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ROBERT PADOVANO
Robert Padovano
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Extended Bio

I have always loved Impressionism.
Even as a child, I could recall stumbling onto a painting by Monet or Sisely in a book and noticing something about it that was very different than anything I’d seen before. The colors and images were very bold and beautiful, but somehow the fascination went beyond that. It would remind me of a moment or a time that I could recall feeling myself. This was magical to me. It would become a defining moment in my life, affecting the way I looked at art from then on. I knew I wanted to do this myself.

When I paint, my goal is to capture the atmosphere around a subject, not just the subject itself. Whether it is the color of the morning air, the look of the city after a heavy rain, or how the late afternoon sun can completely change the mood of a day, it is this that is most meaningful to me. I find it thrilling to be able to recreate that feeling in my own paintings. If I can make the viewer feel the same thing, then I feel I’ve accomplished what I set out to do. This is what I want others to see in my work.

Having grown up in Brooklyn, the New York urban landscape provides constant inspiration for me. Much of my childhood was filled with memories of rooftop views of the city from the elevated trains, and sparkling panoramas of bridges lit up at night. I find these subjects lend themselves beautifully to Impressionistic interpretation and they frequently make their way into my paintings. The effect of changing light upon city streets and buildings is very compelling. This is especially true in “bad” weather, when the snow and rain transform them into something beautiful and mysterious. The light shimmering off a wet pavement or a snowstorm blanketing the city in pristine silence never fails to capture my imagination. These are favorite subjects to paint.

I find it almost magical that by combining the right dabs of color on a canvas, you can communicate in a way that enables someone to relive that same fleeting moment, as you experienced it, by just looking at it. There is great power in this. The painting becomes a sort of time machine allowing someone a hundred years later to see through their eyes and feel what they felt. And perhaps inspire that kid from Brooklyn to become a painter himself and do the same.

 

 

 

 
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