Rendering on painting(4)

The article published on the website www.independent.co.uk on March 1, 2013 is headlined “In the Studio: Richard Cook, painter”. The article reports at length that Richard Cook moved to Cornwall to get more space to paint.

According to the text of the article, the house is tucked away down a back street of Newlyn, and would have a great view of the sea but for a large painting that obscures the window – a view of the Black Mountains in Wales. Moreover, Cook's studio is upstairs; the floor, studded by years and years of paint, is uneven and difficult to stand on. The walls are lined with still-wet paintings, while books and sketch-books lie open nearby, some revealing rapid pen and ink drawings, others showing more finished and muscular watercolour studies.

It’s an open secret that Leon Kossoff once said that Cook’s paintings are very good but can he be a little more primitive. Kossoff became a sort of father but then Cook had to go his own way.

Speaking of the situation it is necessary to note that the confidence and insight that Cook expresses about his own technique may help explain the making of the works. The actual execution of a large painting can be extremely fast, taking only three, four or five minutes.

It’s important to point out that the canvasses reveal the speed in which they were created by their spare use of paint and large gestural brushstrokes. They have an unmistakably raw energy.

As for me, I think that the studio for painter is like a shrine where he’s able to create his masterpieces. We can see that Richard Cook adore and value his studio