Jeremy Lipking

Home / Museum / ARC Living Artists

Jeremy Lipking

ARC Living Master TM

23 artworks

American 21st Century Realist artist

Born 1975

  • Artworks
  • Biography

Fur Hat

Charcoal on paper

45.7 x 61 cms | 18 x 24 ins

Private collection, ,

2007 Salon

  • Third Place ($500) / Drawing
HD

Malibu Sunset

Oil on canvas

40.6 x 91.4 cms | 16 x 36 ins

Private collection, ,

2007 Salon

  • Finalist / Landscape
HD

Nasturtiums

Oil on linen

30.5 x 22.9 cms | 12 x 9 ins

Private collection, ,

2007 Salon

  • Honorable Mention / Still Life
HD

Tules

Oil on linen

127 x 61 cms | 50 x 24 ins

Private collection, ,

2007 Salon

  • Honorable Mention / Figurative

Flor de Muertos

Oil

101.6 x 177.8 cms | 40 x 70 ins

Private collection, ,

HD

Adrift

2013

Oil on linen

101.6 x 101.6 cms | 40 x 40 ins

Private collection, ,

2013-2014 Salon

  • Best in Show / Figurative

Summit Shadows

2013

Oil on linen

61 x 45.7 cms | 24 x 18 ins

Private collection, ,

2013-2014 Salon

  • Finalist / Landscape

At the Door

Oil

127 x 76.2 cms | 50 x 30 ins

Private collection, ,

Jamiliah

Oil

50.8 x 40.6 cms | 20 x 16 ins

Private collection, ,

back to the artworks

Mode

In a remarkably short period of time, Jeremy Lipking has emerged as one of the country's premier realist artists. His talent, which rivals that of the late nineteenth century painterly realists such as John Singer Sargent, Joaquin Sorolla and Anders Zorn, is outstanding for a painter of any age. Like these great painters of the past, Lipking is a virtuoso artist. His canvases convey the magical aura of convincing imagery emerging out of a field of paint.



Realism has been misunderstood through most of the twentieth century as an art of imitation. In truth, when practiced by a painter like Jeremy Lipking, realist painting is a powerful creative force. Many viewers are drawn to his art thinking that it looks just like a photograph. Actually Lipking's vision is the opposite of what a camera does. A photograph tends to flatten an image, reducing all relationships of color and shade to a stiff mechanical pattern. Lipking's skill lies in his ability to probe in and around his subject. With a highly sensitive eye, he sees nuances of value and hue that the camera and most people can never see. More incredibly, he is able to translate his highly nuanced vision into a painted image. Lipking's true subject is his pictorial fluency. Seeing one of his paintings involves entering into the pictorial world he has created. Like all great realists, he has the ability to generate powerful fictions.



I have had the pleasure to watch Lipking paint on a number of occasions. The experience is both exhilarating and baffling. Lipking begins his paintings in a surprisingly loose, painterly manner-something I never would have expected. He makes initial marks to find the scale and proportions of his subject. Then he applies a broad underpainting of color to capture the desired hue and value. At this stage his paintings look almost abstract, consisting of a pattern of large color shapes.



Lipking's characteristic brushwork or gesture is what I like to call the "open touch." What I mean by this phrase is that Lipking applies paint in broad, loose facets, often leaving areas of bare canvas in between. In subsequent additions the open areas are gradually filled in, creating a breathing lattice-like structure of paint. In a curious way, the method is somewhat like Cezanne's manner. But whereas Cezanne emphasized the discontinuity of his touches, Lipking works with close values, so that the result is a seamless veil of color.



The magic occurs in the finish. As he progresses, he gradually refines each area, adjusting relationships of color and adding deft touches to define select elements. He brings certain forms to a razor sharp level of finish. Other passages are left vague and undefined. In this interplay of sharp and loose, the painting literally opens up and breathes. This is what makes his art seem so lifelike. Instead of resting as static images, his canvases pulse with the subtle energy of a living thing.



Michael Zakian

Director

Frederick R. Weisman Museum of Art

Pepperdine University