Profile: Peter Fiore
Tangle I Oil 48 x 48"
Peter Fiore combines a lifetime of illustration skills and a passion for light and the landscape to create paintings that communicate his personal emotional response to his subject and strike a universal chord in his viewers.
"I taught myself a lot about painting. As an illustration student I learned how to solve problems, not really how to make a painting. I understood value and structure but I didn't know how to apply that into paint. It wasn't until after I got out of school and I went the the Art Students League that I ran into a fashion illustrator and painter named Morton Kaish. He told me, 'Get the biggest set of pastels you can afford.' I got a thousand stick set and I didn't have to think about making color. I just had to think about selecting color. That's basically how I learned to paint. I learned to paint by dry-brushing one color over another and I used a lot of broken color in my work."
"Illustration was about trying to make really good work and beating the clock at the same time. I found that I could do a book cover in a day. During the years I was illustrating - working on specific assignments - I was always painting something that I couldn't see in life. I was always painting something that was out of season - painting the winter in the summer and painting summer in the winter, because magazines and advertising are always done ahead of time. I was always painting from older photography or scrap reference or ideas of what I thought things were. Then when I really started painting and going out looking, I realized it's a different world than I thought it was."
Harmony Oil 30 x 40"
"After successfully being an illustrator for many years, I realized that I was not a happy illustrator. I got tired of solving other people's problems. There are only so many times you can do the same picture. I started doing smaller jobs that gave me total freedom. With that total freedom I would try different ways of painting. I got paid to learn how to paint. That's how I treated those kind of jobs. I always painted for myself over the years, but finally in 2002, I decided to stop the illustration and jump into the painting I wanted to do. I much prefer where I am now."
"I'm not interested in making postcards. I'm trying to do something that is more universal and eternal - trying to capture a moment that is believable, that is palpable, that you feel you can walk into and breathe. You've been in that air - maybe you haven't been exactly to that spot but you've been there. You've seen it before. That, to me, is what it is about."
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