The oil paintings of mythological or imaginary quotidian portraits and scenes, which established its presence during Renaissance, still are one of the most appreciated and popular ways of art, always provoking some kind of fascination. Even today, when everything can be captured by a touch at a digital camera, Mona Lisa, by Leonardo Da Vinci, Girl with a Pearl Earring, by Vermeer or the biblical scenes of Rembrandt still impress the world and can be reproduced using only brush, ink, accurate look and technique.
The artist Max Ferguson released this secular art which adorned ill-favored monarchs and did ultramarine wedding at a time when webcams were not even a dream. However, the impressive aspect of his work is the unexpected reality level that they bring to us -- something that even the portrait conception could assimilate: with his oil paint, Ferguson extracts quotidian scenes extremely reliable to what you can see. They are so realistic that they seem some kind of Photoshop trick.
But Max Ferguson is a technique studious who is dedicated to reproduce with reliance the world around him. The Dutch artist is graduated at Amsterdam and New York universities since thirty years; during this time, he is making, besides his works, studies about reality techniques in paintings, luminosities and mainly about the cities and their dwellers, his greatest passion, mainly the articles and pictures which concerns about New York Jewish community. For me, one of the key elements of my work is the relationship between the city and the citizens. Although many of my paintings work even if there is not a depicted person, when they are present, I can feel they have human qualities (versus those merely urban characteristics).
Another theme he is used to explore frequently is the lonely soul, the person who roves with his own company even inside the urban masses; his own peace and security despite the frantic crowd; these people, explains Ferguson, confer an immortality level to the painting which does not belong to them. Like the paintings in the clock showed at the watchmaker's shop. There, the time stands still. . And this obsessive fascination by capturing something should remain forever which conducts the painter to flow into so vivid images that make any detail necessary, unforgettable and hypnotic. Real.
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