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Artist Statement:
Coming Soon!
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Artist Exhibitions:
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Artist Galleries:
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Artist Reviews:
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Collections:
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Commissions:
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John Herbert Biography:
| Biographical information for John Herbert can be found below. The artist may choose what information to display. Sometimes the artist chooses not to display personal information to the general public. |
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Age
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38
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| Gender |
Male
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| Status |
Single
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| Children |
99
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| Religion |
AtheistCatholicHindu |
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| Education |
Bachelor of Fine Arts |
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| Hobbies / Interests |
History, Religion, Philosophy, Linguistics |
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| Favorite Artistic Medium |
Painting Oil
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| Favorite Arthistory Movement |
Romanticism - (1800 - 1850)
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| Favorite Visual Artist |
not provided
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| Favorite Work of Art |
Bernini's St. Theresa In Ecstasy
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| Biggest Artistic Inspiration |
Die Gestaltung of all mood, culture, and history |
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| Why Did You Become An Artist |
not provided |
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| Your Personal Biography |
I have always produced art.
My grade school art education was mediocre.
My high school training was conservative, half-solid, but . . . never inspired favor. I went to St. Mary’s College of Maryland, where I received degrees in both Art and English. I worked in various media, and I was challenged and encouraged by extremists from all points on the continuum of presumptuous art theory.
A semester in Oxford (at The Centre for Medieval and Renaissance Studies, at Keble College) was great experience. It was a period more important in terms of literary and spiritual sensibility than in terms of painterly production.
Independent Studies were another featured aspect of St. Mary’s college. These studies offered freedom, freedom with accreditation. The Independent Studies were “Art Inspired By Literature”, “George Bernard Shaw”, and “Free Will Vs. Determinism”.
In my painting, I was inspired to unite the abstract formalism of Modernists with my interests in content fueled by literature and mythology.
Other than coursework, my painterly efforts, solidly experimental and, alas, largely undocumented, were sporadic. This went one during my last year at school and for about two years after.
Fiction was my primary creative effort.
It wasn’t until years after college that I converted permanently to the use of oils. A commission having to do with Kandinsky, various films, and album art stipulated the use of oil.
Sustained work as an art model has been a strange rub in the melee of classism, but it’s been a profound liberator for my method of disciplined inspiration. Freedom from the confines of academia, at least freedom of conception, has combined with constant and well-processed exposure to academic information. The situation is uniquely liberating to my painterly process.
In the autumn of 2005 I submitted an application to a well-respected funding organization. It marked a rare peak in my hopes of roping the breadth and depth of my creativity into the funding potential, and the other potentials of clout, with which “the establishment” whips the many and funds fairly broad freedom to the few.
As I’d repressed many tangents in the months I dedicated to that process, I loosened the reigns a bit, in the weeks and months that followed. What I inferred in that process, other than out and out cynicism, was the strength of “assessable” writing. Though truth and eloquence may demand “Hellenistic”, use “Greek”, even in the context of well-respected academic funding sources.
Through all of my academic and post-academic years I have learned self-direction. I have honed the breadth of my interests into the professional depth of my painting.
Currently I’m exploring theoretical analogues between media, particularly fiction and painting.
Issues of theory and issues of technique are actually . . . one. I am painting and writing on a daily basis.
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