We
are pleased to present another interview featuring artists whose works are on view in our current in-gallery exhibition "Creatures II." The exhibit is on view through Thursday, October 22, 2020. Art Saint Louis is free & open M-F 8-3, Sat.
9-2 or, if you can't make it to the Gallery to see the show in-person, we
offer a complete Facebook album featuring all 62 of the works in the show along with accompanying information and artist's statements.
For this week's post, we are pleased to present interviews with artists Barb Godwin, Russell Vanecek, Mary Jo Kattelman, Elizabeth "Betty" Moore, and Robert Dielmann.
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Learn more about Mary Jo Kattelman: www.facebook.com/mjkattelman/
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ELIZABETH "BETTY" MOORE
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BARB GODWIN
About the artist: As a native born Texan I have always enjoyed the outdoors, animals and large swatches of open landscapes. I spent many summers at camp where I first learned of "wood burning". I can't say that I was enamored with it back then but find myself enjoying pyrography much more these many years later. I attended college at Texas Women's University where I studied Art and history. I spent over a decade teaching art in primary and secondary schools from Colorado to the Philippines, on to Germany and then back to the States. Art has been a major influence throughout my life but I never pursued it as a career. Instead, I went on to travel the world as a group tour planner and cruise planner. Upon retiring I drifted back to my art work in the form of wood carving and then into pyrography. I have been developing my skills with pyrography now for about 10 years and thoroughly enjoy it. I find it challenging, engrossing and a lot less messy than the wood carving.
Roxanne Phillips: Describe your artistic process/technique.
Barb Godwin: Pyrography is an ancient form of art and it has evolved through the centuries/years/decades. With new tools and technologies it has expanded into a viable and expressive art form. I love wandering the mountains of Colorado and Vermont each year enjoying the scenery, nature and the wildlife. Digital photography has been a boon for artists in that they can take multiple pictures and see the results immediately. I can take very detailed pictures to add to my resource/reference files and then transform them into "drawings" with heat. I usually do a pencil sketch of a new subject to determine how well it will work with pyrography.
On mastering the tones and textures, creating the picture and beginning to burn with a "stylus" is the next step. It becomes a hybrid art form combining "etching" and pencil-like shading techniques. I have found a wonderful way of presenting a very "natural" and "earthy" approach to creating artwork. In using a very monochromatic medium without being distracted by an overwhelming array of colors. I use an unlimited palette of browns. Anything from a blond wood tone to a very dark...almost black brown. It can be challenging but that's part of the fun and creative process. Using different kinds of wood also enters into the mix. My primary "go to" wood is a quarter inch hard maple laminate plywood. Maple is hard enough to give excellent detail and fine lines without burning through. It helps to stay with a lighter wood such as maple, ash, birch etc as the design or picture is easily seen. Darker woods tend to mute the burn lines. But often it is fun to experiment with unusual woods.
After leaving teaching I traveled the world as a luxury group tour planner. I took photo safaris in Africa and polar expeditions to the Arctic and Antarctic. After an intriguing visit to Bavaria Germany I was enthralled with wood carving and spent several years exploring wood carving. After several back and hip surgerys that made it very difficult to carve I began experimenting with the pyrographic tools that wood carvers often use to add detail to their carvings. The end result was that I truly enjoyed it. I love that people are intrigued by the process. I love to talk with folks and find out that there are subjects, ideas, and a kindred love of nature that we have in common. Art can be very introspective, passionate and a wonderful way to express my love of wildlife and nature.
RP: When did you begin to know what your art is about?
BG: Each time I talk about it...I learn more of why I find myself doing it. I love the character and mystery and even sadness of old abandoned farms, barns, and buildings. It gives you pause to reflect on the life once lived in that place and time. It presents us with a personal dimension of a past life...maybe not our own...but definitely of another time.
When I watch wildlife and animals in general I imagine the world as they might see it. Whether they are an elegant bull elk strutting thru the alpine meadow, or someone's beloved pet that shares it's soul and love by resting peacefully in that person's lap, the vision manifests a very personal connection. Animals are so powerful...so elegant....so intelligent...so rambunctious and can be so peaceful. It is such a privilege to witness animals interacting in their own world/habitat.
RP: What do you do to support your art and how does that impact your art practice?
BG: Each year I donate one of my burnings to a Wolf/Wolf dog rescue sanctuary in Colorado for their annual fund drive. It gives folks a chance to see my work and I love burning their "wolves". Each year they select a different animal and I create a special burning for them. It's a way for me to give to that community and raise the awareness of trying to save wolves. I have a great love of the Wolf!! I work diligently to protect and preserve wolves in the wild.
RP: How has Coronavirus changed your art practice?
BG: I have more time for my art work now. There are not so many distractions throughout the day and I can spend more time "creating" and finally "burning". I find it is an excellent "escape" from the craziness going on all around the country. There is peace and contentment while working within one's art.
Learn more about Barb Godwin: www.barbgodwin.com and www.facebook.com/pyrobarb1/
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| Featured in Art Saint Louis’ “Creatures II” exhibit: Barbara Godwin, Collinsville, IL. “Happy Highlander.” 2018. Pyrography on Wood, 13”x15 1/4”. $300. Artist’s statement: “I endeavor to imbue nature with subtle textures and tones. Pyrography (heat drawing) provides a unique monochromatic palette with rich textures. My "Happy Highlander", a Scottish Highland cow lives on a delightful farm in Vermont. The handmade frame is reclaimed wood from old barns and farmhouses of Vermont and offers a richness of history complementing the textures in my drawing.” |
About the artist: As a native born Texan I have always enjoyed the outdoors, animals and large swatches of open landscapes. I spent many summers at camp where I first learned of "wood burning". I can't say that I was enamored with it back then but find myself enjoying pyrography much more these many years later. I attended college at Texas Women's University where I studied Art and history. I spent over a decade teaching art in primary and secondary schools from Colorado to the Philippines, on to Germany and then back to the States. Art has been a major influence throughout my life but I never pursued it as a career. Instead, I went on to travel the world as a group tour planner and cruise planner. Upon retiring I drifted back to my art work in the form of wood carving and then into pyrography. I have been developing my skills with pyrography now for about 10 years and thoroughly enjoy it. I find it challenging, engrossing and a lot less messy than the wood carving.
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| Barb Godwin. “Welcoming Kaffeehaus.” 2018. Pyrography on Maple Plywood, 11”x14”. $290. |
Roxanne Phillips: Describe your artistic process/technique.
Barb Godwin: Pyrography is an ancient form of art and it has evolved through the centuries/years/decades. With new tools and technologies it has expanded into a viable and expressive art form. I love wandering the mountains of Colorado and Vermont each year enjoying the scenery, nature and the wildlife. Digital photography has been a boon for artists in that they can take multiple pictures and see the results immediately. I can take very detailed pictures to add to my resource/reference files and then transform them into "drawings" with heat. I usually do a pencil sketch of a new subject to determine how well it will work with pyrography.
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| Barb Godwin. “Forest Dacha.” 2019. Pyrography on Maple Plywood, 11”x13 1/4”. $325. |
On mastering the tones and textures, creating the picture and beginning to burn with a "stylus" is the next step. It becomes a hybrid art form combining "etching" and pencil-like shading techniques. I have found a wonderful way of presenting a very "natural" and "earthy" approach to creating artwork. In using a very monochromatic medium without being distracted by an overwhelming array of colors. I use an unlimited palette of browns. Anything from a blond wood tone to a very dark...almost black brown. It can be challenging but that's part of the fun and creative process. Using different kinds of wood also enters into the mix. My primary "go to" wood is a quarter inch hard maple laminate plywood. Maple is hard enough to give excellent detail and fine lines without burning through. It helps to stay with a lighter wood such as maple, ash, birch etc as the design or picture is easily seen. Darker woods tend to mute the burn lines. But often it is fun to experiment with unusual woods.
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| Barb Godwin. “All Connected.” 2020. Pyrography on Maple Plywood, 9"x12”. $350. |
After leaving teaching I traveled the world as a luxury group tour planner. I took photo safaris in Africa and polar expeditions to the Arctic and Antarctic. After an intriguing visit to Bavaria Germany I was enthralled with wood carving and spent several years exploring wood carving. After several back and hip surgerys that made it very difficult to carve I began experimenting with the pyrographic tools that wood carvers often use to add detail to their carvings. The end result was that I truly enjoyed it. I love that people are intrigued by the process. I love to talk with folks and find out that there are subjects, ideas, and a kindred love of nature that we have in common. Art can be very introspective, passionate and a wonderful way to express my love of wildlife and nature.
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| Barb Godwin. “First Bath.” 2018. Pyrography on Maple Plywood, 10 1/2"x14 3/4". $310. |
RP: When did you begin to know what your art is about?
BG: Each time I talk about it...I learn more of why I find myself doing it. I love the character and mystery and even sadness of old abandoned farms, barns, and buildings. It gives you pause to reflect on the life once lived in that place and time. It presents us with a personal dimension of a past life...maybe not our own...but definitely of another time.
When I watch wildlife and animals in general I imagine the world as they might see it. Whether they are an elegant bull elk strutting thru the alpine meadow, or someone's beloved pet that shares it's soul and love by resting peacefully in that person's lap, the vision manifests a very personal connection. Animals are so powerful...so elegant....so intelligent...so rambunctious and can be so peaceful. It is such a privilege to witness animals interacting in their own world/habitat.
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| Barb Godwin. “Snacks Anywhere?” 2018. Pyrography on Maple Plywood, 11”x14”. $420. |
RP: What do you do to support your art and how does that impact your art practice?
BG: Each year I donate one of my burnings to a Wolf/Wolf dog rescue sanctuary in Colorado for their annual fund drive. It gives folks a chance to see my work and I love burning their "wolves". Each year they select a different animal and I create a special burning for them. It's a way for me to give to that community and raise the awareness of trying to save wolves. I have a great love of the Wolf!! I work diligently to protect and preserve wolves in the wild.
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| Barb Godwin. “Vermont's Backroads Ghosts.” 2019. Pyrography on Maple Plywood, 14"x22”. $850. |
RP: How has Coronavirus changed your art practice?
BG: I have more time for my art work now. There are not so many distractions throughout the day and I can spend more time "creating" and finally "burning". I find it is an excellent "escape" from the craziness going on all around the country. There is peace and contentment while working within one's art.
Learn more about Barb Godwin: www.barbgodwin.com and www.facebook.com/pyrobarb1/
RUSSELL VANECEK
Roxanne Phillips: What is it about the “Creatures II” theme that speaks to you?
Russell Vanecek: Most of us take delight on seeing a fleet of geese flying in a V-shaped formation, and often take it as a sign of victory. Birds for that matter, with their ability to fly high in the sky, are taken to be anything from signs of freedom to transition. Dwelling on the symbolic significance of each bird, my intention is to satisfy those with a mystical outlook and also cater to the ones seeking simpler pleasures of life.
RP: What inspired you to become a member of Art Saint Louis?
RV: More than 30 years ago I was looking for a group of local visual artists that wanted to develop a group for St. Louis artists. I heard about an organization that was starting up and I shortly thereafter became one of the first members on the Board. Before this I wanted to leave St. Louis. The people that gathered at that time worked hard to create a good organization. It made all the difference to me about staying in St. Louis. My career flourished as Art Saint Louis grew and supported my development as an artist.
RP: Describe your artistic process/technique.
RV: I create layers with modeling paste and impasto technique. Texture is created with each layer by scraping, scratching, impressing and sanding. Thin color washes of acrylic paint are used on the first few layers. The subsequent layers are completed with oil paint.
RP: What was it that first prompted your career/activity as an artist?
RV: The combination of two events, the time I was able to spend in Paris, France and attending a Masters of Fine Arts program in the USA. These two events opened my mind to the possibility of having a career as a visual artist.
RP: What advice would you give your younger artist self?
RV: First prioritze learning the basics of design and composition as well as drawing. Set it up so that it's an ongoing commitment as you develop your ideas and a vision. Study and read about the Arts from the past but don't end up there. Become able to trust your own thinking and bring your artistic goals to life.
Learn more about Russell Vanecek: www.russellvanecek.com and www.instagram.com/russellvanecek/
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| Featured in Art Saint Louis’ “Creatures II” exhibition: Russell Vanecek, St. Louis, MO. “Bird on a Branch III.” 2018. Oil on Wood Panel, 18”x24”. $750. |
Roxanne Phillips: What is it about the “Creatures II” theme that speaks to you?
Russell Vanecek: Most of us take delight on seeing a fleet of geese flying in a V-shaped formation, and often take it as a sign of victory. Birds for that matter, with their ability to fly high in the sky, are taken to be anything from signs of freedom to transition. Dwelling on the symbolic significance of each bird, my intention is to satisfy those with a mystical outlook and also cater to the ones seeking simpler pleasures of life.
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| Russell Vanecek. “Crane.” 2018. Oil on Canvas, 28”x36”. $800. |
RP: What inspired you to become a member of Art Saint Louis?
RV: More than 30 years ago I was looking for a group of local visual artists that wanted to develop a group for St. Louis artists. I heard about an organization that was starting up and I shortly thereafter became one of the first members on the Board. Before this I wanted to leave St. Louis. The people that gathered at that time worked hard to create a good organization. It made all the difference to me about staying in St. Louis. My career flourished as Art Saint Louis grew and supported my development as an artist.
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| Russell Vanecek. “Cardinal.” 2019. Arcylic, Oil on Canvas, 12”x 9”. $225. |
RP: Describe your artistic process/technique.
RV: I create layers with modeling paste and impasto technique. Texture is created with each layer by scraping, scratching, impressing and sanding. Thin color washes of acrylic paint are used on the first few layers. The subsequent layers are completed with oil paint.
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| Russell Vanecek. “Common Chaffinch.” 2019. Acrylic, Oil on Canvas, 9”x12”. $225. |
RP: What was it that first prompted your career/activity as an artist?
RV: The combination of two events, the time I was able to spend in Paris, France and attending a Masters of Fine Arts program in the USA. These two events opened my mind to the possibility of having a career as a visual artist.
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| Russell Vanecek. “Egret.” 2018. Oil on Canvas, 11”x14”. $275. |
RP: What advice would you give your younger artist self?
RV: First prioritze learning the basics of design and composition as well as drawing. Set it up so that it's an ongoing commitment as you develop your ideas and a vision. Study and read about the Arts from the past but don't end up there. Become able to trust your own thinking and bring your artistic goals to life.
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| Russell Vanecek. “Birds in Sunrise.” 2017. Oil, Acrylic on Canvas, 18”x26”. $450. |
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| St. Louis artist Russell Vanecek. |
Learn more about Russell Vanecek: www.russellvanecek.com and www.instagram.com/russellvanecek/
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MARY JO KATTELMAN
Roxanne Phillips: What is it about the "Creatures II" theme that speaks to you?
Mary Jo Kattelman: The "Creatures II" theme spoke to me because I bond to nature where creatures are everywhere in my life. I especially find birds entertaining with their intelligence and personalities.
I am saddened for humanity about Covid and go to nature so consolation. At times, it is difficult to be motivated to create, to not be depressed and carry on with life.
RP: Do you think that creativity involves putting your heart and soul into your work? Or is it more like letting your mind flow freely to witness the surprising results of your actions?
MJK: For me creativity starts with an idea that is inspired by nature or simply a response to something that has happened. I always wanted to have my mind flow freely to create spontaneous beauty but instead I find a puzzle to solve and each step may present a revelation or just another part to the puzzle. To me, my work is about heart, soul and hard work.
RP: Why did you choose the medium in which you concentrate?
MJK: I am a multimedia artist because teaching art for 30 years one had to be flexible, a jack of all trades. Multimedia provides several possible solutions to an idea. Experimenting and problem solving is how to come up with something successful.
RP: Describe your studio space.
MJK: Lately, I go to the studio and clean to get motivated to actually work instead of just coming up with ideas. I have a storage room with marked boxes which always needs more organizing. The studio is above my husband Kent's shop. He is often working downstairs. Fortunately, if I have a construction problem, I can run it by him. However, my favorite times are alone with the early morning sun in the windows. I dream of having a sink and a nice sunrise.
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| Featured in Art Saint Louis’ “Creatures II” exhibit: Mary Jo Kattelman, Newark, MO. “Flight.” 2020. Watercolor on Sumigashi Paper, 16”x16”. $125. |
Mary Jo Kattelman: The "Creatures II" theme spoke to me because I bond to nature where creatures are everywhere in my life. I especially find birds entertaining with their intelligence and personalities.
I am saddened for humanity about Covid and go to nature so consolation. At times, it is difficult to be motivated to create, to not be depressed and carry on with life.
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| Mary Jo Kattelman. “Counting Moons.” 2020. Acrylic, Mixed Media, 13"x13”. Sold. |
RP: Do you think that creativity involves putting your heart and soul into your work? Or is it more like letting your mind flow freely to witness the surprising results of your actions?
MJK: For me creativity starts with an idea that is inspired by nature or simply a response to something that has happened. I always wanted to have my mind flow freely to create spontaneous beauty but instead I find a puzzle to solve and each step may present a revelation or just another part to the puzzle. To me, my work is about heart, soul and hard work.
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| Mary Jo Kattelman. (exterior) “March Madness.” 2020. Mixed Media, Acrylic, 12"x8”. Not for Sale. |
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| Mary Jo Kattelman. (interior) “March Madness.” 2020. Mixed Media, Acrylic, 12"x8”. Not for Sale. |
RP: Why did you choose the medium in which you concentrate?
MJK: I am a multimedia artist because teaching art for 30 years one had to be flexible, a jack of all trades. Multimedia provides several possible solutions to an idea. Experimenting and problem solving is how to come up with something successful.
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| Newark, MO-based artist Mary Jo Kattelman's sketchbook. |
RP: Describe your studio space.
MJK: Lately, I go to the studio and clean to get motivated to actually work instead of just coming up with ideas. I have a storage room with marked boxes which always needs more organizing. The studio is above my husband Kent's shop. He is often working downstairs. Fortunately, if I have a construction problem, I can run it by him. However, my favorite times are alone with the early morning sun in the windows. I dream of having a sink and a nice sunrise.
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ELIZABETH "BETTY" MOORE
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| St. Louis artist Elizabeth Moore with artworks in-progress. |
About the artist: Born in Denver, the oldest and a twin of twelve, I began painting while in high school. My inspiration to paint landscapes and horses came from hiking in the mountains and horseback riding at summer camps.
Today, as a fine artist and photographer living in St. Louis, I enjoy exploring the beautiful parks and photographing landscapes, ornamentals and architecture. Many of those photos are used as reference material for paintings in my home/studio in a Victorian storefront in South St. Louis. In 2014, my landscape photos were featured in a solo exhibit at the Missouri Botanical Garden, as part of the stl250 celebration. My photographs and paintings are part of corporate and private collections. I am a member of Art Saint Louis, Saint Louis Artists’ Guild, Heartland Art Club and Art Storefronts.
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| Featured in Art Saint Louis’ “Creatures II” exhibit: Elizabeth “Betty” Moore, St. Louis, MO. “Running Free.” 2020. Water-Based Oil on Canvas, 37.5”x49.5”. $5,775. Artist’s statement: “I began working on this painting of horses running free to find some sense of peace and hope that nature can overcome chaos. I took solace in painting an inspiring sunrise breaking through the early morning mist in the Colorado mountains. Stroke by stroke, I added a grove of cheerful aspens waving in the strong breeze as a storm approaches.” |
Roxanne Phillips: What is it about the “Creatures II” theme that speaks to you?
Elizabeth “Betty” Moore: It’s an interesting concept to consider how we interact with other forms of life, real or imagined. Ever since I can remember, I’ve been fascinated with horses. I spent hours as a kid drawing and painting them. It was wonderful opportunity to focus on horses for this exhibit. As the pandemic grew and the “Black Lives Matter” movement was reborn, I took solace in painting an inspiring sunrise breaking through the early morning mist in the Colorado mountains highlighting a herd of horses running free. I hope that this painting brings attention to the plight of wild horses out west and a moment of peace knowing that nature overcomes chaos.
RP: What inspired you to become a member of Art Saint Louis?
EM: I became a member of Art Saint Louis to stay motivated and become active in the art world once more by submitting work to be juried into exhibits. It’s been a fascinating journey seeing the work of other artists and hearing their life experiences and how that impacted their work.
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| Elizabeth Moore. “Heirloom Peonies.” 2016. Oil on Canvas, 18.5”x22.5”, $900. |
RP: What is the best thing about St. Louis for your art practice?
EM: Often my inspiration as an artist comes from photographing the beautiful architecture found in the City of St. Louis. I also enjoy exploring and photographing the amazing gardens and parks. As a master gardener, I have planted a Missouri native garden with ornamentals to attract butterflies, especially Monarchs, in the garden adjoining my Victorian storefront studio. The garden has been a source of inspiration for many of my paintings.
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| Elizabeth Moore. “Deer Lake Riffles.” 2017. Oil on Canvas, 36”x36”, $2,800. |
RP: What was your career path? How did you get from being an aspiring artist to doing it?
EM: After nearly thirty-five years working as a journalist, corporate graphic designer and web developer, I began pursuing a new endeavor as a fine artist in 2009 with a focus on photography and painting.
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| Elizabeth Moore. “Between Heaven and Earth.” 2020. Oil on Canvas, 19.5”x19.5”, $900. |
RP: What do you do to support your art and how does that impact your art practice?
EM: The past three months have been really exciting with three Live Charity Art Shows on Facebook featuring 19 paintings to benefit BikeMS, an annual fundraising ride.
It was challenging to create a theme for each show. I researched subjects for a Southwest theme, a Colorado (my home state) theme and a St. Louis theme. Then I spent countless hours working on the paintings. Sometimes, I would just stare at a blank canvas and wonder if it was really worth it. Knowing that I was doing this to help support those living with MS was a reality check. It quickly jolted me into working even harder to create something that would be enjoyed for years to come.
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| Elizabeth Moore at work in her third floor studio of her Victorian storefront in St. Louis. |
RP: Describe your artistic process/technique.
EM: I enjoy working on canvas, using water-based oil paints, to portray a moment in time where light, color and texture create a new dimension. I use energetic strokes and bright jewel colors to paint impressionistic scenes. Sometimes, after finishing a session, I will step back from the canvas and discover whimsical faces in the clouds or rock formations. It is such a happy experience to work with colors to creative something beautiful, knowing that my art will be enjoyed by others.
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| Elizabeth Moore. “Spring Storm on the Rio Grande.” 2020. Oil on Canvas, 19.5”x19.5”, $900. |
RP: What was it that first prompted your career/activity as an artist?
EM: I learned to paint during a long and very hot summer trip with my grandmother to help her run the concession stands at the rodeos in Colorado and in Gallup and Albuquerque, New Mexico. As a young, impressionable nine year old, I was fascinated with the incredible rock formations and the cliff dwellings at Mesa Verde.
At the end of the trip, I took all my left over paints from the Paint by Number kits and began painting western landscapes, including desert scenes, rocks, Navajo Indians and horses. The trip left me with wonderful memories and many souvenirs, as we stopped by stands along the road home to buy pottery, jewelry and rugs. I can remember tasting for the first time hopi corn tortillas made with blue cornmeal.
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| Elizabeth Moore. “Into the Woods.” 2020. Oil on Canvas, 17”x21”. $1,200. |
RP: How has Coronavirus changed your art practice?
EM: With the COVID-19, I have worked hard to increased my social media presence through Facebook and Instagram by doing live art shows and sales. I've also done free giveaways to increase my email list for potential clients. I've designed a line of accessories including scarves, handbags and masks featuring my artwork. Seven months ago, I would never have envisioned that I would be doing live sales online or even invite the public into my studio to watch me paint via Instagram. It has been a humbling experience learning the new technology and adapting new work practices. It has also been an exhilarating experience to get immediate feedback to my artwork.
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| Elizabeth Moore. “Deer Lake Savanna.” 2017. Oil on Canvas, 36”x36”, $2,800. |
RP: Best advice you were ever given?
EM: My husband, who was an amazing photographer and artist, told me to “paint from the heart”. He would encourage me to try new ideas because “you’re only as good as your last painting.”
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| Elizabeth Moore. “Serenity.” 2016. Oil on Canvas, 18.5”x22.5”, $900. |
RP: What is the best thing about being an artist?
EM: Art can be a wonderful source of healing, just like nature. As a fine artist and photographer, based in St. Louis, I have been painting landscapes and botanicals that remind me of the wonderful times spent with my family growing up in Denver, Colorado.
Learn more about Elizabeth "Betty" Moore: www.stlouisphotos.com/ and www.instagram.com/elizabethmoorestl/
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ROBERT DIELMANN
Roxanne Phillips: What is it about the “Creatures II” exhibit theme that speaks to you?
Robert Dielmann: Great theme because there are so many kind of creatures. "Creatures of the Mind" [Robert's work in the exhibit] represents what I saw during a stroke. The vivid colors and shapes of strange creatures surrounded by a white light is a vision I will never forget.
RP: What are some things that Art Saint Louis does for the community about which you find inspiration?
RD: They brought me back out to the public again. They sparked my inspiration to paint again.
RP: What was it that first prompted your career/activity as an artist?
RD: The first time was when I sold an oil painting at age of seven. I won awards for classes with Walt Disney and Norman Rockwell. They would go over my art and provide suggestions and then send me different lessons. When I was sixteen, Walt Disney studios wanted me to come to California and work for them. Unfortunately, I couldn’t go. I also lived in Chicago, where I had a studio and worked as a conservator for the Chicago Institute of Art. I also worked at Famous-Barr doing illustrations and window displays until I suffered a stroke in 1990. I have created nearly 2,500 paintings in the last thirty years. Even at age 85, I continue to paint, often working on several at a time.
RP: When was the first time that you remember realizing that you are a creative person?
RD: Probably when I was six. I painted two bird dogs. I sold one and did another one called "Ike and Mike" who were pointing. I took a photo for the painting with an old box camera out in the field. They were pointing quail.
RP: Describe your artistic process/technique.
RD: My paintings are of ordinary folks, architecture and landscapes from St. Louis’s historical past. I take old photographs and use them as a reference for my colorful paintings. I’m well known for my skill in glazing and my vivid palette as an impressionist artist. I also love exploring antique and resale shops for old frames which enhance and sometimes inspire my artwork.
RP: Do you have a studio routine? Most creative time of day to work? Process of thinking or setting up before you begin making?
RD: I only paint when I'm inspired. Morning is my most creative time. I used to get up around 5 am and start working on my oil paintings in my studio in the basement of my Victorian house, which was built in 1873. Then I feed my cats and go back to painting or work in my garden where I am adding mosaics to an ornate Italian fountain. I also paint in my garden when the weather is good. I have also painted plein air in the snow just to get the light right and the color. I spend a lot of time researching ideas by reading books, magazines and taking pictures of locations to paint in the studio.
RP: Best advice you were ever given?
RD: Siegfried Reinhardt gave me private lessons in his home. He told me, “to paint my own style and paint from the heart.”
RP: What motivates you to continue making art?
RD: During the past three years, I have been painting a series of abstracts to sell and raise funds for the ongoing renovation of the Dielmann-Kaiser House, where I live and work and for which I hope to open as a museum to provide a living example of the lifestyle of a typical working class family during the Victorian era in St. Louis.
Learn more about Robert Dielmann: www.dielmannkaiserhouse.com and www.facebook.com/dielmannkaiserhouse
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| Featured in Art Saint Louis’ “Creatures II” exhibit: Award of Excellence recipient Robert Dielmann, St. Louis MO. “Creatures of the Mind.” 2020. Oil on Canvas, 46.25”x36.25”. $3,120. |
Roxanne Phillips: What is it about the “Creatures II” exhibit theme that speaks to you?
Robert Dielmann: Great theme because there are so many kind of creatures. "Creatures of the Mind" [Robert's work in the exhibit] represents what I saw during a stroke. The vivid colors and shapes of strange creatures surrounded by a white light is a vision I will never forget.
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| Robert Dielmann. “Snowdrift.” 2019. Oil on Canvas, 40”x50”. $5,000. |
RP: What are some things that Art Saint Louis does for the community about which you find inspiration?
RD: They brought me back out to the public again. They sparked my inspiration to paint again.
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| Robert Dielmann. “Red October.” 2020. Oil on Canvas, 43”x31”. $3,300. |
RP: What was it that first prompted your career/activity as an artist?
RD: The first time was when I sold an oil painting at age of seven. I won awards for classes with Walt Disney and Norman Rockwell. They would go over my art and provide suggestions and then send me different lessons. When I was sixteen, Walt Disney studios wanted me to come to California and work for them. Unfortunately, I couldn’t go. I also lived in Chicago, where I had a studio and worked as a conservator for the Chicago Institute of Art. I also worked at Famous-Barr doing illustrations and window displays until I suffered a stroke in 1990. I have created nearly 2,500 paintings in the last thirty years. Even at age 85, I continue to paint, often working on several at a time.
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| Robert Dielmann. “Tiffany Window.” 2020. Oil on Canvas, 24”x48”, $2,800. |
RP: When was the first time that you remember realizing that you are a creative person?
RD: Probably when I was six. I painted two bird dogs. I sold one and did another one called "Ike and Mike" who were pointing. I took a photo for the painting with an old box camera out in the field. They were pointing quail.
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| Robert Dielmann. “Basket of Fruit.” 2018. Oil on Canvas, 24.5"x30.5". $1,300 |
RP: Describe your artistic process/technique.
RD: My paintings are of ordinary folks, architecture and landscapes from St. Louis’s historical past. I take old photographs and use them as a reference for my colorful paintings. I’m well known for my skill in glazing and my vivid palette as an impressionist artist. I also love exploring antique and resale shops for old frames which enhance and sometimes inspire my artwork.
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| Robert Dielmann’s studio in the basement of his St. Louis-based Victorian house, built in 1873. |
RP: Do you have a studio routine? Most creative time of day to work? Process of thinking or setting up before you begin making?
RD: I only paint when I'm inspired. Morning is my most creative time. I used to get up around 5 am and start working on my oil paintings in my studio in the basement of my Victorian house, which was built in 1873. Then I feed my cats and go back to painting or work in my garden where I am adding mosaics to an ornate Italian fountain. I also paint in my garden when the weather is good. I have also painted plein air in the snow just to get the light right and the color. I spend a lot of time researching ideas by reading books, magazines and taking pictures of locations to paint in the studio.
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| Robert Dielmann. “Fantasy.” 2020. Oil on Canvas, 29”x41”, $2,500. |
RP: Best advice you were ever given?
RD: Siegfried Reinhardt gave me private lessons in his home. He told me, “to paint my own style and paint from the heart.”
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| Robert Dielmann. “Squared.” 2020,. Oil on Canvas, 36”x48”, $4,300. |
RP: What motivates you to continue making art?
RD: During the past three years, I have been painting a series of abstracts to sell and raise funds for the ongoing renovation of the Dielmann-Kaiser House, where I live and work and for which I hope to open as a museum to provide a living example of the lifestyle of a typical working class family during the Victorian era in St. Louis.
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| St. Louis artist Robert Dielmann with his painting “The Mask” in his exhibit at Soulard Coffee Garden & Cafe. |
Learn more about Robert Dielmann: www.dielmannkaiserhouse.com and www.facebook.com/dielmannkaiserhouse
Roxanne Phillips is an artist and art educator based in St. Louis since 2001. She earned a MFA in Printmaking & Drawing from Washington University in St. Louis and BFA in Painting & Drawing from University of North Texas. Roxanne is an adjunct art instructor at Washington University in St. Louis and has worked with Art Saint Louis since 2017 as Administrative Assistant and Installer. From 2018-2020 she was Master Printer for Pele Prints. Her works have been featured in numerous exhibitions throughout the St. Louis region including at Art Saint Louis, Crossroads Art Studio & Gallery, and St. Louis Artists’ Guild. Her work is currently available at Union Studio in St. Louis. She has served as exhibit Juror for several regional exhibits & art fairs. Roxanne is past Board member of St. Louis Women’s Caucus for Art.
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