Brian Carl Hart                                               Biography                               
                                                                                  BIO and  HISTORY


THE FORMATIVE YEARS

Born, March 3,1945 at Oak Park Suburban Hospital, Oak Park, Illinois, an identical twin, of parents
Harriet Ceglary and Vincent John Hart ( formerly Hrvat ).

Elementary School: Emerson, Oak Park, Illinois

Brian and his identical twin, Allan, are taught how to paint and draw by their mother, who holds their
hands when mixing colour and applying paint to paper and canvas.

AGE  8   First private art lessons at The Oak Park River Forest Art League. with Arthur  Lloyd,
cousin of the famed architect, Frank Lloyd Wright. The twins do their first renderings in pencil and
charcoal, and are taught basic drawing skills of proportion,  perspective ,light and shade. These
weekly Saturday morning classes are continued, lasting four years.

AGE 10  The twins begin oil painting lessons at the Art League. Their mother takes her twins to buy
their first oil paints ( Grumbacher ), brushes ( Grumbacher and Robert Simmons), painting mediums
and canvases. Saturday morning oil painting lessons with Arthur Lloyd at the Art League are
continued at home with their mother, who proves to be a good teacher. She holds the twins' hands
while they mix colour and apply paint to canvas, teaches them how to gauge proper porportions,
composition and perspective, atmosphere and colour harmony. She takes the twins to the Art
Institute of Chicago and shows them paintings by the great Rembrandt, Delacroix, Vincent Van
Gogh, Salvador Dali, Edward Hopper, and  Ivan Albright. The twins' father, Vincent, knew Ivan
Albright, and was familiar with the artist's paintings of Dorian Gray, which hung in Ricardo's bar at
Wabash and Halsted streets on the near northside of the 'Loop'. The twin's father arranges an
invitation by Ivan Albright for the twins to visit the artist's studio.  There, the twins see one of the
artist's paintings in progress on the easel, a field of corn stalksmown in concentric circles.

AGE 12  Brian and his brother tie for First Place in The Oak Park-River Forest Art Art  League's
juried show which includes several entries by high school senior Art League students.  Brian's
painting is a still life of a jug with two apples. The twins exhibit  their first paintings at an art fair.  
Brian's painting is a true copy of a Fall landscape in the Ozarks, by the Brown County, Indiana artist,
John Baccus.

1959-1963  Oak Park River Forest High School.  Brian majors in art, taking drawing and painting
lessons with teachers, Esther Robinson and Arthur Pells. Brian does his first commissioned painting
for three hundred dollars and enters The Scholastic Art awards Competition three years in a row,
winning seven Gold Key awards, five in one year. In their junior year of high school, Brian and his
twin brother win a competition summer scholarship to the Art Institute of Chicago for drawing and
painting lessons. In their last year of high school, Brian and his brother attend summer Saturday
classes at the School of Design at the Illinois Institute of.Technology.  Brian wins a full year
scholarship to the Art Institute of Chicago and The university of Illinois at Champaign-Urbana.


A SHORT STINT IN ACADEMIA

1963-1965   At he University of Illinois at Champaign-Urbana campus, Brian majors in     painting.
Brian's stengths in drawing and painting prove to be an estemable advantage to his learning skills for
further advancement and excellence in the spheres of anatomy and figure drawing tutorialships that
his professors would afford him. And although, his passion lay in those areas of his already proven
expertise ( drawing and painting ), he never felt challenged enough by the mandatory courses
required in those first two years of his college curriculum. Brian's getting "A"s in the basic required
drawing,painting, design and art history courses proved to be little challenge for an already maturing
artist well beyond his years.  This conflict of interest between his own personal relationship with his
art and the fact that drawing and painting had always been a privately personal activity for him,
made the formal environment, competitive atmosphere, and especially,  the limits and pressures of
time strictures of an academic environment, handicaps which would prove to be both frustraiting and
discouraging. The added handicap of his overly sensitive and extreme personal criticism of anything
he created ( to this day, Brian is never completely satisfied with anything he does), along with his
immaturity and having been thrown into a new and strange social environment, without having had
learned the necessary basic social and personal skills to survive the peer pressures and conflicting
values of Academia and being an 'artist', proved to be detrimental to creating a creaive atmosphere
that was condusive to his creative needs. As a consequence, plummetng grades and an
inadaptability to adjust to the academic environment, Brian was forced to drop out of college. Brian
has still kept some of his figure and anatomy drawings he did while attending the University of
Illinois. Inspite of the difficulties Brian had while in school those two brief years, Brian still has fond
memories of one experimental Rhetoric course that was held in the lounge area of the campus's first
Co-Ed dormitory lounge ( and out on the lawn in good  weather ). In that course, students were
encouraged to write about what interested them and where their passons lay.  As consequence,
Brian excelled in the art criticism exercises and tests in his Art History 101 course, and has been
writing almost every day, nearly a half century  
later..                                                                                        

FREEDOM AND AN INDEPENDENT COURSE FOR DEVELOPMENT AS AN ARTIST

1965-1972   Brian goes out West, and lives in various locations in Los Angeles and Hollywood, con-
tinuing to draw and paint prolifically, developing drawing and painting skills that clearly display his
own unique style and original vision as an artist. He rents hs first studio space and does his first 'alla
prima' ( in one sitting ) portraits in oils from life, and secures his first commissions as a portrait paint-
er. Painting 'alla prima'( in one sitting ), will er. Painting 'alla prima' proves to be Brian's forte. He
does his first series of  self portraits, and begins a series of surrealistic paintings in oil of a nature
that are clearly influenced by the literal puns of Rene Magritte, but which also display original ideas
and visions unique to Brian's own understanding of the metapysical aspects of his own creative
imagination and aesthetic experience as an independent artist, working outside of the mainstream
and influence of the contemporary art market. Brian's original vision as an artist will prove to be both
a liferaft and a course of creativity for decades to come. The artist draws the figure from life on a
regular basis, which will prove to be another of his lifelong interests as a passionate consumate
veteran draughtsman.  Brian and his twin brother inherit a weekly figure drawing session that evolves
into a weekend drawing marathon. Brian frequents the L.A. County Museum to draw the Aristide
Maillol sculptures,and makes frequent return trips to the Van Gogh Exhibit to study the paintings.
Brian is especially inspired by Van Gogh's still lifes and portraits and the painting of the artist's shoes
is especially inspiring for him..  He goes home and paints a still life of a pair of his shoes and another
of the front of his studio, from across the street, inspired by Van Gogh's paintings of his home and
studio in Arles, 'The Yellow House'.  Brian continues to paint portraits, self portraits, still lifes and
surreal subjects from his own imagination, inspired by Rene Magrite's work. In 1969, Brian moves
into his twinbrother's studio on Temple Street, in the Echo Park District, where Brian has a show of
his drawings and
paintings.                                                                                                                                                                                                                                
1972-1975   Brian moves to Nashville, Tennessee,  and continues to draw and paint in oils, doing
more portraits and self portraits, and continues to paint surrealistic subjects, exploring the meta-
physical iconography in the real world.Brian discovers his first lithic tool, which initiates a life-long
interest in lithic technology, whch studies and  research, in turn, inspire Brian to look at art more
critically ( and analytically ). Brian begins  to write art and social criticism, which, in turn, feed his
passion for his own drawing and painting, his study for old master drawings, and the aesthetcs of
antiques and  arthistory,which will also develop into lifelong passions for the artist.

1975-1976   Brian lives in Taos, New Mexico for one year. and shares a three hundred year-old
adobe with his twin brother, where in the month of mid-July to mid August, Brian paints 76 sunset oil
sketches, painting  two and three studies from his window in Llama Quemado each evening as the
sun set. No Taos artist, other than his twin brother ( who also painted sunsets from the same view in
September & October), before or after him, has tackled, let alone, accomplished such a task. Brian
and his brother are given the Tom and Dorothy Benrimo house to house-sit for their friend, the
painter, Earl Stroh. While there, Brian paints several larger, medium-sized paintings of sunsets after
of his favorite sunset oil sketches.

1976-1980   Brian returns to Nashville, Tennessee, where he has a one-man show of all  of his 76
Taos sunset oil sketches at The Cheekwood Fine Arts Center's Botanical Hall.  Brian  pursues his
independent studies, continuing to draw prolifically.  He does more portraits, self portraits and a
good number of  surrealist paintings

1980-1984   Brian moves to Boston to share a studio apartment with his twin brother. While there,
he and his brother are given the privilege to look at every single drawing in Harvard's Fogg Art
Museum's Print and Drawing Study, where they look at drawings every week for a year and a half.  
While in the study, Brian does many interpretations of his favorite old  master drawings, which         
in turn, inspire him to continue drawing, whereby he quickly adapts the calligraphic manners  and
idioms of his favorite Baroque and Rococco master draughtsmen.  Brian  becomes a serious student
of Rembrandt's, Guercino's, Watteau's, Giambatista and Domenico Tiepolo's, Magnasco's, and the
brothers, Antonio and Francesco Guardi's oeuvres. Brian begins to build an art library of books and
auction catalogues on Old Master drawings. The years1980-1984 prove to be yet another prolific
period for Brian as a serious, dedicated draughtsman.  He begins painting on small prepared
masonite panels, still-lifes and subjects of his own imagination, inspired by his studying the works of  
the 17th. Century Dutch masters.  Brian volunteers in the Registrar's Office at The Boston Museum
of Fine Arts, where, in the next year and a half, he will spend four hours per week  going through
every single one of the museum's million and a half registration cards on file, one for every object
in the museum's collections ( ten thousand cards in four hours every week! ). Brian's developing
quick eye will absorb and store in his memory works of art in the museum's collection that he will
remember decades later.

1984-1985  Brian puts everything in storage and goes back to Taos to live for another year.  His old
master drawing studies in Boston have proved to make him a consumate veteran draughtsman ( not,
"draftsman" ) with hypergraphic tendencies that will develop over the  years into a hypergraphicism
comparable to Van Gogh and Picasso.  Picasso left us with between thirteen and fourteen thousand
drawings, while Brian's extant hoarde of drawings is over twenty-one thousand (21,000), out of an
estimted thirty thousand draweings (30,000) executed in the course of his lifetime.   During this year
that Brian is in Taos, he continues his painting and does landscapes.  Brian has one of his paintings
accepted in The Taos Stables Gallery"s  jurried show.  Brian's yearly output of over 600 drawings is
stolen, along with all of his paints and brushes.

A RETURN TO ACADEMIA

1985-1987   Brian goes back to The Art Institute of Chicago with partial financial aid.  A  traveling
show of Byzantine art from the Treasury of St. Mark's in Venice is on exhibit when Brian arrives, and
an upcoming show of The Sketchbooksof  Picasso, will both prove to be propituous events for
Brian.  He enrolls in figure drawing and painting classes with Professor Tom Kapsalis, who gives him
free reign to work independently.  This arrangement not only proves to be more conducive to Brian's
work methods ( he already knows how to draw and paint better than most, if not all of the instruc-
tors there ). The show of Pcasso's sketchbooks drives Brian into an in depth study and analysis of
the artist's drawing and painting oeuvre, and he focuses especially on Picasso's early experiments
with Cubism and abstract idioms. Brian makes a major breakthrough in his art, and does his first
abstract drawings and paintings.  He also makes discoveries in his art history studies that prove to
not only be groundbreaking in their respective fields, but proof that Brian's independent research and
scholarly studies in art history, and his experience and love for writing art criticism has paid off.  
Brian's research papers on The Carmagnola Head, a  Byzantine porphyry head from St. Mark's on
exhibit at The Art Institute, and a stone sculpture ascribed to the artist Brancusi in The Art Institute's
collection, titled "Ancient Figure" make profound discoveries in their respective fields, that threaten
the territorial rights, egos and reputations of  scholars both at The Art Institute of Chicago, North
Western University and the University of Chicago.  Brian becomes an intern assistant to the curators
in The Art Institute's Print and Drawing Study.  Brian makes some interesting discoveries about
Brancusi's drawings of heads, done when the artist shared his studio with Modigliani, and is imple-
mental in the Museum acquiring a Degas pastel.  He begins a  project to catalogue a collection of
old master drawings bequethed to the museum, and completes cataloguing a collection of Jacque's
etchings, from the Barbizon school.

1987-1989   Brian returns to Nashville and continues to paint in oils, doing portraits from life, and
abstractions and surreal subjects from his imagination.

1989-2005   Brian moves to Boston and begins his most prolific drawing period. Brian expands his
large art book collection, focusing on old master drawing auction catalogues, but quickly builds his
library in depth to include old raissones, books and auction catalogues on antiques, classical
antiquities, Asian ceramics, medieval artifacts, colonial wrought iron, American and English colonial
furniture, Old Master prints, Islamic and Byzantine art, books on the history of printing, bookbinding,
book illustration, and book plates. He begins to collect old prints and drawings and maps, old leather
volumes and old manuscripts, old master paintings and drawings, old photographs, and antiques.  
Brian uses his collecting instincts to season an aesthetic eye that had already been cultivated and
maturing.  He uses his collections and library as tools to expand his knowledge and educate himself
in the many diverse fields of interest that had already been the foundation and inspiration for his       
drawing and writing.  Brian adds several thousand drawings to his oeuvre.  He develops his theories
about what real drawing is, based upon the true consumate veteran draughtsman's mastering of all
of the mediums and idioms of the craft, the intellectual inspiration and emotive ( and psycholoical )
stimulus that are the motivational forces that drive the creative draughtsman. Brian's maturity as a
consumate veteran draughtsman has been realized.  At the drop of a pen, he can change drawing
styles and his repertoire is vast. Brian's knowledge of the history of drawing and five hundred years
of draughtsmanship is represented in his drawng oeuvre.  He does thousands of drawings from
memory and from his imagination, after, and in the manner of his favorite Old and Modern draughts-
men ( up to Picasso). His repertoir includes Renaissance-style drawings of the figure from life, his   
imagination and memory, Gothic and Medieval grotesques, Baroque religious subject matter, done in
the free and 'scrawly' ( not scribbly! ) manner of a Rembrandt or Guercino drawing, Roccoco fanta-
sies and cappricios in the manner of Magnasco, the Guardi brothers, and theTiepolo family; Neo-
Classical-style drawings of the Napoleonic period, Romantic subject matter in the manner of
Gericault and Delacroix; Neo-Impressionist-style drawings in the manner of Van Gogh and Gauguin
that display the  idiosyncratic pen strokes of the former, and the natural organic growth of the com-
positions of the latter; Kafkaesque and Lovecraftesque fantasies; surrealist subject matter inspired
from nature, the human figure, architecture and objects made by man; abstract experiments ( every
abstraction is an experiment ) inspired from as many diverse sources, and in as many drawing
mediums. Yet, inspite of ( or because of ) a multifarious drawing repertoir, Brian remains a repre-
sentationalist, loves to draw the figure and nature from life, and continues to draw realistically.  Brian
knows that every great draughtsman in history drew fast and in the spirit of the moment, and that
the best drawings are done within a minute or two, or five minutes at best. Brian knows what good
drawing is, and that the real draughtsman does not waste any time, draws with vigour, and with all
of his cumulative knowledge of the great draughtsmen throughout history who have come before
him.  Brian knows that what is known as 'rendering' is not real drawing, and that, in his own words,
"sketching is what people do who cannot draw". In the Autumns of 2001, 2002 and 2003, Brian
takes Amtrak out to Taos, New Mexico to help his twin brother fire the Roman-style Saki bottle kiln
his brother spent four years building, of his own design, singlehandedly, out of over five hundred
afdobe bricks he made himself.

2005-2009   Brian moves back to Taos New Mexico, where his twin brother has lived since 1991.
Brian writes and draws and  continues to collect antiques and art whenever he can afford to, and
purchases his fourth Old Master drawing, a small sheet of five figure studies in sepia ink with pen
and  brush by by the eighteenth century Venetian artist, Antonio Canal (called Canaletto). Brian
writes his first novella in a month's time, about Picasso, titled, 'A Time With Picasso' Picasso'.  In
2009, Brian returns to Boston to look for work.  He continues to draw, and purchases seventeen
preparatory drawings for the etching series by the seventeenth century Italian Baroque painter,
Salvator Rosa.

2010   Brian returns to Taos, New Mexico to care for his twin brother, Allan, who is diagnosed wth
prostate/bone marrow cancer.  On January 11, 2011  Brian's twin brother, Allan,
passes-away.                                                                                                                                                                                    
All Text ©Copyright 2006 and 2011 by Brian Carl  Hart / All Rights Reserved
All Text Copyright 2006 and 2011 by Brian Carl Hart / All Rights Reserved