Jane Schnitzer [NRA 2008]

First name: Jane ;
Middle name:  ;
Last name: Schnitzer ;

Member: Non-Resident Artist Member ; 
Begin: 2008 ;
End: n/a ;

Biography:

In the early 1980’s I started buying 19th century paintings at country auctions.  It became a bit of a hobby, and after a divorce, I set about the effort in earnest-becoming a “picker” –buying art regionally and selling at auction in NYC. (I had a friend working at a large English/American Auction Gallery at the time who generously helped early on in establishing that effort). The learning curve was straight up, with a constant need for research.  I developed a pretty good “eye” — made some money.  It was a blast.

Several years later, when the buy-in rates at auction went up, my business model had to change.  I started exhibiting at art shows and developing a private clientele.  Still specializing in 19th century art.  Still more research– which led to art history courses for credit at The Institute of Fine Arts in NYC, and ultimately, trying to learn about art making itself.  Toward that end, along came a workshop “Drawing on the Right Side of the Brain” given by Betty Edwards.  Wow. Transformative. I was hooked.

So how exactly does one learn to paint representationally?  I wanted to get that skill under my belt and use it as a departure point in finding my voice in art.

This was the mid 1990s—realist art was passe at best. I pieced together a patchwork quilt of learning experiences— workshops, books, courses, videos, using various mediums and methodologies and philosophies.  But I was floundering about committing to any single learning path.

Until–along came a night class at The Art Students League (NYC), given by Nelson Shanks, a renowned portrait painter.  I admired his work.  But his approach to learning blew me away. Nelson had started Studio Incamminati, an art school in Philadelphia for realist art.  It utilizes the teaching techniques of the old masters in painting from life.  Perfect. A cohesive program, with time tested techniques to teach me how to paint.  I picked up and moved to Philadelphia. Three years later, I emerged with an indelible base for image making. It has underpinned all my subsequent work in figure, still life and landscape (Nantucket, Massachusetts). Invaluable.

Experimenting with new art making materials can really enliven an artist’s vision and practice.  I have always explored, and ultimately found a treasure trove right down the street from school, a theatrical supply store.  Theatrical/lighting gels are a perfect medium. Shiny or matte, transparent or opaque.   The 20”x24” sheets are used over klieg lights to set mood in theater—The material is indestructible and comes in every color and value imaginable.  

Off I went, initially focusing on value and gesture (critical components in drawing). My images were hand gestures, appropriated from the media.  I worked only in value (light to dark) with cut up pieces of theatrical gels  (later using pixelation). The scale ramped up.  Color entered in.  Loved the work. That journey culminated in a solo show at the Metropolitan Gallery in Philadelphia in 2020.  Right smack dab in the middle of the covid epidemic.  Against all odds, it was a great success.

Shortly thereafter, gentrified out of my studio space (once again) a friend introduced me to a lost wax bronze casting class at PAFA. Working in three dimensions was initially a challenge.  But ultimately, another passion. I’m now five years in…. Lucky me.

What a journey. How incredibly fortunate.