John Martini Fine Art

I have a recurring dream that has come back to me multiple times, in which I frantically climb steep, rolling, tall grassy hills, pastoral, familiar, smooth and suffused with supernatural light that captures a sense of portent, at times comforting, at times ominous, even fearsome.
This dream is charged with emotion and pathos and a sense of connection to this physical place as if it were a mystical destination.

Painting is my emotional response to the physical world around me.
Rather than just documenting every accident of nature, I seek to bridge distance and intimacy, wilderness and domesticity, radiance and spectrality. The process begins with my camera as a faithful collector and chronicler of my visual infatuations, allowing me to select and reproduce those images that present the best opportunities for spatial and narrative tension and chromatic drama. Once chosen, the image is approached through the filter of those academic skills I acquired through years of training as a medical illustrator. Having subjected
the acquired images to the rigors of compositional balance and chromatic restraint, having endeavored to intimately penetrate the visual codes of every surface and texture, I finally yield to mood and rapture, activating the landscape's psyche and temperament.

Born and raised in the state of New York, I have instinctively assimilated the Luminist and Hudson River School tradition of investing the landscape with an element of spiritual liberation. My landscapes are places where technology and desire are banned, to make room for the ascending contemplation of archetypal landmasses, of dynamically luminous skies overseeing the serendipitous spectacle of nature. I alternate dramatic cropping that employs high vantage points and disquieting, precipitous views, with elongated panoramics, recumbent and soothing, which reference the majesty and continuity of landscape, allowing the viewer to promenade and lose himself in my dream.


		"Painting from nature is not copying the object; it is realizing one's sensations." Paul Cezanne I have a recurring dream that has come back to me multiple times, in which I frantically climb steep, rolling, tall grassy hills, pastoral, familiar, smooth and suffused with supernatural light that captures a sense of portent, at times comforting, at times ominous, even fearsome. This dream is charged with emotion and pathos and a sense of connection to this physical place as if it were a mystical destination. Painting is my emotional response to the physical world around me. Rather than just documenting every accident of nature, I seek to bridge distance and intimacy, wilderness and domesticity, radiance and spectrality. The process begins with my camera as a faithful collector and chronicler of my visual infatuations, allowing me to select and reproduce those images that present the best opportunities for spatial and narrative tension and chromatic drama. Once chosen, the image is approached through the filter of those academic skills I acquired through years of training as a medical illustrator. Having subjected the acquired images to the rigors of compositional balance and chromatic restraint, having endeavored to intimately penetrate the visual codes of every surface and texture, I finally yield to mood and rapture, activating the landscape's psyche and temperament. Born and raised in the state of New York, I have instinctively assimilated the Luminist and Hudson River School tradition of investing the landscape with an element of spiritual liberation. My landscapes are places where technology and desire are banned, to make room for the ascending contemplation of archetypal landmasses, of dynamically luminous skies overseeing the serendipitous spectacle of nature. I alternate dramatic cropping that employs high vantage points and disquieting, precipitous views, with elongated panoramics, recumbent and soothing, which reference the majesty and continuity of landscape, allowing the viewer to promenade and lose himself in my dream.

"Painting from nature is not copying the object; it is realizing one's sensations." Paul Cezanne

"Painting from nature is not copying the object; it is realizing one's sensations."
Paul Cezanne