There are few legends in the world of art that can claim over sixty years of experience as a painter. Burton Silverman is one of them. That’s why I was especially thrilled when Fine Art Connoisseur Editor Peter Trippi informed me that he had scheduled us to visit Burt Silverman at his studio west of Central Park in New York this past November. Burt was one of the few legendary painters I have not yet met.
Silverman in the NYC studio he has had for 45 years.
As Peter and I entered Burt’s studio a man in his eighties greeted with the energy and spring in his step of someone half his age. Other than his greying hair there was no evidence of aging and certainly not what I expected of a man in his eighties. Following a brief exchange of niceties Burt moved right in to business. “Lets get started,” he said. “We loose light around here pretty fast.” He proceeded to pose me and tell me that the color and intensity of light would change dramatically in two or three hours. Frankly I was a little concerned. We had scheduled five hours for the sitting and I wondered if we would get done.
Burt with Peter Trippi, Editor of Fine Art Connoisseur
As we got started I asked Burt to place a mirror behind his easel allowing me to see what he was painting. He started with a light brownish pre-toned canvas and before I knew it he had laid down his shadows and the structure of the drawing in a thin soupy brown and had absolutely nailed my likeness in three minutes. When I commented about his speed he said, “There is no sense in wasting time at my age.”
Burt painting Eric Rhoads, Publisher of Fine Art Connoisseur.
I was not watching the time but before I knew it Burt said “I think I’ll quit here” and suggested that he had all the information he needed. He snapped a photo and said he would finish it after it had dried, though “I’m pretty happy with this. I don’t think there will be much more to do.” My guess is the portrait was done in about two hours total including a brief break. And about that time the light started changing significantly so the timing was perfect.
The Artist from a sitters perspective.
Following the portrait I had a chance to chat some more with Burt and to look through a small pile of paintings, which included a couple of wonderful self portraits, each which spoke volumes about the mood he was attempting to portray. “A painting has no value unless it tells a story,” said Burt as he explained that in the two self-portraits he was examining how he felt about aging, which he said was on his mind a lot lately. One portrait looked deeply pensive and almost fearful, the other strong and determined, which he said were polar opposites, but emotions he was experiencing simultaneously.
Burt with the portrait at the end of the sitting.
It was interesting for me to view someone as vibrant as Burt as he the experiences of life in his eighties and the issues he faces such as loosing close friends, seeing people close to him experience health issues, and even a recent spill which caused a need for a hip repair (but not a replacement because his doctor said he was so strong from walking). Burt clearly had reason to be introspective, possibly frightened, which we all face at this stage of life. Yet Burt revealed his determination and strength as well, wanting to paint more of what he has not accomplished, wanting to make sure he has made the most of the remaining years of his career, striving to stay strong and healthy and determined to beat the issues anyone who exceeds eighty year’s old experiences.
Silverman in his studio.
When we discussed the process of painting and various artists Burt spoke of the need to speak loudly with each canvas. He strives to economize on each painting so that the viewer can fill in the blanks. “A canvas should not be so literal. You need to let the viewer think about what you’re trying to say. Don’t answer every question, “said Burt.
The Portait at the end of the session. Burt finished the portrait from a reference photo after the painting had dried.
Perhaps because of his legendary status I had expected to meet a man who wore his reputation on his sleeve. Instead I met a man full of humility, enthusiasm for painting and life, upbeat and filled with joy and one who is proud of his past but interested more in his future. For instance he mentioned that he was digging through a pile of paintings he had done for a recent show and already felt he had grown since he painted them. “I feel the need to repaint some of them. I can do better,” he said. That to me is a sign of greatness when there is a continual challenge for growth.
The blank toned canvas
I’m always interested in what life was like for Burt’s generation of realist painters during the age of modernism. “We were outcasts, we were shunned and barely noticed.” He then suggested it would be a good idea to re-hang an exhibit that he and a couple of friends had painted back in the 1960s along with some newer work. He thought it would be interesting to see how relevant it still would be today. Clearly Burt, among others, played an important role in the preservation of techniques for painting at a time when they could barely survive in a world where modernism is embraced. Yet his role in teaching resulted in a new generation of interest and an age where people are more open that ever to the artwork he has been doing for six decades.
Silverman's Studio Exterior.
Burt will be remembered as one of the great artists of our time and I’m thrilled to have had the experience to meet with him, talk art and be painted for the pages of the magazine. His portrait will appear in the January-February issue of Fine Art Connoisseur.
Silverman and Rhoads
Note: The above image (sorry for the quality) shows Silverman with several model ships, which he built several years ago as a hobby. The tall masted ship took him over a year to complete. These were done from scratch not from models.