Théodore Chassériau,La comtesse de La Tour-Maubourg,1841,detail.
Reblogged from .
“Bradford Johnson’s paintings ghost the photographic images beneath them. Johnson has long been an admirer of fellow New Englander Albert Pinkham Ryder, whose distinctive, moody canvases were achieved through excessive and lengthy reworking of his subjects in oil and glazes, almost to abstraction. Johnson’s work is similarly labor intensive (and similarly moody); First, he underpaints the image, based on a photograph, onto a panel. Next, he applies anywhere from fifteen to thirty layers of clear acrylic over that surface, over and in between which he paints, finally, hundreds of hairbrush lines of various sizes and colors. These brushstrokes call attention to the painting’s surface, thus subverting the picture’s illusion; close-up, the images break down and verge on abstraction.”
Robin Lippincott on Bradford Johnson in the portfolio “Painting Past Photographs.”
2012ths: Started a new series called “Rent Boys”
The Rent Boys are paintings of beautiful males who are priced at the cost of my monthly rent apiece. In the literal and figurative (and literally figurative) sense, I am turning them out and selling their bodies to support myself. Their ambivalent expressions and fashionable poses shoulder some burdens normally borne by human girls. I couldn’t say why exactly they are canonical demons, but each speaks or thinks his appropriate sigil.
The Rent Boys are ongoing into 2013.
I love these.