Stephen L. Golay is an artist "come of late".
The Damascus Road of painting and drawing arrived after too many detouring byways. Yet, here he is working in a vigorous style, simultaneously, on several series:
ORIGINAL OILS & DRAWINGS
- North American Chiefs
- Mother Lode Cowboys
- Historic California
- Just War Mercies
- Male Portratis
- SERIES: The Provocatives
- SERIES: The Muhammad Paintings Collection
The artist paints in oils with a severely limited palette of just nine colors. If the theme or subject cannot be justly painted within the range of those nine colors, the subject matter is discarded. The palette is not adjusted or expanded to accommodate the subject. Also, a straight-from-the-tube method is used without dilution of the oils. This creates an almost sculpted effect on the canvas
Though the artist could be called a painter of Western Art, his focus is not on the details of western or cowboy scenes, which is typical of the genre, but on the interior life of those who created the hard-nosed reality of the American West. This attention to the interior life is carried over into the artist's other series, such as the "Provocatives".
Check out the PAGES attached for more information..
The artist is also available for mentoring and instruction. Now offered, a comprehensive course in drawing founded on the "old master" teaching method of Anthony Ryder. See PAGES on Art Instruction.
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Regarding the typical artist bio (who the damn fellow is!), that will be posted later. Well, maybe! What matters more are the works themselves.
Will, though, pn the PAGES attached post brief comments on technique, style (or is it philosophy?).. Folks seem to want that.
For now, why not take a peek at the Mother Lode Cowboy PAGE? It has an extended write-up on why the category was selected. Should give an insight or two. But if it's a harvest of such you want there's The Provocatives PAGE! Not so much for what's written, but for the questions raised: Why called The Provocatives? Why were these subjects selected? Is there a link threading them? What's the approach in mood and technique? Answer these and you'll begin get a grip on the Artist . . . and then, there is The Muhammad Paintings Collection! What and why? On its PAGE there's a link to the Collection's own dedicated web site. Go to and browse . . . the who and what about the Artist will manifest itself.
Still, as an introduction to the Artist, more can be posted here - and we will.
NOTE: The Artist will be publishing a series of books titled Notes and Definitions (on Picture Painting). Vols. 1-10. Doing this instead of the chore of daily blogging. Sorry! I know, these days, the public assumes one can jump onto a blog or tweet and, as they say, "get the latest". Not for this Artist. He wants your eye on the Works and, if words are needed, on those that has time to marinate.
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A FEW POINTS, THOUGH
- Oils or graphite pencil only.
- Straight-Tube-Painting. Little, if any, dilution of oils.
- Hog Bristle Brush only. Size: #2 or #4. Regardless of subject or dimension.
- Pencil: HB, 2B or 3B. Little, if any, color hues or washes. Value is the focus.
- Ground for oils -linen. Ground for graphite - Acid free 80lb weight, medium tooth (mostly). "Colored" papers rarely used.
- Oil Palette: Limited. Colors: Titanium White, Prussian Blue, Sap Green, Van Dyke Brown, Burnt Sienna, Raw Sienna, Cadmium Yellow Deep Hue, Cobalt Violet, Permanent Red. (Now and then: Viridian Hue, Cobalt Blue, Ceraleum Blue.). No black or grays. To us, white is considered a color. We don't separate the "whites" out, as if it has no standing - or, so much so it stands for nothing.
- In this coming of colors are those that hold the ties that bind: Prussian Blue, Titanium White, Burnt Sienna. These three (with their many layered tones and hues) are both the foundation and the framing of the Palette. These three welcomes all the other colors, sets a potluck table for whatever they dish up. It's their hosting skills that makes any color complementary - that is, welcomed. Mind you, even a potluck is not a food fight! Any oil lays upon the table what it has (that is, what it is). Our three host-oils makes the introductions, keeps the conversation lively. By dinner's end, hues, tones and values overflows the table and rims the cups. . . . more, much more, read Vol 1 of Notes and Definitions (of Picture Painting).
- The above may seem basic, but, if carefully considered, manifests much. Need more? Patience. Our volumes Notes and Definitions (on Picture Painting) will tell all.
