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Overview
"When I’m setting the paintings up I’m imagining the pride that a person feels when opening their bottle. That’s how I know it’s a good picture, when I’m understanding it and feeling the same kind of pride in telling that story"
Paul S. Brown was born in 1967 and raised in North Carolina. Paul’s immeasurable talent for drawing was evident from a young age. At the age of ten he received drawing lessons in the studio of the leading Classical Realist D. Jeffrey Mims and whilst at university had an extensive apprenticeship on several large mural projects.
In 1988 Paul travelled to Florence in Italy and continued his artistic training at the Studio Cecil-Graves in Florence for the next two years under the tutelage of Charles Cecil and Daniel Graves. After a period of travelling around Europe, visiting the continent’s most notable art collections and studying their art, Paul returned to Florence to help Daniel Graves open the Florence Academy of Art, an art teaching institution renowned for its commitment to the academic tradition. Paul remained in Florence for a subsequent two years, teaching at the Florence Academy of Art. Paul is one of the Academy’s greatest legacies to the world of Classical Realism.
A true Classical Realist, Paul upholds rigorous standards and holds firm to principles of artistic integrity, emulating the techniques and materials of the Old Masters. In a process he calls ‘Slow Art’ – referencing the Slow Food movement – he works from life in the naturalist tradition, paints on linen canvas and prepares his own paints by hand, carefully selecting pigments and oils to his precise requirements.
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Werke
Paul S. Brown
CricketOil on Canvas112.5 x 88 cms / 44¼ x 34¾ inchesSigned 'P Brown' (lower right)Description
Paul Brown’s still life sits firmly within the lineage of traditional studio painting, but replaces the familiar language of fruit, silverware, and ceramics with the tools of the cricket field. The composition is deliberate and controlled: a bat standing upright, pads and gloves arranged with weight and gravity, boots set aside, and a leather bag anchoring the scene. It’s a structure that recalls the discipline of Old Master still life, where placement and light carry as much meaning as subject. Brown’s distinguishing strength lies in his precision. Working closely with cricketers, he studies each object as a record of use rather than an ideal form. The surfaces tell the story: pads creased and softened, gloves worn into shape, the bat marked by play. The cricket ball, positioned in the foreground, is particularly telling: its lacquer uneven, its seam pronounced and slightly frayed, capturing a specific stage of wear that only comes from sustained play.
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