RICHARD JACOBSON

AVAILABLE ARTWORKS

The shaping | oil on panel 36 in (91.44 cm) x 60 in (152.4 cm) The shaping | oil on panel 36 in (91.44 cm) x 60 in (152.4 cm) That kind of morning | oil on panel 48 in (121.92 cm)  x 48 in (121.92 cm) That kind of morning | oil on panel 48 in (121.92 cm)  x 48 in (121.92 cm) Learning to walk | oil on panel 36 in (91.44 cm) x 60 in (152.4 cm) Learning to walk | oil on panel 36 in (91.44 cm) x 60 in (152.4 cm) The witness | oil on panel 48 in (121.92 cm) x 48 in (121.92 cm) The witness | oil on panel 48 in (121.92 cm) x 48 in (121.92 cm) Carousel | oil on panel 48 in (121.92 cm) x 48 in (121.92 cm) Carousel | oil on panel 48 in (121.92 cm) x 48 in (121.92 cm) Another offering | oil on panel 36 in (91.44 cm) x 60 in (152.4 cm) Another offering | oil on panel 36 in (91.44 cm) x 60 in (152.4 cm) Nailed offering | oil on panel 36in (91.44cm) x 60in (152.4 cm) Nailed offering | oil on panel 36in (91.44cm) x 60in (152.4 cm) * SOLD * Thursday's sisters | oil on panel 36 in (91.44 cm) x 60 in (152.4 cm) * SOLD * Thursday's sisters | oil on panel 36 in (91.44 cm) x 60 in (152.4 cm) Wednesdays mess | oil on panel 36 in (91.44 cm) x 60 in (152.4 cm) Wednesdays mess | oil on panel 36 in (91.44 cm) x 60 in (152.4 cm) The gathering | oil on panel 48 in (121.92 cm)  x 48 in (121.92 cm) The gathering | oil on panel 48 in (121.92 cm) x 48 in (121.92 cm) Past tense | oil on panel 48 in (121.92 cm) x 60in (152.4 cm) Past tense | oil on panel 48 in (121.92 cm) x 60in (152.4 cm) The young king's treasure | oil on panel36 in (91.44cm)  x 72 in (182.88 cm) The young king's treasure | oil on panel36 in (91.44cm)  x 72 in (182.88 cm) * SOLD * The trouble with Gumby | oil on panel 36in (91.44cm) x 60in (152.4 cm) * SOLD * The trouble with Gumby | oil on panel 36in (91.44cm) x 60in (152.4 cm) Legacy | oil on panel36 in (91.44 cm) x 60 in (152.4 cm) Legacy | oil on panel36 in (91.44 cm) x 60 in (152.4 cm) Safe keeping | oil on panel 36 in (91.44 cm) x 60 in (152.4 cm) Safe keeping | oil on panel 36 in (91.44 cm) x 60 in (152.4 cm) Stories retold | oil on panel 48 in (121.92 cm) x 48 in (121.92 cm) Stories retold | oil on panel 48 in (121.92 cm) x 48 in (121.92 cm) A better day | oil on panel36 in (91.44 cm) x 36 in (91.44 cm) A better day | oil on panel36 in (91.44 cm) x 36 in (91.44 cm) Sheilds | oil on panel 48 in (121.92 cm) x 48 in (121.92 cm) Sheilds | oil on panel 48 in (121.92 cm) x 48 in (121.92 cm) Antler on a wire | oil on panel 24 in (60.96 cm) x 36 in (91.44 cm) Antler on a wire | oil on panel 24 in (60.96 cm) x 36 in (91.44 cm) Buck | oil on panel 24 in (60.96 cm) x 24 in (60.96 cm) Buck | oil on panel 24 in (60.96 cm) x 24 in (60.96 cm) Speaking of this | oil on panel 24 in (60.96 cm) x 36 in (91.44 cm) Speaking of this | oil on panel 24 in (60.96 cm) x 36 in (91.44 cm) Bonejar | oil on panel24 in (60.96 cm) x 24 in (60.96 cm) Bonejar | oil on panel24 in (60.96 cm) x 24 in (60.96 cm) Speaking of that | oil on panel 24 in (60.96 cm) x 36 in (91.44 cm) Speaking of that | oil on panel 24 in (60.96 cm) x 36 in (91.44 cm) Far away | oil on panel48 in (121.92 cm) x 48 in (121.92 cm) Far away | oil on panel48 in (121.92 cm) x 48 in (121.92 cm) The ratchet and the turning | oil on panel 36 in (91.44cm) x 60 in (152.4 cm) The ratchet and the turning | oil on panel 36 in (91.44cm) x 60 in (152.4 cm)

Richard was born in Nipawin, Saskatchewan. As a young man he was always writing stories and sketching so it was a natural outcome that at 18 years of age he decided to pursue art as a serious career.

He moved to Calgary and enrolled in the Alberta College of art where he graduated from the Visual Communications program with honors. Armed with a new job as art director, illustrator and production head with Business Life magazine, he proceeded to move to Toronto when the magazine decided to relocate.

Rick has worked as an illustrator, painter, writer, and designer. As an illustrator he painted the trillium for the Ontario driver’s license, the leaf for the Air Canada as well as 19 children’s books.

Rick has written and published 3 children’s books winning several awards including The Amelia Frances Howard Gibbon’s award gold medal and the Ruth Schwartz award.

As a painter he has painted portraits of David Thomson, Margaret Atwood , Robertson Davies, Sir Christopher Ondaatje, Bill Gates Senior and Sir Richard Francis Burton (permanent collection of the Royal Geographical Society in London England).

He has been featured in Smithsonian and Applied arts magazine as well as The Artist’s Magazine.

Rick continues to live in Toronto.

 

Education

1978 – 1982 Alberta College of Art Calgary, Alberta –  Graduated With Honours

Teaching

Lecturing regularly on the instruction of art to children for adult educational institutes:

Toronto District School Board

Toronto Catholic District School Board

Calgary Board of Education

The Canadian Library Association and schools.

From 2003 to 2010 taught extended art program at Branksome Hall School For Girls.

After leaving the north forests and farmland of Saskatchewan, I headed to Calgary and the Alberta College or art. After 4 years of hard work I came out confused and somewhat lost. Now what?

I’ve been a bouncer (1 week), I’ve been a radio switcher (1 night) I worked at the cbc (1 month) I was a stunt man (2 action movies that I never saw but I’m not alone in that) I’ve built houses, packed groceries, cut grass, I’ve written childrens books(4) I’ve illustrated childrens books (19) I have worked as an illustrator, a writer, a designer and a painter.

I’ve painted everything from diapers to strawberries, toilet paper to whiskey. I have lived a blessed life with friends and lovers always there for me. I’ve never been hungry or without a roof. I was given a passion to create that has never left me, never wavered. I have never been bored. My biggest frustration is that there just isn’t enough time in a day to do all I want to do.

My practice continues to evolve. I explore the image as a form of communication. I work in a variety of mediums watercolour, graphite, and acrylics but primarily in oil.

Oil paint is so alive as a medium. It allows complete control as needed in my current series of works focused on narrative based hyperrealistic still life paintings.

Hyperrealism is an offshoot of ‘realism’ akin to ‘photorealism’ however while I use photographs as reference I remove as much evidence of them as I can. Where a photorealist would use the out of focus detail I would not. Our eyes refocus so quickly we are unaware of blurred backgrounds, unaware of depth of field. Hyperrealism attempts to mimic the way we actually see.

I use hyper realistic painting techniques to the arrest of the viewer to give them time to start a conversation with the work.

The painting is successful when it’s meshes with a persons life if the buyer of the painting can tell a story about the paint as relates to him then it will live on. Sometimes the narrative that I envision him the paint is completely lost and a more personal narrative comes forward. I look at the title of the painting is the first line of a good book with in its word must be the first footsteps in to a new world. Stronger the painting more you can identify with its deep threads and the more personal story about the painting become.

My paintings don’t hang on the wall vibrating with energy and Visual violence

My paintings whisper here’s a story to read

My work is time dependent. The more time I give it the better it is. That in itself is not a revelation, however if you consider how short our time is here, it becomes paramount. How is it possible to justify such madness in the face of a practical finality? For me, painting is my personal revolution, the ultimate ‘I was here’ scratched on a bathroom stall.

Solo show at Abbozzo Gallery, Toronto | April 10 to 28, 2018

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