HOLLIS DUNLAP UNDRAPED

[@kenneth1767]

I so appreciate your podcasts. Never went to artschool. Been painting twenty years, six of them fulltime, so gleaning much from the wisdom of your guests. Awesome.

[@rajitart]

I wonder if you’d ever bring Micah Christensen and Hollis Dunlap together! That’ll be all the Art history we’ll ever need! Such an inspiring conversation! Thank youuu! ♥️

[@schulenburgstudio]

Great conversation. Hollis has done his art history homework! His experiments with color give his work a unique and personal look which is always easy to recognize. I like that he gets creative with the colors that he is working with rather than painting exactly what he sees (which is something I tend to do). At the Portrait Society conference Susan Lyon was intentionally making up color relationships and getting really creative with them. Both of these artists are inspiring me to try new directions with color. Time to experiment with a limited palette and also try amplifying certain colors. It's good to try new things, rather than stay in a rut. (It can be hard to get out of that rut though)

[@theundrapedartist]

Good luck!

[@wendyroseartist2178]

Omg I may look into Lyme Academy of fine arts. Great interview!

[@Comeriokid]

Great conversation. That took me down memory lane. I studied at Lyme Academy just before Hollis. I attended the University of Hartford Art School where I met Deane Keller. He lured me to Lyme because it was more in line with my interests. He was like a father to me. Fun fact: Deane’s father was part of the Monuments Men.. he was an absolute powerhouse.

[@grandpa_eric]

I’m going down memory lane here with Jeff & Hollis. As a grad of Paier School of Art in the 70s, Deane Keller taught me drawing & painting. Along with Jean & Rudy Zallinger, Ken Davies, Paul Lipp, Charles Sovek… the best! I “retired” in 2020, and now plein air paint for fun. I’m grateful for a quality education and good life in the arts.

[@gstavella]

The first time I heard that Michelangelo 'Invented' his figure's anatomy, my mind was blown! But it absolutely makes sense if you just look at his work. And then you realize that that was his genius. So it is so cool to hear you and Hollis discuss the same thing. BTW, the problem with the group from the other academy who complained that you invited to draw in your studio, was not that the model was moving or that they has a different process, but they were guests and rude jackasses. Rock on Jeffrey. 👍🏻

[@theundrapedartist]

I won’t disagree with that. Thanks for listening!

[@mrirurfkjsdo]

Wonderful artist and interview... The ending, about the passing of time, is beautiful. Thx, Buddies !!!

[@jasonblevins5319]

Always good to see you and your newest additions in teaching and products

[@paintkerrypaint]

That was such a fun rabbit hole to go down. Hollis is a fascinating dude and Jeff is so patient with this smart and inquisitive questions. I agree, I gotta go to Italy! "Buy a ticket tomorrow" as Hollis said. I don't usually watch artist podcasts, but I'll definitely be back or more of these. Thank you Jeff Hein for opening these artists up! And one day would be interesting to get Jeff on the other side of the questions, too. ⭐

[@theundrapedartist]

Thanks Kerry! You’re on my list, by the way. See you in a few days.

[@markpullenfineart]

Stephan Early creates magnificent multi figure works from life!

[@theundrapedartist]

He’s on my list

[@ltwig476]

One of my favorite podcasts so far. Thanks Jeff. I like Hollis telling some of the more unique things about the Old Masters. When I was at graphic design school. I did an art hist. paper on Geslebertus: Last Judgement tympanum on west portal of Saint Lazare Cathedral, Burgundy France, 1130-45. The people in charge of the church specifically wanted the stone mason that could create the most fear and awfulness in the Weighing of Souls in which Geslebertus was chosen for the job. The next group that took over the cathedral had it plastered over to hide the gruesomeness. Then much later a group of historians had it uncovered and restored. In the 2nd semester of art hist. we studied a lot of the ancient Cathedrals. Typically folks touring these old cathedrals are so enamored by the grandness, they overlook all the cool nooks and crannies. Something you may want to check into for the current project you're working on. Many of the oldest cathedrals are deceased but there are still many drawings of them left.

[@bobbidunlop5223]

Wow, that was uplifting and great! 2 of my fav artists and now, people 🙏❤️

[@belts9988]

Thanks so much for this episode! Such a great talk to listen to. Really liked the mix of art history and contemporary representational art. I'm tempted to make my next holiday to Rome from this episode haha

[@claudiaesther7868]

I love your podcast, you have so many amazing guests!

[@Ayog06]

Thank you for sharing this podcast!

[@markpullenfineart]

Great podacst cast in generalJeff, you have really done it now! Thank you!

[@theundrapedartist]

Thanks man

[@pennyrae7062]

Thank you for making Monday my favorite day of the week!

[@1Kellapitter]

Great conversation with two great artists! I wonder if Hollis questions whether Caravaggio painted from life or used some sort of technology such as camera obscura?

[@JerryMonks-kw2vj]

Really good conversation thanks

[@Jujube-CA]

This is so good. Learned a lot, thanks!

[@MarinelaM]

I plein air and everything changes, i realize the same is with the model in studio even with a long pose its the same problem solving and decision making

[@skaipaints]

The artist that draws the city from his memory is Stephen Wiltshire, he has autism. I worked in Queensmill School he attended long ago (he has a drawing of it too) and the school is still very proud of him :)

[@philiphenryart]

Thanks Jeff!

[@ertiebassy3612]

Very much enjoyed this conversation…hitting a lot of topics I think about as well. Only one suggestion is to get into artists artwork sooner.

[@theundrapedartist]

I appreciate the input. I like to just let the conversation go naturally.

[@TC-dh7zi]

Its a lot easier to have your work micro-managed like the 14-16th century artist when you're getting paid the equivalent of 20-30x the yearly wage of an average person per commission. If you take todays wages and set them at 30k imagine how chill you'd feel making 6 mill a commission