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Raymond King
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About the
Artist:
In an art world that all too often reflects the turmoil and instability
of our times, Raymond King’s paintings stand out as a welcome relief.
This prolific artist’s works reflect this ongoing interest in capturing
the static tension between light and shadow, while at the same time
relating a distinct sense of movement.
Originally, King was drawn to the Renaissance technique of creating an
illusion of realism by gradually building up the forms of a painting
through successive applications of thin layers of oil glazes, with
opaque colors added in the final stages of the process. Over the course
of his 30-year career, King has expanded on this layering palette knives
rather than brushes and layers of pure opaque color. These layers built
up until they achieve a tangible as well as a pictorial rendering of
light and shadow, with a distinct and vivid impasto quality.
A serious student of art since childhood --- he was apprenticed to
Florida artist Michael Puiggi when only nine years old -- Raymond King
studied at the New England Institute of Art and the Boston Museum
School. After studies with such notable American artists as Maclvor
Reddy, Phillip Hicken and R.H. Ives Gammell, King spent three productive
years in Rome on a painting fellowship. In 1972, at age 20, he was
accepted as the youngest new member of the Copley Society of Boston,
America’s oldest ongoing arts society, and was offered his first solo
exhibition. Numerous solo and group exhibitions followed over the
years, in Boston, Miami, New York, San Francisco and Seattle. Raymond
King’s prizes and awards include the Prix de Rome Prize, finalist status
in the 1991 Painting Competition of the Artist’s Magazine, and the 1996
K. Phillips Memorial Prize for Contemporary Landscape Art.
At
present, King spends much of his time on commissioned still life
paintings. Whenever he is able, he likes to get outdoors to paint the
natural beauty that attracted him to the Michigan area. King’s recent
paintings display the coloristic eccentricities he has observed while
painting in the field.
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