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lørdag 4. august 2012


“I believe in the rebirth of traditional painting.
My works are in an Old Master style, based on contemporary ideas.”




Jonny Andvik was born in Norway in 1966.
Ever since he was a child, he chose to express himself through images instead of words. Jonny’s beloved grandfather, Alf Andvik, a artist, taught him the basics of oil painting at a young age. By the time he was twelve years old
he considered himself a painter. 


Selfportrait by the river
Coffee Table, detail

Coffee Table
Coffee Table, detail

Waterspirit, detail

Waterspirit


Lost Love

The New Beginning 
The New Beginning detail

The Craftmans choise




How do you feel about formal training?

There are many good reasons to acquire a formal education. Not everyone does it, since old
traditional studio practice almost is a forgotten art. But I will say that it can be an advantage to do a
formal training if the school is good. Is it not so, that to be really good at something, you must thoroughly make a study of it? If we are born with a talent, we have to acquire the skills based on experience that humans have been developing throughout time. I do think of talent as the outcome of knowledge which we have built up through the evolution of mankind.
Take for example the discovery of early agricultural implements on different locations in the world -
continents apart - the tools originate from around the same time period and have very similar qualities
and form. This shows how ideas arise from a kind of evolutionary climate, where people think likewise
and learn new things at the same time without being aware of it. It is natural capabilities that some
have in greater proportions that make the difference between the common and the genius. The best way
to develop your talent is to be taught by someone who already knows to communicate the insight and
to handel the materials - that’s where a master comes in if a school is not available.




How do you know when a work is done?


It will always takes a long time to create a masterpiece. This has not changed with time.
When I start a new image, I often think of Rembrandt’s depth, nuances and techniqual
mastery, this makes me humble and patient. To become a good painter you have to know the
materials in and out - to know all the advantages and weaknesses. This knowledge makes you free
as a painter, because you can work close to the edge of what’s possible to do with the materials.
I love to construct and build the painting - layer for layer and find this process as compatible to the
mindwork as with the drying time of the material. It pays off to spend time on the planning and by
this avoid what I call “the lazy eye”. Finally when the work is done the piece comes towards me and
tells me when it’s there - it is finished.




What is your secret weapon?


If I told you my secret weapon it would no longer be a secret, now would it? You know the history of
the great studios of Europe - The workshops of all the Italian, Spanish and Flemish masters, as well as
for Holland. Titian, Velazques, Rubens, Rembrandt and many more - they all had their secrets to hide.
To unveil these secrets I think that you have to look close at what these masters did with their hands on
the canvas surface. By carefull examination of alt the particles you are able to see, you can literally
tear of the knowledge from the package sheet by sheet - maybe you find the formula inside. It all
depend on what you already know about oils, pigments, tecniques and so on.

The Craftmans choise, detail



Who said painting was dead?


I know very well who said that, but to me that phrase is dead. I look at painting like something that
is reborn over the years. I am a natural born painter and art history can never change me from believing
in my talent. Art historians have a great influence on how we tend to think about painting - like
something from the past - a tradition that is dead. But since I am not a writer neither an art historian,
I deside to make something for them to write about instead of taking there dictate.




What is your day typically like as an artist?


After breakfast at 7:00 the day starts in the studio with a cup of coffee and some good classical
music. The first studio hour I use for study and development of ideas - my library is used diligently
for research. I work with multiple images at once - from two to five active and 20 to 30 pictures in the
long term. After a while looking at the paintings I have on the easel I begin the painting process by
adding up the palette and preparing brush sizes. I work until lunch and have that in company with
my wife, model and assistant. The work continues often into the evening and on average I work a total
of 9 to 12 hours daily.

poetsandartists.com; from the interview with
Jonny Andvik in 2009







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