Jon Bøe Paulsen
I consider myself as an artist belonging to the group
of new realists where the human being is looked
upon in a new light and painted strongly figurative.
The meaning of Clair Obscure, in Italian chiaroscuro,
is light in the darkness. Less light, less color. Some
of Rembrandts paintings are almost grey. Classical
paintings of that order last longer in the eye of the
viewer because of their restricted use of color.
That is some of the reasons why I work with plain
and few earth colors and very seldom part from that
rule unless it is absolutely necessary. An exception
was the painting “Beneath The Façade” where it
was necessary to create the women’s pearls and gold
To be able to convey a story with one single painting.
A comparison of painting of nudes for example in a
competition, which the art world also is full of, doesn’t
necessarily convey anything that resembles art even if
the skin is ever so smooth and the position of the
model is perfect. In my view it is only the basic idea
in the composition of message that can reveal art. It
doesn’t matter if the painting was poorly constructed if
it shows signs of temperament.
In the print department back in my student days in
the US I met a veteran of lithography making. A man
of Irish/American decent, and he taught me the tough
principles of having your image stick to the stone
surface and train restlessly with this mirrored way of
drawing. A litho stone remembers even the fingerprints
from your thumb and it can hardly be corrected.
I’ve never forgot the rules and it was useable in oil,
watercolor and charcoal as well. One of them was:
“Don’t be too tough with you pencil when you draw.
Not too much information when you catch the line.
Do not underestimate your audience,"