees from the more diorama-like depictions of American scenery, I looked to painters like Mark Rothko and Albert Pinkham Ryder. Prior to this point, the paintings were evocative of artists like Edward Hopper.”

Breaking news
Whole Foods
Images from

Last Taco Stand

When John Brosio wants to relax, he sometimes heads to a historic ocean liner called the Queen Mary and climbs aboard. These days the giant vessel is docked in Long Beach, CA, and has been transformed into a hotel with art deco appointments and remnants from the grand ship’s glory days. Yet it’s not the elaborate style that attracts Brosio rather, it’s the vessel’s sheer size. It’s 1,000 feet long and once carried more than 3,000 passengers and crew across the Atlantic Ocean. The Southern California painter enjoys the feeling of being dwarfed by something larger and more forceful than himself, he says. And that, in fact, is a central theme in his paintings.
The obvious question for viewers is, why tornadoes? On this particular day Brosio is ruminating on the question from a bench on Balboa Island and sipping a cup of steaming coffee. It’s dusk, and across a narrow waterway an old-fashioned Ferris wheel spins on nearby Balboa Peninsula. The carnival ride looms large on the landscape and looks very much like the one depicted in Brosio’s painting Rides except that today there is no ominous black plume lurking in the background.
For Brosio the experience of being dwarfed by a tornado is an exhilarating one, he says in an effort to explain his attraction to storms. “Witnessing a tornado’s birth, behavior, and death leaves me feeling privy to the life of an animal greater than us—it’s the footfall of a giant,” he says.
Today he continues to paint twisters in his Los Angeles area studio, but he is also percolating ideas related to mythology, another of his passions. He says these future works will be inspired by Virgil’s Aeneid, which he read in high school and can’t forget. “But I don’t see tornadoes stopping. Although I may take a break,” he says. “I have been into rattlesnakes lately they’re so gorgeous and dangerous.”
Brosio is represented by Tirage Gallery, Pasadena, CA; Arcadia Gallery, New York, NY; and Diane Nelson Fine Art, Laguna Beach, CA. (John Brosio, A Terrible Beauty by Bonnie Gangelhoff at, Featured in January 2003)