Color, the opiate of artists, has gone through centuries of change since the caveman first applied it to the rock walls. Tracing the path is an adventure, a mystery and a science affecting all works of art employing color. Each age or era has its exponents in the use of color, and creates a world of art that penetrates into the confines of emotion, thought and the unfathomed reaches of the mind.

In its trajectory across the millennia, color has left its landmarks. Thus color traverses history as man develops civilization, denoting its climb to ever-ascending heights. We could in some way draw a parallel between the human struggle to develop meaning in life and the progress of art. This development is clear in Egyptian art at the time of the Pharaohs, in Greek art during the Age of Pericles and other European art from the Middle Ages up to the present day.

The goal of my research is to investigate, document and chronicle color as used by man throughout time to create a tool that can aid students of art in the essential task of placing and juxtaposing color.

While studying icons at Versaiiles it struck me, an epiphany, that the significant placement of color has been a complex issue for centuries, and that we are on the brink of breaking new grounds where there has been a lacuna.

The juxtaposition and placement of color could be redefined in a way that is comprehensive and articulate, so that a new student of art may access the knowledge directly.

I am constantly influenced by Rembrandt's power of value and at the same equally moved by Gaugin's vibrant, fearless, straightforward use of color. In the words of Will Barnet,"Somehow the forms themselves have to bring together the psychological and the physiological. It has to be a conceptual history of that person. In the final version of the portrait, I seek a realization that transcends likeness and time." For many years these profound words have given me inspiration and insight to the true goals of the portrait artist.

There are several teachers that have influenced my work:
  • Andre Wong with his superb understanding of the anatomy of the eye;
  • Peter Cox with his brilliant use of color in the portrait;
  • Henry Finkelstein with his modern, unique, exciting translation of the form;
  • Sam Adoquai in his sophisticated language of art;
  • Everett Rayond Kinstler - a flair for sensation;
  • Barney Hodes, to whom I am forever grateful, for buoying and instilling faith in my underestimated capacity;
  • Sharon Sprung, an intellectual, articulate, sensitive and most devoted teacher, relentless in the growth of her students. She gives her blood and soul to her student.