In the beginning , you start with tone production , and then scales , and you build up gradually over time in a progressive way , so painting is very much like learning music ”
performed many times , I had never before played in a professional orchestra . So , it was a BIG surprise .
MJ : You spent the next twenty years of your career with the Oregon Symphony . What was the catalyst for your learning to paint ?
Vemer : I developed what is called focal dystonia in my left hand . Focal dystonia is the result of changes in the way the nerves of the body parts communicate with the brain . As a result , instructions from the brain do not correspond with the desired movements . The Dystonia Medical Research Foundation likens the affected nerve transmission to a “ computer virus ” or “ hard drive crash ” of a person ’ s internal programming and movements . It forced me to retire from music at 40 years of age . I had to completely reinvent myself , so , my music dream being dashed resulted in my pursuing another dream . Painting !
For a while , I was just doing portrait commissions and avoiding anything to do with my previous career . Then I painted a violinist in the Oregon Symphony , and it got lots of attention . It helped that I really loved the painting , so I thought , “ Oh , I guess I ’ ll paint another musician .” Then I painted another , and yet another until it evolved and became this thing where I am now painting every instrument in the orchestra including singers and jazz musicians .
MJ : Are you self-taught ; did you take classes or both ?
Vemer : I de facto minored in Art History in college and spent summers in Rome visiting museums . After having to stop playing the violin I pursued the classical method of painting by taking classes and private tutoring .
MJ : Please describe your classical painting process .
Vemer : After doing alla prima ( direct ) painting for a while I became interested in the classical method of constructing a painting in layers . It starts with the design stage where several drawings are done before an “ under painting ” or “ dead painting ” in monochromatic tones is created .
Without light we can ’ t see form , so , once the underpainting is done you go over it with colors . Layers of color glazes and impastos in the lights are added . This way I ’ m able to create the desired luminosity and rich effects ( that hopefully result ) while bringing the Old Master approach to contemporary subjects I find interesting .
The process is logical , and it works . It ( this process ) was used for over 300 years going back to the Renaissance . And then the Modernists , Impressionists like Cezanne , and Degas came along , and completely blew it out the window by starting what they call direct painting . That is where you mix colors on a palette and slap them on a canvas — which is fine — I just prefer a more traditional method , focusing on the fundamentals of drawing and scaling .
It ’ s kind of like music . Playing the violin is one of the most difficult human endeavors . No one starts out playing a concerto . In the beginning , you start with tone production , and then scales , and you build up gradually over time in a progressive way , so painting is very much like learning music . It takes time to build and build and build . When you are done , the paintings have the look of Old Master paintings with everything rendered somewhat realistically . I take modern subjects and put them in a classical style of painting . You know , with candlelight , and
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