"An Artist
Eye for the
Impossible"
modern allegorism
© 2009 – ALL RIGHTS RESERVED
Modern Allegorism
From a childhood immersed in the beauty of nature, a youth
surrounded by the classical sense of Renaissance-era European
art and architecture, and a lifetime devoted to art as the highest
form of expression, Glen Tarnowski brings stunning vitality, depth
and emotion to his paintings and sculptures.
Influenced by an intense formal education in art, pain-staking
study of the works of Old World Masters Rembrandt Van Rijn,
Peter Paul Reubens and Jean-Baptiste Siméon Chardin, and
ongoing study with contemporary masters David Leffel, Sherrie
McGraw and Dan McCaw, Tarnowski’s use of Chiaroscuro
techniques provide his paintings with a vibrant dichotomy of old
world feeling and contemporary realism.
“Art that simply
reproduces the
likeness of a subject
is not enough—
I create art that
expresses my
emotional response
to the beauty of the
subject.”
— Tarnowski
His formal education in oil painting began at the age of eight
when his innate talent for painting and unique perception
of color revealed itself in his first art class. He continued his
formal art education at California Lutheran University and
The Pasadena Art Center College of Design, separated by
extensive self-study in the art capitals of Europe. He later returned
to California Lutheran University to teach his techniques.
Tarnowski’s talent is recognized by his peers, art associations,
and the art press as well as notable private and corporate art
collectors. Tarnowski paintings are in the permanent collections
of the National Gallery of Victoria, The National Gallery of
Australia, the Brooklyn Museum in Brooklyn, NY, the Boca
Museum of Fine Art in Boca Raton, Florida, and the Aspen Art
Museum in Colorado. He was the recipient of the 1996 Angel
Winner Award, a finalist in the 1997 Artist Magazine International
Competition, the 1998 Oil Painters of America National Show in
Washington, DC, and the 1999 Oil Painters of American Regional
Show in Chicago, Illinois. He was also the featured artist in
the October 1999 issue of “The Artist’s Magazine.” Tarnowski’s
collector list includes Hollywood celebrities such as Mel Gibson,
media moguls Ted Turner and Aaron Spelling, institutional
collectors such as the Billy Graham Institute, and a variety of
corporations including Twentieth Century Fox, TRW, Nordstrom
Corporation and major media networks including
NBC and CBS.
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© 2009
– ALL
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chronology
• Tarnowski’s parents knew he was destined for something special when he beat
the odds as a 3-day old after being given only a 3% chance of survival.
• Eight years after experimental surgery, that something special was revealed
as painting. He had begun studying art at the YMCA and sold his first work to its
director.
• A full scholarship to the Barnsdall Art Center in Los Angeles followed and he was
on his way.
• After high school, Tarnowski went on to California Lutheran University to continue
and enhance his art training and then, after a time in Europe studying the Old
Masters, he returned to California and attended the Pasadena Art Center College
of Design, participating in one of the most intense and challenging art programs in
the nation.
• A most profound change in Tarnowski’s life came with an enlightening trip to
Europe. As Glen states, “Painting in Europe was a natural extension of oneself.” His
interest in the Old World Masters, such as Rembrandt and Rubens, intensified as he
studied the use of the Chiaroscuro technique, where, in a very direct manner, both
thick and thin areas of paint are applied, side-by-side, not in layers, to literally create
“Light and Shade.”
• Tarnowski studied under the tutelage of Artist David LaFelle for six years in Santa
Fe, New Mexico. With this experience, he touched on the true emotion inherent in
the paintings of the Old Masters.
• Once his formal art education was completed, Glen accepted an invitation from
Sir Benjamin Weber, Dean of California Lutheran University, to return to the University
as an Art Professor.
• While an art professor, Tarnowski did freelance art work and eventually served
as art director for several large corporations before teaming up with Masterpiece
Publishing and becoming a master painter on a full-time basis.
• Tarnowski lives with his wife and children in a home nestled in nature. His studio
has large cathedral windows that allow the perfect natural lighting to strike the
paints and canvas. The light is pure, as it drifts across the field, illuminating the sheer
perfection of the scene.
• Tarnowski endows each painting with more than a visual stimulation of the senses.
His choice of values in color and light symbolically portrays our humanity, as he
creates a view through a window into the innermost core of our being, insightfully
revealing the extraordinary range of human attributes and emotions.
• Tarnowski has since become the father of “Modern Allegorism,” using the
techniques of the old masters in a whimsical, inspirational, and/or paradoxical
way to transform everyday 21st century objects into a visual essay on the modern
condition. (It is important to understand that “Modern Allegory,” unlike surrealism, is
always positive, uplifting, inspirational, and enlightening.)
• Tarnowski paintings are in the permanent collections of the National Gallery of
Victoria, The National Gallery of Australia, the Boca Raton Museum of Fine Art, the
Brooklyn Museum in Brooklyn, N. Y., and the Aspen Museum in Colorado.
• Tarnowski’s genius is lauded by his peers, the art associations, and the art press, as
well as notable private and corporate collectors. The list includes Ted Turner, Aaron
Spelling, the Nordstrom Corporation, TRW, CBS, NBC, and Twentieth Century Fox. n
© 2009
TAC– ALL RIGHTS RESERVED
important facts
• Tarnowski’s Old World Master technique provides his paintings
with a vibrant dichotomy of old world feeling and contemporary
realism with symbolic irony.
• Choices of values in color and light symbolically portray our
humanity, as he creates a view through a window into the
innermost core of life.
• “Paintings and sculptures that simply reproduce likeness of a
subject isn’t enough; I create artworks that express my emotional
response to the beauty of subject.”
• Tarnowski’s education in oil painting began at the age of eight.
His formal art education was at California Lutheran University and
The Pasadena Art Center College of Design and extensive self-study
in the art capitals of Europe.
• Tarnowski brings stunning vitality, depth and emotion to his
artwork. He endows each piece with more than a visual stimulation
by using all of the senses to create unique and imaginative works of
art.
• He was the recipient of the Angel Winner Award Oil Painters of
America National Show in Washington, D.C. and the Oil Painters
of America Regional Show in Chicago, Illinois. Tarnowski paintings
are in the permanent collections of the National Gallery of Victoria,
The National Gallery of Australia, the Boca Raton Museum of Fine
Art, the Brooklyn Museum in Brooklyn, N.Y., and the Aspen
Museum in Colorado.
• Hollywood celebrities such as Mel Gibson, media moguls Ted
Turner and Aaron Spelling, and networks including NBC and CBS are
all avid collectors.
• Insightfully, Tarnowski reveals the extraordinary range of human
attributes and emotions with a representational twist. n
© TAC
2009 – ALL RIGHTS RESERVED
modern allegorism
by Glen Tarnowski, April 2006
What are these paintings? I like them and I am drawn to them, but
what are they saying to me? “That’s the reaction that most viewers
initially have to my work, which is fine,” explains Tarnowski.
“That’s because my artwork is about actively engaging the viewer
and requiring them to insert the interpretation ignited by their own
personal life experiences. The work is figuratively completed by the
viewer through their interpretation, thus the viewer becomes an
active, creative element in the completion of the painting. My work,
whether Whimsical, Inspirational/Spiritual, or Paradoxical in nature,
strives to express a meaning of affirmation, lightheartedness, hope,
faith, purpose, and trust through the use of what I call Modern Poetic
Allegories.
“What is a Modern Poetic Allegory? Unlike Surrealism that
implements
imagery
that
is
erotic,
bizarre,
disoriented,
dreamlike, fantastic, or hallucinatory in nature, my work is an
uplifting, wholesome, poetic blend of ordinary elements from nature
and figurative or material forms to represent and build a visual
comparison to an Abstract, Conceptual, Inspirational/Spiritual,
Whimsical, Paradoxical meaning. Modern Poetic Allegory, like a
duet (its musical counterpart), creates a rhythmic, melodious fusion
of ordinary elements and/or material forms from life with the artistic
techniques and tools of the Old Masters. This brings together two
dynamic components into a single, unique, creative, cleaver, and
distinctive form of artistic expression that connects to and uplifts the
human soul.” n
© 2009
TAC– ALL RIGHTS RESERVED
Symbolisms
Apple:
Ball:
Balloon:
Birds:
Books:
Branch:
Bubbles:
Butterflies:
Caterpillars:
Candle:
Cat:
Clouds:
Cow:
Crown:
Dragonfly:
Eggs:
Elements (of Life):
Elements (Feng Shui):
Elephant:
Eye:
Dragonfly:
Drapery:
Feather:
Fire:
Fish:
Flowers:
Fruit:
Giraffe:
Grapes:
Knowledge, Acquired Education, Understanding
Balance, Focused Attention
Fragile, Tenuous, Delicate, Intangible
Taking chances, Freedom
Divine Insight, Knowledge, Revelation, Wisdom
Logic
Simple yet important events
Transformation, Metamorphosis
Transition, Temporary state
Individual life, Solitude
Curiosity, Intuition, Mystery
Issues, Uncertainty, Doubts
Nurturing, Earth, Gentleness, Nourishment
Goal, Great Desire
Clarity, Victory
Birth, Renewal
Earth, Wind (Air), Water and Fire
Metal, Wood, Water, Fire, and Earth
Strength, Loyalty, Wisdom, Stability, Memory, Power
Guidance, Direction, Insight, the All-seeing God
Clarity, Victory
Intellect, Emotion; Reflects the Viewer
Willingness, Obedience, Surrender
Enlightenment, Purification, Sacrifice, Illumination
God, Faith, Hope, Prosperity, Trust, Wealth
Spring Personified, the Attribute of Hope
Fruits of the Spirit
Elevated, Vain, Self-Importance
Unity, Sacrifice, Communion
© TAC
2009 – ALL RIGHTS RESERVED
Symbolisms (continued)
Horizon:
Hourglass / Watch / Clock:
Horse:
Hummingbird:
Ivy:
Key:
Keyhole:
Koi:
Ladder:
Lemon:
Light:
Lilies:
Moon:
Mouse / Mice:
Nest:
Oak Tree:
Olive Branch:
Ostrich (Head Buried):
Ostrich (Head in Sky):
Paint:
Pear:
Pearls:
Pen:
Rainbow:
Rose:
Rope:
Sea Turtle:
Shell:
Snail:
Storm Clouds:
Swan:
Umbrella Man Cut-Out:
Universe:
Water:
Window:
Wings:
Hope, New Beginning, Enlightenment
Time is Ticking, Eternity when empty
Stamina, Nobility, Devotion
Messenger, Optimism, Sweetness, Suspension of Time
Immortality, Attainment, Eternal Affection, Fidelity
Understanding, Wisdom, Revelation
Gateway, Access to Knowledge
Life, Prosperity
Education, Traditional Academics, Direction
Fidelity in Love and Loyalty, Trust
Life’s Resource, Provider of Radiance, Warmth, Energy
Purity
Rhythm of Time, Inner-awareness, Adaptation
Fears, Doubts, Weaknesses
Security, Comfort, Status Quo
Strength, Endurance, Steadfastness in face of Adversity
Peace
Unwise, Avoiding Reality
Perception, Intuition, Insight, Sixth Sense
Creative Process, Invent, Creativity
Universal Love for Humankind
Completeness, Elegance, Beauty born of Difficulty
New Vision
Transfiguration, Bridge
Hope, Love, Victory, Beauty, Triumphant Love
Testing Boundaries, Focused Endeavor
Longevity, Endurance
Pilgrimage, One’s journey
Perseverance, Diligence, Commitment
Life’s Challenges, Issues, Uncertainties
Innocence, Grace, Beauty, Faithfulness, Solitude
Life and Future
Possibilities, Openness, Infinite, New Beginnings
Cleansing, Transcendence, Refreshing
New Frontiers, New Opportunities
Improvement, Insight, Freedom
©TAC
2009
TAC– ALL RIGHTS RESERVED
introduction
from “Modern Allegories: The Artwork of Glen Tarnowski,” 2007
“Art should speak and express itself to the viewer beyond its visible
characteristics of the subject. Art that simply reproduces a likeness of
a subject isn’t enough—it’s about creating art through brushstroke,
color, value, edge and paint quality to evoke an emotional response
to the beauty of the subject and to create an artistic exercise for
the mind.”
Tarnowski explains that the true purpose of
art is to uplift the human soul and encourage
the viewer to strive towards their goals and
aspirations. “My work challenges you to
engage the art and complete it with your own
life experiences. Art is a symbiotic relationship
between the artist’s vision of a particular work
of art and the viewer’s emotional reaction to
it. This interaction completes the cycle of a
particular work of art.” Tarnowski believes and
quotes Michelangelo’s statement, “true work
of art is but a shadow of the divine perfection.” But he adds that
“there is a divine appointment for every true work of art” representing
the key relationship between the art and its audience.
Tarnowski expresses his art through the use of modern allegorical
elements to capture life’s whimsical, inspirational, paradoxical
and spiritual moments. By fusing Old World artistic mastery with
contemporary subjects and themes, he forges a unique marriage
of the Old Masters’ brilliant technique of Chiaroscuro to his own
creative sense of wit and artistic interpretation of our contemporary
world. n
© TAC
2009 – ALL RIGHTS RESERVED
artist’s statement
from “Modern Allegories: The Artwork of Glen Tarnowski,” 2007
The most common questions asked when someone first comes in contact with my
artwork is where do I get my ideas and who was I influenced by. These questions,
though deceptively simple in nature, are really quite complex to answer. Why?
Because they are a lifetime of experiences and events: a combination of significant
and insignificant things that has shaped who I am and what I do. But, I have come to
realize that these questions help many viewers in their first steps to understand and
bridge a relationship with what I create. They help them to understand what they
are feeling and experiencing through my art. Thus, I will give you my perspective as
to the how, what and where of my creative endeavors.
My paintings and sculptures are fundamentally concept driven and are developed
around three major categories: Whimsical, Inspirational/Spiritual, and Paradoxical,
with some works being a mixture of these categories. The concepts surrounding
these characteristics are driven by my earliest remembrances of my family experiences and
upbringing. I had a very fun, exciting and healthy childhood. I was a part of a family who saw
the values of encouragement, engagement, faith, laughter, prayer, support, and time with one
another as the true riches and wealth in life and something worthy to obtain and to pass on.
It’s these values that are the foundation to what drives my ideas and concepts for my paintings
and sculpture.
Concepts are the stabilizing anchor to any good work. Before I can put paint on canvas or
clay on an armature I have to envision the finished work. I have to see it complete in my mind’s
eye before I can begin. To know its starting point, where the middle starts and ends, and when
to declare it finished are all predetermined in that conceptual vision. All of my concepts are
derived from everyday activities and experiences, be it cultural, economical, or social. My work
presents a positive, affirmative, and hopeful perspective of life for every viewer no matter what
the viewer’s station is in life. It carries an attitude that with faith, hope and the effort to go
beyond your known abilities, you can achieve your goals and live your dreams.
The influences to my work were forged from tried and true artistic techniques employed by the
Old Master artists including Rembrandt, Rubens, and Caravaggio. They employed methods that
assisted the viewer to move through their art by the use of light, shadow, color, value, edge,
brushstroke and paint quality. These tools guide the viewer by producing primary, secondary
and tertiary readings of a painting. These influences are the hallmark of my art and provide me
with a consistent way of approaching and creating my artwork.
The art I produce is not passive in nature but beckons the viewer to actively engage the artwork.
Each work is established with a personal narrative in mind that specifically motivated me to
paint a particular piece of art, but it’s the viewer’s personal life experiences that complete the
art and make it a personal expression of their own life.
My work implements the simplicity and beauty of nature through figurative and ordinary
elements which are employed in an uncommon environment or situation to represent a specific
abstract, spiritual meaning. People often say that my art makes them smile—that is both the
ultimate compliment and a significant motivation behind all that I create. n
© 2009
TAC– ALL RIGHTS RESERVED
www.tarnowskiart.com
© 2009 – ALL RIGHTS RESERVED
Flemish Maroger Medium
Flemish Maroger is an oil varnish painting medium
discovered by Jacques Maroger, painter and former curator of the Louvre in the early 20th Century, who claimed to have found the secret formulas used by Old Masters such as Titian, Rubens,
Van Dyck, Velasquez, as well as others. Consisting of Black Oil and Mastic Varnish, this medium
comes in the form of a soft jelly, and is used for its
great versatility in oil painting.
The jelly is of an amber color. It is like a liquid glass with which the
painter invests his pigments. It possesses the extraordinary property
of congealing in the air and of becoming ductile again at the touch
of the brush. Drawn by the brush, it moves fluently over the canvas.
As soon as the brush is removed, it becomes firm and congeals immediately – ready, again to become every bit as ductile at the next
touch of the brush.
Old Masters Flemish Maroger is the most versatile medium on the
market. It allows the artist to produce thick and lustrous brushstrokes
for more intense lights, as well as
thin and transparent glazes for
shadows and dark passages. These
two elements combined increase
depth and visual impact, bringing
your paintings to life!
© 2009
TAC– ALL RIGHTS RESERVED