Douglas Hofmann
Born back in 1945 in Baltimore, Maryland in the US of A, celebrated contemporary figurative artist, Douglas Hoffman attended business college in his native state on completing his high school studies, only to prematurely terminate his course a month later, somewhat disillusioned with his initial choice. Hoffman was fortunate to find work at a local department store shortly afterwards where he took up the role of window dresser, and it was here that he now says afforded him an education in colour design and its applications. It was also at this juncture that Hoffman became first aware of the Baltimore-based sculptor, Thomas Hoffmaster, who just so happened to be the partner of one of his store window dressing colleagues. Hoffman’s appreciation for art grew hereonin and already being spoken of in terms of being naturally gifted, Hofmann decided to attempt to make a career for himself in the field of art; at least that being his long term plan.
Enrolling at the Maryland Institute College of Art, Hoffman was introduced and exposed himself to, the work of Joseph Sheppard during his first year. Recalling the time Hoffman says; “I used to walk down to the first floor and stick my head in this room that was totally quiet. You could hear a pin drop. It was Joe Sheppard's class”. Not long after, Hoffman began studying under the tutelage of Sheppard, where he learned how to draw and paint the likeness of real life models as part of his lecturer’s anatomy classes. Hoffman describes how to his mind – and echoing many others who bore first hand witness and account of his work – Sheppard painted in a way that he’d never observed before. Hoffman adds; “God for Sheppard was Rubens and I became a disciple too. Studying with Sheppard was a perfect opportunity to learn about drawing, modelling and the Maroger technique”.
Enabling the willing artist to craft thin layers of paint and administering age-old applicative techniques championed by the Old Masters themselves, Hoffman readily immersed himself in the acknowledged Maroger method, at the same time as revelling in the illustrative dynasty and legacy left by the revered group of artistic forefathers. With this interest in the Old Masters, Hoffman began to develop his individual taste, with Vermeer's interiors with figures becoming one of his favourites. On graduating from Maryland Institute, Hoffmann was approached by Manuel Baker, representative of Washington DC’s, International Fine Art Gallery, inviting him to manifest compositions that they in turn would showcase; such was his Hoffman’s promise. Attempting to emulate the graphic works of his artistic hero, Vermeer, Hoffman set up a studio at his home and wasted no time in enlisting the help of his wife and children as models. At this same juncture Hoffman was introduced to the Grand Central Galleries in New York by Sheppard, which essentially presented itself as his initiation into the somewhat enviable and hard-to-break art scene in the big apple.
Rising to the challenges that laid before him, Hoffman met the acquaintance of the proprietor of the Circle Fine Art Corporation in 1977, Jack Solomon, which in itself had the potential to unlock a myriad of doors, on account of the company boasting gallery spaces throughout America and Canada at the time. Impressed with what he saw in Hoffman’s work, Solomon offered the up-and-coming figurative artist a contract, and with it unlimited access to one of the jewels in his prime-located art gallery crown. Namely the Soho-based Jack Gallery, which not long after became the future home for the largest part of Hoffman’s future one-man exhibitions in town. Hoffman’s first show proved to be extremely successful, selling everything the first night. This event marked the beginning of Hoffman’s professional artistic career and ushered in one of the most important periods of his professional life.
However there was one catch, if you’d like to call it that. And that stipulation of Hoffman’s contract was that he had to learn new and the perceivably difficult new medium known as lithography. in the event this took up much of Hoffman’s time and is such a detailed and time consuming process that Hoffman was moved to say, when recounting this period, that; “Lithography depends on many things. I have to depend on the advice of the printer for assistance. If one of the many plates is not perfect, then it is like the domino effect. The whole thing falls apart”. This labour-intensive and overtly painstaking series of artistic events demands that the artist has to mentally keep track of the colors, because when the originator/practitioner outlines the plates they are required to do so in black and white, as opposed to colour. And more often than not the plates are out of tonality. Hoffman lamented at this time that; “You can't see the different colour relationship until the end. It is much more difficult than painting”. As challenging and as hands on as it was and still is, Hoffman mastered the technique and produced many successful editions. One, namely ‘Dancing at Dusk’ received the noted Arches/Rives/Johannot Award from the society of American Graphic Artists.
Throughout his period in the charge of Circle, Hoffman expanded his illustrative horizons, none more so than in terms of subject matter, so as to eventually include nudes and ballet among his ranks. A large percentage of these paintings would find themselves being turned into multiples in the form of lithographs. Borrowing from many a particular style, Hoffman admits to styling some pieces on a Dutch technique, yet conversely presented on an Art Nouveau model, whilst alternatively he’d frequent Victoriana, as interpreted through the artistic eyes, or rather brushed visual direction of his beloved Vermeer, as well as Mucha and another of his favourites, Degas.
Elaborating on his pictorial translations of styles, directions, techniques and movements, Hoffman has gone on record as saying; "With my paintings I strive to get the feeling of air. There is a 'signature' to the work that reveals my hand, my feelings and my personality”. He’s gone on to quote that; “You can see the manipulation of the paint and the brush strokes. I don't want to paint everyday scenes. I'm a dreamer. I want to express a romantic feeling in my work. This appeals to me as a form of self-expression in today's world of structured reality”.
Once Hoffman had signed off his long-standing Circle agreement in 1994, he was introduced to Aaron Young, a well-known British art dealer who was under the employ of the hugely successful UK fine art publishing group, Washington Green. They almost immediately offered Hoffman a working contract which allowed them to represent his commercial interests across the UK, which at that time was a previously unexplored territory to Hoffman. Their collaboration began with at show at their exclusive Halcyon Gallery in Birmingham, which generated a deal of interest and reaped the necessary rewards regarding the introduction of Hoffman and his work as a brand here in the UK. There followed another show at the prestigious Birmingham Art Museum and Gallery. Soon after this show the group opened a gallery in London, The Halcyon Gallery and also a spot in Harrod's, the well-known British department store. This succession of quick-fire events firmly established Hoffman and his illustrative work among a whole new audience; and the rest as they say, is history.
Enrolling at the Maryland Institute College of Art, Hoffman was introduced and exposed himself to, the work of Joseph Sheppard during his first year. Recalling the time Hoffman says; “I used to walk down to the first floor and stick my head in this room that was totally quiet. You could hear a pin drop. It was Joe Sheppard's class”. Not long after, Hoffman began studying under the tutelage of Sheppard, where he learned how to draw and paint the likeness of real life models as part of his lecturer’s anatomy classes. Hoffman describes how to his mind – and echoing many others who bore first hand witness and account of his work – Sheppard painted in a way that he’d never observed before. Hoffman adds; “God for Sheppard was Rubens and I became a disciple too. Studying with Sheppard was a perfect opportunity to learn about drawing, modelling and the Maroger technique”.
Enabling the willing artist to craft thin layers of paint and administering age-old applicative techniques championed by the Old Masters themselves, Hoffman readily immersed himself in the acknowledged Maroger method, at the same time as revelling in the illustrative dynasty and legacy left by the revered group of artistic forefathers. With this interest in the Old Masters, Hoffman began to develop his individual taste, with Vermeer's interiors with figures becoming one of his favourites. On graduating from Maryland Institute, Hoffmann was approached by Manuel Baker, representative of Washington DC’s, International Fine Art Gallery, inviting him to manifest compositions that they in turn would showcase; such was his Hoffman’s promise. Attempting to emulate the graphic works of his artistic hero, Vermeer, Hoffman set up a studio at his home and wasted no time in enlisting the help of his wife and children as models. At this same juncture Hoffman was introduced to the Grand Central Galleries in New York by Sheppard, which essentially presented itself as his initiation into the somewhat enviable and hard-to-break art scene in the big apple.
Rising to the challenges that laid before him, Hoffman met the acquaintance of the proprietor of the Circle Fine Art Corporation in 1977, Jack Solomon, which in itself had the potential to unlock a myriad of doors, on account of the company boasting gallery spaces throughout America and Canada at the time. Impressed with what he saw in Hoffman’s work, Solomon offered the up-and-coming figurative artist a contract, and with it unlimited access to one of the jewels in his prime-located art gallery crown. Namely the Soho-based Jack Gallery, which not long after became the future home for the largest part of Hoffman’s future one-man exhibitions in town. Hoffman’s first show proved to be extremely successful, selling everything the first night. This event marked the beginning of Hoffman’s professional artistic career and ushered in one of the most important periods of his professional life.
However there was one catch, if you’d like to call it that. And that stipulation of Hoffman’s contract was that he had to learn new and the perceivably difficult new medium known as lithography. in the event this took up much of Hoffman’s time and is such a detailed and time consuming process that Hoffman was moved to say, when recounting this period, that; “Lithography depends on many things. I have to depend on the advice of the printer for assistance. If one of the many plates is not perfect, then it is like the domino effect. The whole thing falls apart”. This labour-intensive and overtly painstaking series of artistic events demands that the artist has to mentally keep track of the colors, because when the originator/practitioner outlines the plates they are required to do so in black and white, as opposed to colour. And more often than not the plates are out of tonality. Hoffman lamented at this time that; “You can't see the different colour relationship until the end. It is much more difficult than painting”. As challenging and as hands on as it was and still is, Hoffman mastered the technique and produced many successful editions. One, namely ‘Dancing at Dusk’ received the noted Arches/Rives/Johannot Award from the society of American Graphic Artists.
Throughout his period in the charge of Circle, Hoffman expanded his illustrative horizons, none more so than in terms of subject matter, so as to eventually include nudes and ballet among his ranks. A large percentage of these paintings would find themselves being turned into multiples in the form of lithographs. Borrowing from many a particular style, Hoffman admits to styling some pieces on a Dutch technique, yet conversely presented on an Art Nouveau model, whilst alternatively he’d frequent Victoriana, as interpreted through the artistic eyes, or rather brushed visual direction of his beloved Vermeer, as well as Mucha and another of his favourites, Degas.
Elaborating on his pictorial translations of styles, directions, techniques and movements, Hoffman has gone on record as saying; "With my paintings I strive to get the feeling of air. There is a 'signature' to the work that reveals my hand, my feelings and my personality”. He’s gone on to quote that; “You can see the manipulation of the paint and the brush strokes. I don't want to paint everyday scenes. I'm a dreamer. I want to express a romantic feeling in my work. This appeals to me as a form of self-expression in today's world of structured reality”.
Once Hoffman had signed off his long-standing Circle agreement in 1994, he was introduced to Aaron Young, a well-known British art dealer who was under the employ of the hugely successful UK fine art publishing group, Washington Green. They almost immediately offered Hoffman a working contract which allowed them to represent his commercial interests across the UK, which at that time was a previously unexplored territory to Hoffman. Their collaboration began with at show at their exclusive Halcyon Gallery in Birmingham, which generated a deal of interest and reaped the necessary rewards regarding the introduction of Hoffman and his work as a brand here in the UK. There followed another show at the prestigious Birmingham Art Museum and Gallery. Soon after this show the group opened a gallery in London, The Halcyon Gallery and also a spot in Harrod's, the well-known British department store. This succession of quick-fire events firmly established Hoffman and his illustrative work among a whole new audience; and the rest as they say, is history.
2 Total Artworks Page 1 of 1
Final Touch
£499.40
Waiting In The Wings
£699.39