Colorado
native Michael J. Lynch approaches every painting as if it were the only one in
the world. Working from nature rather than from his memory of it, he forges an
intense dialogue with the view before him. Lynch feels the weather and hears
the wind, and sometimes lets the rainfall on him or the darkness overtake him.
He completes his works right on the spot in a race against time in an ever
changing light, so concerned is he with the integrity of light and color. “Something
gets into them outdoors.” He acknowledges.
Born
in Denver in 1950, Lynch’s career in the arts has progressed seemingly by fate.
Interested in drawing and painting for a long as he can remember, a family move
to Chicago allowed him frequent visits to the Chicago Art Institute. He was
fascinated with the pallet and textural qualities of painting by masters such
as Sargent, Chase and Cassett. Standing very close to the paintings, the young
artist saw rich, heavy brushstrokes laid against luminous washes. Standing
farther back, the seemingly loose swatches of paint actually revealed form with
precise accuracy.
Those
early observations provided genuine interest. They gave him the judgment to
overlook the anti-traditionalist trend then current in academics, and the
courage to pursue the dictates of his own vision.
Lynch
had every intention of pursuing a formal art education. He was, however,
discouraged by progressive art departments that were not committed to the
merits of a disciplined, technical foundation in fine arts.
He
decided to reserve his art for himself. Rather than dilute his love of painting
by following contemporary fashion, he earned a degree in political science and
then worked for an airline. This auspicious choice gave him the benefit of
travel, and also exposed him to a world of exciting subjects. Recognizing the
opportunity, he arranged his time to hone his skills as an artist. During his
regular break periods abroad, he painted constantly and continued his lifelong
habit of visiting museums. Lynch’s understanding of art ranges through history.
He also feels an affinity for the finest of today’s abstract painters. “They
have total freedom to do what they want,” he stresses. “Their work is straight
from the heart.”
The
early seventies were a turning point in Lynch’s career. In Denver, a fortuitous
encounter with a close-knit association of painters, the Denver Seven, provided
support and enthusiasm that encouraged Lynch to pursue his desire to paint.
Lynch participated in workshops, met other artists, and most importantly, continued
developing and defining his own artistic skills.
Today,
Lynch is simply one of the best communicators around. With his solid expertise,
he creates a permeable plane that draws the viewer’s eye into the depths of the
image. It goes far beyond rote perspective or stylistic tricks, and works
equally well with still life, figure, or landscape. “When a work is very
literal,” he contends, “there’s not a lot you can say.”
In
each of Lynch’s paintings, every element of information is present, invigorated
by technical experience and scholarly knowledge. Above and beyond those things
is a quality of excitement that snaps the painting to life. It is the artist’s
commitment to each creation, each venture into a fresh idea.
Michael
Lynch is a member of the National Academy of Western Art, the Chelsea Art Club
in London, has shown with the Artist of America, and exhibits with the Salon d’
Arts show in Denver.
