1980s Earl Linderman "Falling in Love Again" Original Oil Painting Canvas, Framed

Description

Earl Linderman "Falling In Love Again" Original Oil Painting Canvas
subtitle: "Lotta Heat Plays Boogie & Blues"
framed
Original Oil … more Earl Linderman "Falling In Love Again" Original Oil Painting Canvas
subtitle: "Lotta Heat Plays Boogie & Blues"
framed
Original Oil Painting on Canvas
Brand New Museum Quality Frame!
Hand signed by the artist
Framed Size: 47" x 47"
Canvas Size: 40" x 40"
Condition of the Painting and frame is Excellent
Certificate of Authenticity & appraisal is included



EARL LINDERMAN

As a child, growing up in the '30s and '40s, Earl Linderman was fascinated by the comic strips and Saturday matinees. He would spend countless hours drawing these characters, forming the foundation of his future as an artist of extraordinary imagination and execution. By the time he was in high school, Linderman was creating his own art, featuring heroes involved in adventurous dramas. Things have not changed much for the man who, since the early '70s, has been exciting art aficionados with his series, The True and Incredible Adventures of Doktor Thrill.
"For me, the imaginative world of my art is a slam-bang, dynamite adventure," states Linderman. "Just as Matisse did not wish to become a 'prisoner of reality' in his art, I, too, have taken the raw stuff of life and invented a panorama of electric personalities .... My art is my autobiography, both fantasized and real. I paint 'romantic adventurism,' a mystique of the intellect and the heart."
The idea for Doktor Thrill came in 1970 when Linderman was vacationing in San Diego. He was sitting on Fisherman's Wharf at Crystal Pier, "with the fog rolling in, the moon coming up, and the waves lashing against the pilings," when his imagination kicked into high gear, and Doktor Thrill was born. During the next three years, Linderman drew sketches of his character, who originally appeared as Captain Evil, a mysterious looking man one might find in novels of intrigue. These initial works were influenced by German Expressionism.

By 1974, however, Linderman had slicked up Captain Evil and transformed him into Doktor Thrill, an urbane character who, with his three cohorts -- Snake Lady, Blue Angel, and Lotta Heat -- lives life in the fast lane; a sensual character reminiscent of Errol Flynn. Linderman describes Doktor Thrill as "every man's prototype; he's cool and macho, a contempo tough guy, suave and debonair, a pleasure seeker who sleeps late and plays all night." Doktor Thrill's metamorphosis was a direct response to Linderman's "need to express myself in a brighter style." Today, his creations have achieved a cult status, with collectors and fans often showing up at his openings dressed as their favorite Linderman characters.
Linderman, who was born in Endicott, New York, graduated from Pennsylvania State University with a Ph.D. in Art Education, and taught art at Sacramento State University, Oregon State University and Arizona State University, where he also served as Chairman of the Art Department. He also has written several books on art, including four textbooks that are used on campuses around the country.



Linderman's art is displayed in private collections throughout the world and is included in numerous public collections, such as the Phoenix Art Museum, the Portland Art Museum, the Plains Art Museum, Eckerd College, the William C. Brown Publishing Company, and Valley National Bank, to name just a few.

Oil Painting Definition:

In its simplest form, oil paint is a mixture of three things: pigment, binder and thinner. Pigment is the color element, while the binder (the oil) is the liquid vehicle or carrier which holds the ground-up pigment to be applied to the canvas or whatever support is to be painted.

A thinner is usually added to the viscous pigment-oil mixture to make it easier to apply with a brush. Thus for example, one of the simplest oil paints might contain a mixture of red iron oxide (the pigment), linseed oil (the binder) and turpentine (the thinner). Oil paint may also contain a number of other additives, to promote drying, appearance and other actions.

Oil paint is a form of a slow-drying paint that consists of particles of pigment suspended in a drying oil that forms a tough, colored film on exposure to air.

The drying oil is a vegetable oil, often made by crushing nuts or seeds. For paints, linseed oil is most commonly used, but poppy, sunflower, safflower, soy bean and walnut oils can also been used. The advantage of the slow-drying quality of oil paint is that an artist can develop a painting gradually, making changes or corrections if necessary.

Oil paints blend well with each other, making subtle variations of color possible as well as more easily creating details of light and shadow. They can also be diluted with turpentine or other thinning agents. A heavily diluted layer dries relatively quickly, being tack-free in a few days. Thicker layers, containing more oil, take longer. Oil paint continues to dry, getting harder with age over many decades. Pigments and extenders will also affect the rate of drying, so different colors may dry at different speeds.

It was only during the 19th century that industrial manufacturers began to produce a proper range of fine art oil paints. Until then, artists made their own paints, which had to be produced fresh each day. Most Renaissance or Baroque painters, for instance, worked for several years as a pupil (apprentice) in the workshop (atelier) of a master artist, where they studied the skills of drawing (disegno), painting (colorito) and also how to make and mix paint. Knowledge of color pigments, their properties (hue, permanence, chroma, lightfastness, compatibility with other pigments, drying attributes), and how to make them into oil paint was an essential part of every painter's art training. Even the grinding of a pigment required skill as the particle-size needed to be fine and regular, and a small number of pigments can be damaged by incorrect grinding. In addition, it was important to know the correct binder-to-pigment proportions (which may vary from 10 percent or less, to as high as 150 percent), and also whether or not a particular pigment requires the addition of a siccative or extender before being ready for use less