Home » Archives » April 2009 » ROSEMARY LUCY COSENTINO

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04/20/2009: "ROSEMARY LUCY COSENTINO"

Rosemary Lucy Cosentino is an artist who lives in Montreal, Quebec. I actually met her online after she responded to one of my blogs. I checked out her website, www.rosemary-cosentino.com and I loved her art which I think has a brooding, solitary quality. Consequently, I asked her to chat here. She's actually breaking the rules by sticking with the old school ... Read on and you'll see what I mean.

MICHAEL: Thanks for chatting Rosemary. First of all, you call yourself a "Contemporary Figurative Realist Artist" who employs "Old Master" techniques. Is it really possible to breathe new life into old techniques?

ROSEMARY: Definitely! Hopefully, I won't go too much off topic, but everything I say is relevant to why I strongly believe this to be true. Growing up, my true inspiration in becoming an artist came from impressive realist oil paintings I saw in books, television and museums. I wanted to be able to paint that way as well and in doing so, I would be perhaps one day as well able to inspire some child in becoming an artist in the same way the Old Masters did for me. I have used the old techniques and took the most important part of that (knowing how to make your paints and how to apply them properly on hand prepared grounds) and created my own style and personalized technique. I can ensure my paintings will last through the test of time and still be classified as a contemporary artist who paints figuratively and realistically. Up close, my works are very painterly and the layering of brushstrokes is not the same, but similar to what Rembrandt did in his works. I can paint photo-realistic if I choose with a brushstroke free flawless look or expressionist or even abstract. I will always employ the Old Master technique no matter the subject. It does not matter really what you are painting, but how you are painting it. Rembrandt's scratchy, layered, painterly strokes were genius. He captured so much with so little. There are no restrictions on subject matter like in those days, and so I do not fear being thrown in jail for trying to depict something other than representational and what is real. But, it is my choice to paint the way I do.

MICHAEL: You mentioned past restrictions on painters and how you have much more freedom today. Have you ever had restrictions?
ROSEMARY: Some teachers in University showed disrespect for my choice in painting this way. Though they did not question my techniques, they felt I was not contemporary enough. They actually could not care less as to what techniques were being used or materials, as long as it was, "minimalist" and "temporary" or "edgy." Very few teachers supported me. After the third year, I had a following for the "out-of-date" art I was doing and without being egoistic, I contributed to changing the direction of the Fine Arts program at Concordia University for sticking to the style of painting I loved most. I always hated following rules and doing what everyone else did because it was "cool" or "in." Teachers came to me for techniques and often asked what I used after that. The University was known for contemporary art since so many big artists like Guido Molinari taught there or came from the University Š artists who as part of art history, were part of the Modern Art movement- not figurative painting. Speaking of whom, Molinari was one of my last teachers and he told me I was his biggest challenge ever. I refused to impress him with the type of work he loved- minimalist, modern abstract as so many others were doing just to get his attention and perhaps get a recommendation or two from him. Though he was so famous even while he was alive, he was not arrogant with me like other teachers were nor disrespectful. He accepted that I was going to paint figuratively and using techniques he was not familiar with himself or known for. He said he surprised himself. I did not learn anything from him, but I think he learned a lot from me. His appreciation grew for more representational work.
MICHAEL: That's great. I think that the best teachers are always learning new things. So, given your respect for the old masters, what do you think are the differences between their work and more modern applications?
ROSEMARY: I think there is a strong difference between historical figurative realist work and today's figurative realist artists. Subject matter, talent, ready-made cheap materials and many other factors of course make the difference. A lot of artists try painting this way without knowing the techniques or materials they should be using. Many get away with it aesthetically and some just do not because of lack of training, experience or laziness. I came across an artist with no artistic training whatsoever who is great at reproduction of photos. His technique is extremely poor, though an art collector would never know unless they understood all there was to know about painting. All his paintings I saw in the flesh were cracking! Didn't anyone else notice this? Apparently not. Yet he is highly sought after and has been showered with prizes and glory. You cannot cut corners when you decide to paint this way. You cannot be lazy. It is about discipline and perseverance. The Old Masters had so much time on their hands I am sure, but very little distractions as we do today. And they also did not have visual aids as we do to make an artist's painting process that much easier, such as digital photography. So to sum it up, I believe that Old Master techniques in today's times can be reinvented. That is certainly a big part of what I try to achieve in my series of artworks Š the feel of the "old" but the look of the "new."
MICHAEL: There's a true paradox here. You're breaking the rules by sticking with tradition. Who knew? But seriously, is it really okay to mimic the old techniques?
ROSEMARY: It's perfectly acceptable, though not everyone feels this way. Large, modern, figurative oil paintings are still the type of art that fetch the most money at auctions. Odd Nerdrum, Gerard Richter and Lucian Freud are great living examples of how far these techniques can be taken in today's times, still loved, in demand and collected internationally.
MICHAEL: I absolutely LOVE Lucian Freud and Odd Nerdrum. Speaking of the fact that modern, figurative work sells so well, how much pressure do you feel to create work that you know will sell well or at least appeal to the masses? Is appealing to the masses a bad thing?

ROSEMARY: From the very beginning, the question never crossed my mind Š making art that appealed to the masses or that would sell well. I thought no matter what I would create, that it would be accepted and become like many artists -what they would be known for- my own signature so to speak. Accepted, respected, and acknowledged. In the last couple of years, I realized not everyone appreciates what I do, not everyone wants narrative figurative paintings. I understand this because everyone would then be one big massive clone and individuality would not exist. So I decided to do work I still loved, but more enjoyable in subject matter and creation part of it. The pressure was not destroying me emotionally, but yes it was there, because I need to make a living from my art and I had to compromise at some point or another to make ends meet. I accepted the compromise graciously, and the results were unexpected.
MICHAEL: An artist who is actually admitting to compromising? Hmm. What did you do?
ROSEMARY: I began to make pop realist resin cake or dessert paintings and people responded very well to this series. Not to mention I enjoy making these works because the results are not calculated as are my larger oil paintings. I actually did not see it as work, but making art for fun. It was totally a different direction for me. However, I am still doing my more serious, ambitious work and working on these resin dessert paintings as well. Not too much of a terrible compromise. I also started a new project last year called, "Painting a Day." This appeals to many collectors who themselves are collector addicts of daily painters that is a movement with artists that is growing each passing day. I am addicted to doing at least one small work a day of a modern still life like a Chinese mirror ball, vintage marble, or fresh Montreal landscape. These other works that I was forced to experiment with, actually helped me in ways I cannot even explain. I was able to sell more on international basis and so my work was disseminated as a result all over the world. My techniques diversified, I explored different subject matters and I was forced to be original in more than just one series of works. Appealing to the masses is not a bad thing necessarily for me anyway.
MICHAEL: It sort of sounds like you stretched yourself as an artist by trying to please others. It's so rare to hear ANYONE say this, let alone artists. There's so much arrogance out there right now.
ROSEMARY: I learned so much more about myself, trying to create something someone else was going to enjoy and not necessarily me the creator. Because of this, I have now as well equipped myself to create small, figurative sculptures that can attract a whole other audience and will continue to create fun artwork. I also considered making paintings for children. That is a whole other audience as well. This can be looked upon negatively by art dealers. But is it really? Why can't an artist have different projects, techniques and audiences?
MICHAEL: Preach sister preach. As a collector, I can't believe I'm hearing this. Why do some folks in the art world even consider this an issue?
ROSEMARY: Consistency perhaps, confusion with collectors or the fact that dealers normally want exclusivity on series of works and "they" are the ones limiting artists to what they can sell to their audiences. I think the latter is the answer. Andy Warhol is known for his Pop art, but he branched into so many techniques and styles, prints, silkscreen, collage, sculpture, ready-made ... unless he signed it or it was attributed to him, not everyone would recognize all his works as Andy Warhol's. I think that adds to his diversity, interests and says a lot more to me than "formula artists" who find something the masses want and that's all they pump out for the rest of their lives not because they love it or want to do it, but because it's the demand and this allows them to survive and live off their art. But in the end, what ultimately would satisfy any artist would be that they can please and sell their works to "the masses" without compromising one thing. There would be a lot more original artwork out there actually and perhaps a lot more creative and bizarre never before seen artwork for sure. A handful of artists have experienced this ultimate satisfaction, but I wonder how many other successful artists would admit they were painting to sell and not for themselves.
MICHAEL: Perhaps this is my bias as a collector, but I've never felt that artistic integrity and pleasing people always have to be mutually exclusive. You seem to have found a happy medium.
ROSEMARY: I agree with you on that point. Artistic integrity is something all artists have. There are exceptions, but, in most cases, artists will be forced to suppress it in order to get themselves out there and compromise to please viewers, buyers, and dealers. I heard of this happening late in one's artistic career as well. I just hope that after a certain time and that after the artist has made a name for themselves, this would no longer be an option. This is something no artist would admit in public or in an interview perhaps. I will never fully demise my artistic integrity. I have limits and if I don't put my foot down, I won't be taken seriously either. In the end, I am respected more for turning something down that would diminish my artistic integrity. No matter what, even in a private commission, I am never miserable painting it. How could I be? I am making art and I take it that this will please one or many individuals. This is where the thought of not creating what I normally would to please someone or many people is not losing integrity, nor compromising. I think sometimes it's artist's egos that get in the way more than their integrity. They often confuse the two! When a dealer makes the call, (saying) paint the same painting over and over for me because this is what is selling, then this is a choice the artist has to make. No one is pointing a gun to your head. But, I have heard horror stories of artists compromising beyond their means and losing artistic integrity to the point of depression and spoiling their career altogether. Again, the artist has the choice. You never put yourself in a situation where you would lose your career to please an art dealer for example. There are many art dealers out there and buyers all over the world.
MICHAEL: Do you have any idea where your art will take you in the future or should mystery be part of the journey?
ROSEMARY: I believe I was born a painter, but my curiosity to understand and learn as many mediums as possible is impossible to hold back. Forcing myself to explore and try different mediums allows me to be more knowledgeable in my artistic field. It's only normal. As an artist, I must understand as many mediums as I can as if I were to be able to teach them to students. My happy medium is oil painting. I newly discovered polymer clay for sculpting and this will be something I will be pursuing as well. I am uncertain of where my art will take me in my future, hopefully somewhere between established painter and art teacher. The mystery is part of the journey almost 100% of the time I feel with my art. It's been like this since day one. You never know where you will have a show, which gallery will pick up your artwork, who you are going to meet, who will buy and who wants to learn from you. I want with certainty to know in which direction I am heading, I aspire to many things and expect specific outcomes by a certain point in my career. Teaching art from my own gallery one day is one of them. Focus is very important. There is nothing wrong with experimenting and trying new mediums as long as I focus on a handful or less and stick to them.

MICHAEL: Thanks Rosemary. This was such a breath of fresh air. Rock on with integrity!
Check out Rosemary's website at www.rosemary-cosentino.com
MICHAEL CORBIN IS AN AVID ART COLLECTOR AND AUTHOR OF THE AWARD-WINNING BOOK, "THE ART OF EVERYDAY JOE: A COLLECTOR'S JOURNAL." CHECK HIM OUT AT WWW.ARTMAESTROGALLERY.COM

Replies: 192 Comments

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ROSEMARY: I agree with you on that point. Artistic integrity is something all artists have. There are exceptions, but, in most cases, artists will be forced to suppress it in order to get themselves out there and compromise to please viewers, buyers, and dealers. I heard of this happening late in one's artistic career as well. I just hope that after a certain time and that after the artist has made a name for themselves, this would no longer be an option. This is something no artist would admit in public or in an interview perhaps... I will never fully demise my artistic integrity.

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on Thursday, October 8th, avon reversalist said

Definitely! Hopefully, I won't go too much off topic, but everything I say is relevant to why I strongly believe this to be true. Growing up, my true inspiration in becoming an artist came from impressive realist oil paintings I saw in books, television and museums

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Pretty much interesting discussion and article, it worth reading for me.

on Sunday, October 4th, Online Games said

Great interview - hope to read more like this in the near future.

on Sunday, October 4th, Intervention said

That was a very nice interview you made with Rosemary Cosentino. I have seen some of her works and they are priceless. I am not an art enthusiast but I know a great artwork when I see one.

Regards,
Karen

on Saturday, October 3rd, Fetal doppler said

Well yeah shes a fine artist Thank you michael it was indeed a breath of fresh air.

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Everything I say is relevant to why I strongly believe this to be true. Growing up, my true inspiration in becoming an artist came from impressive realist oil paintings I saw in books

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I think that adds to his diversity, interests and says a lot more to me than "formula artists" who find something the masses want and that's all they pump out for the rest of their lives not because they love it or want to do it, but because it's the demand and this allows them to survive and live off their art.

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Since so many big artists like Guido Molinari taught there or came from the University ďż˝ artists who as part of art history, were part of the Modern Art movement- not figurative painting

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I'm going back to Cordoba in July for a show with my brother. He will exhibit drawings and I will show watercolors.

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I like art that begets from this kind of attitude more than art which begets from unaware egocentricity and blind addiction to self destruction.

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There's a lot in this that strikes a populist chord, playing off what many would like themselves to be seen as.

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what a great interview. She is definitely an amazing person. She is very talented and would love to see here in person.

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From where i can find work you have done so far. There is nothing at your Website. You seems to look different artist then others so i thought to have a look at your work.

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I visited her site but there i found none of her work. It was disappointing.

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She has given a great interview,and i liked it.

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Great interview :)

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I really respect your desire to not cut corners and build on/learn from the masters. So many people look at modern art and say "I don't get it

on Saturday, September 26th, movie download links said

I really respect your desire to not cut corners and build on/learn from the masters. So many people look at modern art and say "I don't get it

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It seems like she has a good handle on reality and has found a good mix between commercial work while still sticking to her guns and her "serious" art

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Contemporary Figurative Painter Rosemary Lucy Cosentino, first generation of Italian decent, was born in Montreal, Quebec. She was exposed to art at an early age with the influences of her uncle Salvatore Marino, and aunt- recognised Italian painter Angela Leonardi. Walter Leonardi famed photographer also had his influences on her with his eccentric travels and exotic celebrity photographs published internationally.

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The true motivations of an artist always surprise me. Thanks
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ROSEMARY: I agree with you on that point. Artistic integrity is something all artists have. There are exceptions, but, in most cases, artists will be forced to suppress it in order to get themselves out there and compromise to please viewers, buyers, and dealers. I heard of this happening late in one's artistic career as well. I just hope that after a certain time and that after the artist has made a name for themselves, this would no longer be an option. This is something no artist would admit in public or in an interview perhaps. I will never fully demise my artistic integrity. I have limits and if I don't put my foot down, I won't be ta

on Thursday, September 24th, Why is my computer slow said

who find something the masses want and that's all they pump out for the rest of their lives not because they love it or want to do it, but because it's the demand and this allows them to survive and live off their art. But in the end, what ultimately would satisfy any artist would be that they can please and sell their works to "the masses" without compromising one thing. There would be

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on Monday, September 21st, Popular art activities and hobbies said

She received a DEC in Fine Arts at Dawson College established for it's Art programs in 1995. There she studied under many established artists such as Myles Tyrell, Murray McDonald, Michael Smith and Giuseppe Di Leo. She also received a Bachelor in Fine Arts with distinction at Concordia University ( largest Fine Arts Program in Canada ), in 1998

on Monday, September 21st, Custom papers said

I must say, very interesting and impressive story. Great plot!

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Ilike people who are extrovert and think and dare to do something different like Rosemary.

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this is such a great read. you make some great insight in the area in art. I am into art and you definitely look at differently then me but a great read.

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This is an interesting part. The key to the game is keeping your place in line - so the methodical seekers will find you - and hoping the potential buyer's that do find you are educated buyer's who will appreciate your process.

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These are really interesting views on art. I am into Australia arts.

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I really respect your desire to not cut corners and build on/learn from the masters. So many people look at modern art and say "I don't get it - I could do that." The reason is that there is no appreciation for the training required and events that led to the creation of that piece of art. The situation is made worse if the artist did cut corners and did not build on fundamentals. I'm reminded of the story of Michaelangelo who drew freehand a perfect circle to show the pope his skills.

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I will be pursuing as well. I am uncertain of where my art will take me in my future, hopefully somewhere between each other. he key to the game is keeping your place in line - so the methodical seekers will find you - and hoping the potential buyer's that do find you are educated buyer's who will appreciate your process.

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I have always preferred pain to brainless - and I realize there are many positions to function and create from between to two! So I say -

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I'm interested in diverse fields of magic. As you said it is essential not to hold back the individual fields besides the happy medium. Thanks!

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She has great personality,isn'she?

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www.rosemary-cosentino.com. Nice site

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I really like Rosemary's website. Her work is simply amazing.

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She is a great artist. This is a great article. Thank you very much for sharing.

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Hm I can see the "old master techniques" at work here, very nice.

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Great read, always nice to hear from other artist. thanks.

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Can you imagine Van Gogh in the day of social networking?

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this has been most refreshing reading, thankyou :-)

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Nice interview. I tried to visit her official website, rosemary-cosentino.com. Unfortunately, as of now, it's under construction.

on Thursday, September 10th, Texas Holdem said

This is a very good mystery part. I will be pursuing as well. I am uncertain of where my art will take me in my future, hopefully somewhere between established painter and art teacher.

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This has a good sense for me. If they are "Professional Collectors,

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This is a very good mystery part. I will be pursuing as well. I am uncertain of where my art will take me in my future, hopefully somewhere between established painter and art teacher.

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as an artist I can a bit imagine how you feel. I like your sight of view. I wish you all the best

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I would like to visit her website : www.rosemary-cosentino.com but it is under construction... :-( When will it ready ? thx !

on Tuesday, September 1st, furniture packages said

Heres alink to some of her work:

http://rosemarylucycosentino.blogspot.com/

on Thursday, August 27th, Essay Writing said

There may be many art dealers. But no one is pointing a gun to your head. But, I have heard horror stories of artists compromising beyond their means and losing artistic integrity to the point of depression and spoiling their career altogether. Again, the artist has the choice.

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I have always preferred pain to brainless - and I realize there are many positions to function and create from between to two! So I say -

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This has a good sense for me. If they are "Professional Collectors,

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Very imaginative and impressive. I will be pursuing as well. I am uncertain of where my art will take me in my future, hopefully somewhere between established painter and art teacher.

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I think the reason is that there is no appreciation for the training required and events that led to the creation of that piece of art.

on Sunday, August 23rd, Emo Boys said

Trying to be painterly." However, early on - that was the best way to describe my work. This all changed with the digital age. Now my focus is totally, Digital. Barney David calls the area of my concentration, "Convergence Art," and I call my individual works, "Digital Artifacts." In fact

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Good that Rosemary did not give in to the criticism of her lecturers, who I guess were trying to squash her non-conformist spirit and art.
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through the site and your article, Rosemary to be as complex and mulit-layered as the intergity she expresses. Visually, the art was arresting. Thanks!

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the creation of that piece of art. The situation is made worse if the artist did cut corners and did not build on fundamentals. I'm reminded of the story of Michaelangelo who drew freehand a perfect circle to show the pope his skills.

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True collectors are also eclectic - and they will seek you, and your art out - with or with the dealers…

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Though it use to take longer without the "Dealer's” - with today's emerging Internet markets - there are many new tools for the collector to use in finding the good stuff. The key to the game is keeping your place in line - so the methodical seekers will find you - and hoping the potential buyer's that do find you are educated buyer's who will appreciate your process. That is really paramount more so than if they are "Professional Collectors,” versus the amateur art lovers - who find it irresistible in doing their research as part of personalizing their purchasing process.

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on Friday, May 1st, art jewelry said

Rosemary,

I really respect your desire to not cut corners and build on/learn from the masters. So many people look at modern art and say "I don't get it - I could do that." The reason is that there is no appreciation for the training required and events that led to the creation of that piece of art. The situation is made worse if the artist did cut corners and did not build on fundamentals. I'm reminded of the story of Michaelangelo who drew freehand a perfect circle to show the pope his skills.

on Friday, May 1st, Heather said

It seems like she has a good handle on reality and has found a good mix between commercial work while still sticking to her guns and her "serious" art

on Tuesday, April 28th, Paul Rickey said

on Wednesday, April 22nd, Brad Michael Moore said

Rosemary,
I visited your site - but I was not able to leave the following message because the Security Code I entered was always deemed to be incorrect. This note is in regard to you stolen artworks...

"Rosemary, I am sorry you do not have a picture of this lady who ran the gallery (before she fled). I had two large works stolen from a business establishment in Dallas, Texas, USA way back in the 1980's. They would not file a police report - the police said I could not - since my work was a part of their establishment at the time - and they didn't want to file a report. I then tried to sue them - found out in the meanwhile they too had file for bankruptcy. Their attorney's threatened to sue me for defamation. I was younger and poorer - I didn't want to lawyer up. I know though - it was the owner who was responsible - either he used them (the artworks) to pay off a debt - or gave them away for the favor of friends, or associates - who knows. - I alway post these works - even today - as stolen works on sites where I associate (such as #artmesh.org & RedBubble. I use to have them posted here too - until I trimmed my portfolio). Best wishes to you that someday they (your artworks) will come back to you. It has happened before for others. Sincerely, Brad Michael Moore

on Wednesday, April 22nd, Brad Michael Moore said

Michael,
I was struck by Rosemary's comment, "I always hated following rules and doing what everyone else did because it was "cool" or "in."

I have never done the "Cool," or "In" thing, throughout my life. The result; Only one Gallery has ever wanted to represent me - I was too hard-headed about my direction, my materials, my subjects, my equipment, my color palette, etc, etc, etc. So my life as an artist has been one mostly uninterrupted by the pangs of "Being In."

Beginning as a "Color," photographer - I was shamed for not doing dye-transfer processes - I preferred color negative and C-Type Prints for their, "New Mexico quality," hues that Type-R work - or Dye Transfers, could not recreate - because their dyes were chosen for their longevity - not their quality of expressions upon paper. I was always doing un-photographic work as well. I hate the usage in the photo medium - "Trying to be painterly." However, early on - that was the best way to describe my work. This all changed with the digital age. Now my focus is totally, Digital. Barney David calls the area of my concentration, "Convergence Art," and I call my individual works, "Digital Artifacts." In fact, I have created 60 or so images this year and thrown away 40 more - all from the pixels of one digitalized 8 x 10 inch color transparency of an interior photograph I took in the mid-1980's - the subject - an art collector's living room. The idea is; a single negative can provide for a skilled digital artist what is near the same as a painter's filled palette of oils or acrylics as they face an empty canvas or paper etc. It is not a notion many have considered. So far - I have never run empty of new images from the digital blood (Soup) of this one original digital source.

Why am I doing this? Like Rosemary says, "I always hated following rules and doing what everyone else did because it was "cool" or "in." To be an artist is no easy task - but it is made more bearable when we stick to our ideas despite the arrows we receive in the backside of our survival. I have always preferred pain to brainless - and I realize there are many positions to function and create from between to two! So I say – “Stick to your guns Rosemary,” your focus towards your career makes total sense to me. True collectors are also eclectic - and they will seek you, and your art out - with or with the dealers… Though it use to take longer without the "Dealer's” - with today's emerging Internet markets - there are many new tools for the collector to use in finding the good stuff. The key to the game is keeping your place in line - so the methodical seekers will find you - and hoping the potential buyer's that do find you are educated buyer's who will appreciate your process. That is really paramount more so than if they are "Professional Collectors,” versus the amateur art lovers - who find it irresistible in doing their research as part of personalizing their purchasing process.

Rosemary and my work are worlds apart - but what motivates us is near the same.
Sincerely, Brad Michael Moore

on Wednesday, April 22nd, Ellen said

Michael: another truly refreshing look into the thoughts and motivations of an artist! It was a pleasure to read about Rosemary, who is so willing to explore and stretch herself artistically. I spent some time on her web site as well and found, through the site and your article, Rosemary to be as complex and mulit-layered as the intergity she expresses. Visually, the art was arresting. Thanks!

on Tuesday, April 21st, Tom said

Can you imagine Van Gogh in the day of social networking?

on Monday, April 20th, Adrian said

this has been most refreshing reading, thankyou :-)

Art Blogs - Artblogs - Art Weblogs - absolutearts.com - wwar.com

04/20/2009: "ROSEMARY LUCY COSENTINO"