Coming from the pulp magazine and “Dime Mystery” era of illustration, New York City painter Tom Lovell was adept at working fast and using many preliminary sketches to help develop his paintings. Even later, after his pulp beginnings—when he graduated to Collier’s, McCall’s and National Geographic—Lovell had to be able to turn around artwork on tight deadlines. It was a skill he carried with him after he switched over to fine art in 1975 when he moved to Santa Fe, New Mexico. These oil studies offer a peek into Lovell’s methods, particularly how he began to refine the general composition and lock in the forms at a very early stage of an artwork. By the time he moved to a larger canvas, the general look was already established so he could focus on other things, such as light, detail and storytelling.
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Please note that the first unframed photo is most accurate for color. Framed photographs are to show the frame and are not color corrected to the painting.
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