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Jim BecknerGREEN UMBRELLA Oil on Panel Impressionism 20x 16 Dana Point CA Beach2022
2022
About the Item
Gray Umbrella is an example of the bright colors that Beckner uses in his paintings. The Gray Umbrella series was painted in Dana Point California Jim Beckner just finished a series of beach paintings. All of them can be seen below and available. Framing will be complete be December or cam be shipped without a frame.
Denver-based artist Jim Beckner paints like a jazz musician. The blues bop, the oranges swing, and the yellows vibrate. Drawn to the beat of the city, the artist creates expressionistic urban landscapes that show his unabashed love of color. More than anything, his paintings dance with their own energy, and an urban rhythm emanates from his canvases.
Beckner was born and raised in Lakewood, CO, a suburb of Denver. Art played an integral role in the family. “My dad was—and still is—a watercolor artist,” he explains. “He does a lot of Colorado landscapes, very detailed, specific, realistic artwork.” Beckner remembers drawing and coloring at every opportunity when he was a child. “Both of my parents recognized that it was something I enjoyed,” he recalls. “I often drew to entertain those around me.”
Occasionally, the Beckner family would drive into downtown Denver to eat out at a restaurant. “I always thought the city was an exciting place,” notes the artist. “It had a certain edginess about it.” Those early excursions, and the urban sensibility they fostered in the impressionable youth, would have a profound effect on his burgeoning talent.
Encouraged by his parents, Beckner took art classes in junior high school. “I began to realize that I had some skill at drawing,” he says, “that I could see something and then re-create it.” In high school his art teacher was artist Ray Knaub, a well-known painter of western landscapes. “My senior year I did a representational oil painting of me and my friends sitting on a bench. It won first place in a county-wide art show,” Beckner recalls.
Pragmatism took hold, however, when he entered Colorado State University in Fort Collins. “My parents and I agreed it made sense to have something to fall back on, so I decided to major in marketing,” he says. “I figured I could always paint on my own time.” To that end he minored in painting and filled his electives with art history and studio art classes. He took three classes with CSU painting professor Patrice Sullivan—an experience that continues to resonate. “She was the first one to help me understand how to see shapes of color,” he explains. “Before that I was more inclined to view art as drawing something and then filling it in with color.”
Today he traces many of the origins of his current style to his college days. “I look back at the paintings I did then,” says Beckner, “and some were very vibrant with a lot of thick brushwork. I still handle the brush the same way, although now I’m more deliberate about it.”
After graduating from college, Beckner worked a number of odd jobs. He continued painting and took classes at the Art Students League of Denver, where he found another mentor in painter Mark Daily. “Mark’s more of a representational artist. And a good colorist,” notes Beckner. “He also uses a thick impasto.”
As time progressed, Beckner developed a painterly style in which color and movement replaced form and outline as his driving forces. These days, “I don’t particularly enjoy working on the drawing aspect of a painting. I’m too impatient,” he confesses. “I like to work quickly and get a lot of paint on the canvas fast.” “As they say,” he adds, “paint what you know.”
The breadth of Beckner’s artistic output reveals that he moves freely among stylistic approaches, from post-Impressionism to expressionism and even fauvism—all of which are heavily dependent on a strong color palette. Some of his cityscapes and beach scenes convey a post-Impressionist sense of capturing a specific place at a certain moment. Most of his canvases exhibit a personal, more subjective approach to color, à la the expressionists.
In his bolder moments, Beckner moves into a fauvist mode, allowing colors to exude emotional nuance. Some of his paintings even veer toward abstraction in their distillation of forms into arresting blocks of color. “I try to push boundaries, to see how far I can go,” he explains. “You can take two of my paintings and put them side by side, and they might not be immediately identifiable as having been done by the same artist. But if you put a group of my paintings together, it’s like an album of different songs by the same musician.”
As to his enlightened sense of color, he nods to two masters as important ongoing inspirations: Matisse and Monet. “I like Monet’s works later in his life, when they were all about color,” he notes. For contemporary influences, Beckner cites the techniques of two Denver painters: the thick brushwork of Nancy Switzer and the fluid, expressive style of Kevin Weckbach.
Beckner usually begins with color photographs. “I’m drawn to the temperature of colors—cool versus warm—but I’m not a slave to the photograph,” he explains. “I try to choose colors that are out of the ordinary. I like to challenge myself, to paint myself into a corner and see if I can get out.” Thus, an urban street scene captured on camera might become a subtle study in light and shadows, or it may burst into a sweeping array of brightly colored shapes signifying movement and structure.
“I don’t want to concentrate solely on the element of getting the drawing correct,” says Beckner. Instead of trying to reproduce the architectural geometry of the city, he emphasizes its energy with the colors he chooses and the way he shapes them: “I struggle to maintain that energy and life.” He says he has a clear vision of a painting before he begins. “A lot of thought and decision-making get added to my intuitive ideas,” he adds.
The Gray Umbrella shows a medley of blues—from cobalt to ultramarine—sets the mood while people are on the beach and perpendicular angles keep the eye moving around the canvas. An occasional dab or strip of color offers a subtle compliment.
- Creator:
- Creation Year:2022
- Dimensions:Height: 20 in (50.8 cm)Width: 16 in (40.64 cm)Depth: 1 in (2.54 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Houston, TX
- Reference Number:1stDibs: LU1405211394842
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