BIOGRAPHY

James Cobb doodled in primary school during recess and was only introduced to fine art while dating his fiancé, now his wife of fifty years. She was studying ’art appreciation’ at an all women’s college in Washington DC. He finally started taking local art lessons two decades later with his son. His son was totally disinterested but Cobb was hooked immediately. He met his first accomplished artist in O. Gail Poole with whom he shared a studio for the next 15 years. During that time, he was advised to seek out the best artists he could find and enroll in any and all workshops they offered. He found those instructors at The Chicago Arts Institute as well as the Art Students League in NYC. He is forever grateful that advice had him go the tutorial route vs. enrolling in college classes where one has no idea about the quality of the assigned professors. Cobb strongly encourages others to do the same. James Cobb has been a full time working artist for the last 25 years. He includes anyone interested to join him at his Norman, Oklahoma studio every Friday for life drawing/painting from the live model. His philosophy on group painting is that you can’t help but learn from others no matter their level of competence. James has won every award in the category of oil painting ( including ‘best of show’ ) in the only nationally juried competition held in Oklahoma and which includes artists from all 50 states. He has primarily shown his art on the storied Canyon Road, Santa Fe, NM until recently (as many privately owned galleries have closed due to the exorbitant rental costs). He has had numerous one man shows locally and in Taos, NM. Other exhibits have been at the request of the Oklahoma Arts Council in the Governor’s Gallery of the State Capitol and multiple solo shows at the invitation of the Norman Arts Council. Over the last 20 years, he has maintained a studio both in Norman, Ok. and Taos, NM. He loves teaching art and has done so as a faculty member at the University of Oklahoma, the Oklahoma City Museum of Art, the Firehouse Arts Center in Norman and he continues to teach privately. As with his own instruction, he teaches representational art and fully embraces the abstractions and impressionism which always add appeal to any painting. Materials of choice from the very beginning of his art life have been painting with oil and drawing with charcoal mixed with chalk and Conte’ pencils. Additionally, he has never limited his subject matter to a narrow choice of genres. His work primarily includes commissioned portraits and the weekly figure work. Of interest is the fact that most sales come from landscapes, many of which he will display this coming month of December at ObjetTrouves Gallery. He is currently working on a few commissioned portraits, one of which, is of a Forbes 500 CEO which will hang at the University of Oklahoma.

ARTIST INSIGHTS

How are your background and life experiences connected to your art?

As a physician turned artist, I had the opportunity to study anatomy beyond anything the layman will ever experience. That said, it is of little value unless you learn to see like an artist. Combining anatomical knowledge with the right brain activity of drawing is the answer for most of us. The gestures of the human are limitless and always a challenge.

Who are some of your biggest artistic influences?

I am a huge fan of Nicolai Fechin who I personally feel was the greatest draftsman of all time. He was no slouch as a painter either. I consider him to be a genius of the art world. More recent artists include Singer Sargent and the recently deceased Richard Schmid. I study their art yet have thankfully given up attempting to copy their styles.

How have you developed your artist career?

I would like to think any development or improvements in my work has come from long hours of practice and attempting new approaches. As a ‘career’, making art has to be, for the most part, enjoyable. If that’s not the case, burnout and painters block will consume you and hold you back. The baby steps of success in most artistic endeavors come with seeing each painting as a new challenge. By that, I mean that painting an apple today should start with seeing it afresh - different than the apple I painted yesterday. Listening to your critics is instructive in developing your art career. Those that don’t paint still have eyes to see and might just touch on an aspect of my work that simply doesn’t resonate positively.

What does your artistic work intend to communicate to its audience?

What my artistic intent aspires to is to allow the viewer to write their own story. I don’t paint to tell any story. I paint to hopefully bring beauty to the object or subject matter in front of me. In a landscape I might desire to produce a compelling scene that the viewer would join with me in an experience of peace or the turbulence of a rough sea. I definitely make no attempt to communicate a particular emotional response with oils and brushes. I probably would fall way short if I deceived myself into thinking I knew the mind of sitter for a portrait. Most commissions come with a face, an individual look and skin color which is not for me to alter with any intention in mind.

Does your work comment on any current social or political issues?

My painting to date has not encompassed political or social ideations. To do so, in my mind, would be akin to paying serious thought to the socio-political prattling of some of our celebrities or high paid athletes. In a jovial way, I would wager that if one were to paint to make a political statement, they just lost over half of their potential patrons. I do admire the likes of Repin as he made bold statements with his art in a dangerously charged political climate in Russia.

Do you have a particular story that stands out from your career as an artist?

My story of inspiration came from the first ‘ in person ‘ witnessing of a master painting for a demonstration. David Leffel was my instructor at the time and to see and be present for his painting was absolutely life changing. With a stick with bristles and piles of colored oils, I experienced an epiphany. Since, I’ve had the similar thrill to observe other equally talented painters. Each time it has made me want to run to the paint store and buy their brand of paint and other pieces of equipment. This is, of course, wrong thinking. But, the excitement was real and I’ll repeat myself by saying that seeking out gifted instructors is the right way to improve. I leave every workshop knowing there is so much more to learn. And, just when you think you have a handle on some new process, there is forever new ground to discover.

What is one thing you would like your audience to know about you?

If it is possible to gain insight into the person that made the art you’re looking at, I really doubt it would have validation. So, I can only hope that in viewing my work, an individual would come away with the impression that I love this life and feel fortunate to have bought my first paint set. I would like a viewer to know I’m happy making marks with a brush or a piece of charcoal. If I could impart my right brain experiences to that person, it would be reward in itself.

Which current art world trends are you following?

I think I’ve finally ‘passed the course’ on following trends. It never served me in a positive sense. If one is to think for themselves and start each painting with an open mind, there are no trends worth cluttering one’s mind. There is a world of knowledge in seeing the work of other artists. But, to wake up tomorrow and think a trend or a new look is an answer to your artistic growth is like me suddenly speaking in a different language of which I don’t even understand!

Why have you chosen to sell your work in the 1515 Lincoln Gallery?

First and foremost, I feel flattered to be represented by 1515 Lincoln Gallery. While most gallery owners are hoping to be served by the next ‘great’ artist of the day, the staff at 1515 Lincoln Gallery is encouraging their own group of artists and constantly thinking of strategies to further their work and perhaps help them be the great one. Susan MacCalmont is a hands on leader and gallery director. She is helped by other motivated staff members like nothing I’ve witnessed at other galleries. She listens at monthly meetings to any of her artist’s concerns or positive contributions. It is truly a team and a team effort.

What do you believe makes 1515 Lincoln Gallery distinct from other galleries?

I believe 1515 Lincoln Gallery is distinct in its inclusive mindset towards actually helping the artists it represents. The director and staff help their artists. I’ve been ‘shown’ in several galleries only to be called if and when a piece of art has sold - nothing more. Susan’s leadership is a new skill I’ve not witnessed before. This skill Im alluding to is in the field of marketing and forward thinking. The staff at 1515 Lincoln Gallery has a grasp on internet sales, working with international marketing groups and creating a sense of family amongst the artists represented. This gallery also offers clients not just a known quantity but a vast and diverse selection of anything related to art. There is something for every client; items that would otherwise require international travel.

ARTIST STATEMENT

Painting, by it’s very nature, comes with great enjoyment but long and hard work and practice. At the end of a day, it is important to accept equally what one has done well AND to learn from what didn’t go so well. I feel strongly that drawing is the basis and the only path to successful representational art. As such, drawing should be a daily or frequent undertaking just as golfers hit balls from a practice range. I fully believe that the figure and portrait is best accomplished by working from the live model. A likeness is very satisfying, but with abstractions and some alien strokes, it becomes ones own creation. Explained another way is to say that painting with a set of strict rules and formulas only hampers the creativity. Paint what’s in front of you but finish the painting the way you want it to look. Obviously, commissions are an exception as the client wants every dimple and coloration to be true to the subject. We all learn from those who have gone before us and I dismiss the notion that anyone is purely ‘self taught’. Likewise, it’s important to let your heroes die along the way as you nurture your own persona. Look for beauty in others’ works .

JAMES P. COBB’S AVAILABLE ART

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