Not exact matches
To those who know his work today, it may come as a surprise to
learn that his early work, resulting from the more introverted approach, consisted mainly of very small paintings done in
egg tempera and entirely with brushes, somewhat in the manner of Vermeer, whom he still greatly admires.
Although he
learned his bulky forms at the conservative Art Students League, where Kenneth Hayes Miller and Guy Pene de Bois tempered their Modernism with reverence for the past, Marsh alone stuck to
egg tempera on composition board and Masonite.
He attends the university from fall 1952 until spring 1954,
learning oil painting,
egg tempera, and Renaissance underpainting from painter Cameron Booth.1 Booth — who had studied with the painter Hans Hofmann and taught at the Art Students League, New York, in the mid-1940s — becomes Rosenquist's mentor.