Great interview! Man he is only 37 knocking out fantastic work! I believe anyone can be a great artist if they are willing to put in the time to study with or in this case , without schooling....if you have that passion in your blood , you CAN ACHIEVE anything you want. Bravo Daniel !
That would be an interesting podcast topic. Can “anyone” be a master at the level of Daniel? A lot of people think so. I’m not sure. It doesn’t matter how hard I work, I’ll never be Einstein or Micheal Jordon. Is art a different kind of skillset than basket ball or physics. Are there not some who just have a genetic gift? I don’t know the answer, but what a great topic.
Daniel wanted it bad enough to study Richard's book for , l think he said three years...there is some thing in that alone to see what Daniel's mindset was/is. ( Clap , clap! ) This would be an interesting interview itself to chat about !
I just found this site today and am so excited to see Daniel Keys all grown up! I took his first workshop in Putney VT and he was excellent back then. I do think Alla Prima is the best teaching book ever and always recommend it to young people who want to learn to paint. I am old enough to be his grandmother and could see his genius in his early twenties! Absolutely enamored with this site and can’t wait to watch more! Thank you for getting me excited about painting!
Absolutely love the reinforcement of painting that with which you are passionate and familiar. It so cliché, but hearing DK's sincerity and story helps one take it to heart!
Love that he was so taken by Richard shmid first à la prima book. I also bought that book in 1998 and studied that, but never did the charts. I love Richard’s work but never got as good as he was. Daniel Keyes is a wonderful, successful young painter well done !!
Yet another inspiring, knowledgeable interview. I love all the artists that you invite to your interviews. So divorced and motivating! You know how to ask the right questions too. Congrats!
I just learned a lot! Thanks for these interviews, Jeff. I love that you give the guest artist time to formulate and thoughtfully deliver their answers. You never put words in their mouth. What a valuable podcast! Thanks again! Daniel is brilliant and his work is stunning. I’m glad he generously shared on your show.
Jeff, Thank you for another in depth and quite interesting conversation. Daniel’s path is rare indeed and so fun to hear about how his career unfolded. It has been exciting to watch him and his work blossom (I couldn’t resist) into what I heard and saw today.
I'm not unfamiliar with squinting over the course of a painting or drawing, but I wouldn't have guessed how much it plays a role in the visual execution and aesthetic that his work emulates. Logical painting strategy indeed! Thanks for sharing the interview Jeff!
Having the atelier system at an early age, I agree about the process of dogma, rebelling or daring to break out and explore different applications to what inspires you to paint. It can be difficult. So glad this conversation is on here. I continue to dance with this issue. When you can paint anything, sometimes it is difficult to quiet the loud and beautiful influences that was so helpful in the beginning. All that training is still in you and can be brought out when you need it. Not all the time to match a style. Inside you is more important after you gather your tools. Great interview as usual! Thanks to both!
I loved this Jeff. I am in Daniel’s breakout session at Portrait Society 23 and look forward to meeting both of you. I have been telling everyone about your RUclips channel and how great it is. I have almost watched all the interviews. Thank you!
What a great interview. Funny, intelligent and it gave me some great points to think about. It's great hearing from artists who genuinely geek out about all this stuff.
Jeff, you do make for great Mondays. I will always cherish the chance I had to watch Daniel in action and represent him in a gallery relationship. A professional in all facets of what makes a great artist! That last 5 minutes is going to be shared in some of my artist discussions.
Agree. I saw Sorolla's portrait of Grover Cleveland, and you could see brushstrokes of cottage cheese half dried paint on his face. I was upset at first but later accepted whatever works for the individual artist. A beautiful free painting standing back.
Love his work! It's so funny, I also studied RS's Alla Prima Book including the color charts! It is so great to hear about artists finding their own way to success. It's so inspiring and a huge reason why I so love your podcast. Thank you for continuing to do it. 🙏🙏🙏
As primarily floral subject painter myself (though not exclusively) and the fact that Richard's work first inspired me to start painting and also then using Richard's book 'Alla Prima' as a self-teaching aid I didn’t find it to be dogmatic at all. Quite the contrary, Richard offered sound starting points for the development of artistic skill that is unmuddied by subjective rationales on the how and why of painting which plagues many instructors of painting. The approaches he offers in ‘Alla Prima’ are still fundamentally and explicitly practical even now after 10 years of developing the skill of painting to my mind. Many books and teachers of painting are not able to articulate very well what they do (even if they are able to demonstrate mastery of skills of painting), Richard was not one of those. It’s an interesting point Daniel makes about finding stuff out for yourself. Blindly taking advice from other artist’s, either directly or from video/books etc, about the how and whys of painting is problematic unless you can confirm the sense of that advice in your own experience. I never found anything that Richard wrote and or said that Ive since found to be dubious and as a pedant I often do with other teachers of art. The only thing I would be dogmatic about, that all students of painting must learn eventually, is that there are no rules, only "good ideas and free advice", to quote Richard: "Please dont be afriad to learn. You might think it goes without saying, but I am quite serious in mentioning it. The idea of having an aversion to learning may sound silly, but in some qaurters learning is a defnite no-no. Throughout the past century and even today, an astonsihing number of otherwise intelligent people in the field of art education seriously believe and teach that learning and the technical essentials of painting will inhibit an artist's creativity - that chic contemporary art today is all about spontaneity and impulsive acts, and those alone matter. The theory is that everyone is a natural-born artist, and the source of art is somewhere deep within the human spirit, and any influence from the outside (such as established knowledge) will somehow contaminate the purity of the interior process.... Art is a living langauge with infintie possibilities awaiting. So learn everything you possibly can about it, then add your own insights, and use what you need." Richard Schmid, 'Alla Prima'. Ive been follower of Daniel's work for years and it was great to hear his thoughts on painting. I appreicate his rational approach to painting, in contrast to the more emotional ideas you sometimes hear from painters, as that is something that I frimly believe in and try to teach too. The emotional side of art is valid and vital but it is a priavte individual matter. When its brought into a learning context can be the cause problems when trying to learn /teach the skills of painting.
Thank you for this. I have always thought I should feel something when I paint and that I am not doing it right. But hearing the both of you I'll go right on painting and just enjoy what I do. Do you know Elizabeth Robbins? She lives in Ogden and is a wonderful painter of flowers.
Daniel, it could be that your pastel colors are turning out duller than your oils because you are smearing with your fingers to mix your colors. Try crosshatching to actually mix the color on the paper. Crosshatching creates a vibration: lay down blue hatching and hatch red on top. Keep layering the blue and red until you get the bold purple, or blue and yellow for blinding greens. I usually have to work to soften the screaming boldness of pastel (that I never got with oils). Also, oils are naturally shiny when they dry. Your work, both pastel and oil, is gorgeous! I'm totally enjoying this interview!
I would argue that a pastel pencil painting would not be accepted. Also years ago I read what the difference is between a painting and a sketch...the painting covers the canvas and a sketch does not. That said...I would call everything I do a study. Everything we do, whether it's a 8' x 10' painting or a small sketch , in my book, is still a study.
Great interview! Man he is only 37 knocking out fantastic work! I believe anyone can be a great artist if they are willing to put in the time to study with or in this case , without schooling....if you have that passion in your blood , you CAN ACHIEVE anything you want. Bravo Daniel !
That would be an interesting podcast topic. Can “anyone” be a master at the level of Daniel? A lot of people think so. I’m not sure. It doesn’t matter how hard I work, I’ll never be Einstein or Micheal Jordon. Is art a different kind of skillset than basket ball or physics. Are there not some who just have a genetic gift? I don’t know the answer, but what a great topic.
Oh, and thank you for listening!!!
Daniel wanted it bad enough to study Richard's book for , l think he said three years...there is some thing in that alone to see what Daniel's mindset was/is. ( Clap , clap! ) This would be an interesting interview itself to chat about !
I just found this site today and am so excited to see Daniel Keys all grown up! I took his first workshop in Putney VT and he was excellent back then. I do think Alla Prima is the best teaching book ever and always recommend it to young people who want to learn to paint. I am old enough to be his grandmother and could see his genius in his early twenties! Absolutely enamored with this site and can’t wait to watch more! Thank you for getting me excited about painting!
This Daniel Keys episode was real good, extremely informative and valuable for any artist to watch.
Daniel Keys is one of the best flower painters working today and its wonderful to hear him talking with Jeff
Absolutely love the reinforcement of painting that with which you are passionate and familiar. It so cliché, but hearing DK's sincerity and story helps one take it to heart!
Love that he was so taken by Richard shmid first à la prima book.
I also bought that book in 1998 and studied that, but never did the charts. I love Richard’s work but never got as good as he was.
Daniel Keyes is a wonderful, successful young painter well done !!
Yet another inspiring, knowledgeable interview. I love all the artists that you invite to your interviews. So divorced and motivating! You know how to ask the right questions too. Congrats!
Excellent conversation again - thank you Jeff and Daniel! I loved the wisdom and info shared :)
I just learned a lot! Thanks for these interviews, Jeff. I love that you give the guest artist time to formulate and thoughtfully deliver their answers. You never put words in their mouth. What a valuable podcast! Thanks again!
Daniel is brilliant and his work is stunning. I’m glad he generously shared on your show.
Yes indeed
Jeff, Thank you for another in depth and quite interesting conversation. Daniel’s path is rare indeed and so fun to hear about how his career unfolded. It has been exciting to watch him and his work blossom (I couldn’t resist) into what I heard and saw today.
Great discussion of narrative in portrait work which draws the viewer more than just a simple singular likeness.
I'm not unfamiliar with squinting over the course of a painting or drawing, but I wouldn't have guessed how much it plays a role in the visual execution and aesthetic that his work emulates. Logical painting strategy indeed! Thanks for sharing the interview Jeff!
Love these podcasts, and I can listen to them while painting.
Having the atelier system at an early age, I agree about the process of dogma, rebelling or daring to break out and explore different applications to what inspires you to paint. It can be difficult. So glad this conversation is on here. I continue to dance with this issue. When you can paint anything, sometimes it is difficult to quiet the loud and beautiful influences that was so helpful in the beginning. All that training is still in you and can be brought out when you need it. Not all the time to match a style. Inside you is more important after you gather your tools. Great interview as usual! Thanks to both!
Thanks for the comment. In my opinion, a great teacher teaches principles, not opinion. It’s hard to do.
yess 🙌 cant wait to listen to this episode
I loved this Jeff. I am in Daniel’s breakout session at Portrait Society 23 and look forward to meeting both of you. I have been telling everyone about your RUclips channel and how great it is. I have almost watched all the interviews. Thank you!
Please come say hi!
What a great interview. Funny, intelligent and it gave me some great points to think about.
It's great hearing from artists who genuinely geek out about all this stuff.
Jeff, you do make for great Mondays. I will always cherish the chance I had to watch Daniel in action and represent him in a gallery relationship. A professional in all facets of what makes a great artist! That last 5 minutes is going to be shared in some of my artist discussions.
Thanks Scott, and thanks for the support.
So good!
It was. Daniel is amazing! Thanks for listening and please share!
Agree. I saw Sorolla's portrait of Grover Cleveland, and you could see brushstrokes of cottage cheese half dried paint on his face. I was upset at first but later accepted whatever works for the individual artist. A beautiful free painting standing back.
Fabulous interview
Excellent interview! I agree with Daniel on everything
This was so informative! Thank you so much for doing these podcasts. They are so helpful!
Love his work! It's so funny, I also studied RS's Alla Prima Book including the color charts! It is so great to hear about artists finding their own way to success. It's so inspiring and a huge reason why I so love your podcast. Thank you for continuing to do it. 🙏🙏🙏
Wow great to find this channel on my feed….will subscribe Thanks 🇨🇦
Love Keys' work. Grateful for this podcast.
I love this podcast
As primarily floral subject painter myself (though not exclusively) and the fact that Richard's work first inspired me to start painting and also then using Richard's book 'Alla Prima' as a self-teaching aid I didn’t find it to be dogmatic at all. Quite the contrary, Richard offered sound starting points for the development of artistic skill that is unmuddied by subjective rationales on the how and why of painting which plagues many instructors of painting.
The approaches he offers in ‘Alla Prima’ are still fundamentally and explicitly practical even now after 10 years of developing the skill of painting to my mind. Many books and teachers of painting are not able to articulate very well what they do (even if they are able to demonstrate mastery of skills of painting), Richard was not one of those.
It’s an interesting point Daniel makes about finding stuff out for yourself. Blindly taking advice from other artist’s, either directly or from video/books etc, about the how and whys of painting is problematic unless you can confirm the sense of that advice in your own experience. I never found anything that Richard wrote and or said that Ive since found to be dubious and as a pedant I often do with other teachers of art.
The only thing I would be dogmatic about, that all students of painting must learn eventually, is that there are no rules, only "good ideas and free advice", to quote Richard:
"Please dont be afriad to learn. You might think it goes without saying, but I am quite serious in mentioning it. The idea of having an aversion to learning may sound silly, but in some qaurters learning is a defnite no-no. Throughout the past century and even today, an astonsihing number of otherwise intelligent people in the field of art education seriously believe and teach that learning and the technical essentials of painting will inhibit an artist's creativity - that chic contemporary art today is all about spontaneity and impulsive acts, and those alone matter. The theory is that everyone is a natural-born artist, and the source of art is somewhere deep within the human spirit, and any influence from the outside (such as established knowledge) will somehow contaminate the purity of the interior process.... Art is a living langauge with infintie possibilities awaiting. So learn everything you possibly can about it, then add your own insights, and use what you need." Richard Schmid, 'Alla Prima'.
Ive been follower of Daniel's work for years and it was great to hear his thoughts on painting. I appreicate his rational approach to painting, in contrast to the more emotional ideas you sometimes hear from painters, as that is something that I frimly believe in and try to teach too. The emotional side of art is valid and vital but it is a priavte individual matter. When its brought into a learning context can be the cause problems when trying to learn /teach the skills of painting.
Thanks for the comment!
thank you so much for this interview!
Excellent interview, as always. Would also put Katie G. Whipple in the same group of wonderful floral painters mentioned in the podcast.
Yes, I regret says what I did. There are so many great flower painters. Katie Whipple is also a favorite and is in the schedule.
Thank you for this. I have always thought I should feel something when I paint and that I am not doing it right. But hearing the both of you I'll go right on painting and just enjoy what I do. Do you know Elizabeth Robbins? She lives in Ogden and is a wonderful painter of flowers.
Really useful episode. Loved the edge talk, as well as figuring out how to get portraits to tell compelling stories/have people relate to them.
Seriously, it was packed with info. Thanks for listening. Please share!
@@jshpaint I will!
Daniel, it could be that your pastel colors are turning out duller than your oils because you are smearing with your fingers to mix your colors. Try crosshatching to actually mix the color on the paper. Crosshatching creates a vibration: lay down blue hatching and hatch red on top. Keep layering the blue and red until you get the bold purple, or blue and yellow for blinding greens. I usually have to work to soften the screaming boldness of pastel (that I never got with oils). Also, oils are naturally shiny when they dry. Your work, both pastel and oil, is gorgeous! I'm totally enjoying this interview!
I would argue that a pastel pencil painting would not be accepted. Also years ago I read what the difference is between a painting and a sketch...the painting covers the canvas and a sketch does not. That said...I would call everything I do a study. Everything we do, whether it's a 8' x 10' painting or a small sketch , in my book, is still a study.