Born in 1944, in Rovigno, Italy artist John Budicin moved to the United States in 1955. He was educated at Riverside Community College and presently lives and maintains his studio in San Bernardino, CA. Budicin is a highly accomplished Plein Air painter and travels extensively throughout the United States and Europe. A Signature member of the California Arts Club, the Plein Air Painters of America, the Oil Painters of America, and the Laguna Plein Air Painter’s Association. He is currently President of the Plein Air Painters of America. Budicin has won numerous major awards in open juried shows within the past few years, including six gold medals and first place awards. He has recently had three one person shows, and has his work included in recent museum shows in California and Arizona. His work has been featured in recent articles in Art of the West, American Artist, Southwest Art, and The Quarterly Magazine.

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Biography

John Budicin

Born in 1944, in Rovigno, Italy and moved to the United States in 1955.

He was educated at Riverside Community College and presently lives and maintains his studio in San Bernardino, CA. Budicin is a highly accomplished Plein Air painter and travels extensively throughout the United States and Europe.

A Signature member of the California Arts Club, the Plein Air Painters of America, the Oil Painters of America, and the Laguna Plein Air Painter’s Association. Budicin has won numerous major awards in open juried shows, including six gold medals and first place awards. He has had three one person shows, and has his work included in museum shows in California and Arizona. His work has been featured in articles in Art of the West, American Artist, Southwest Art, and The Quarterly Magazine.

Artist’s Statement

I have always found painting outdoors to be exhilarating. Mother Nature is the best teacher, and if you make a commitment to be out there day after day, she will “speak” to you. During the painting process, many changes take place before you. Perhaps a beam of light will illuminate a particular area, or a cloud pattern will form. The foreground may go into shadow, making the composition more dramatic. If you pay attention to these changes and incorporate them into your work, it will be more interesting, exciting and believable.

Working small — mostly 8″ X 10″ and 9″ X 12″, but sometimes larger–gives me more time to observe (since I am not trying to cover a large area with paint) and relate to the scene before me. I particularly like late afternoon and evening light. To capture this, I must work very quickly, before the fleeting light is gone.

I’m a firm believer in painting on the scene as opposed to using photographs. I feel that photography can’t take the place of time spent with your subject–but it can serve a purpose. In my case, I may complete a field study before the light changes too drastically, and then paint a larger version of the scene back in the studio. That’s where a photo can come in handy, because it will include more detail. One quick brushstroke in a small painting can become a large mass in a bigger one, so you need more information to fill it in. I am careful not to rely on the photo too much; for example, I don’t want to be swayed by the color in the photo. I turn to my study for color and value, and try to relive that scene in my mind. I recall my emotions by closing my eyes for a few moments and imagining myself there. Feeling the breeze, the sun, I try to recapture my feelings at that time.

When I want to paint, I head out the door to find a scene that will spark my interest. This may take hours, or it may take minutes. What tends to catch my eye is the light– the pattern and contrast created on the subject, or the warm glow of a late afternoon bathing a particular landscape. I’ll sometimes drive around, searching everywhere for the right spot, or it may be right in front of me, waiting to be painted. Either way, I’ll generally spend some time getting acquainted with the scene, working out in my mind the design and distinguishing light and dark patterns.

I ask myself, What’s important here? What do I want to say about the scene? Is it the warm light of a late afternoon, or am I drawn to a particular effect, such as one ray of sunlight illuminating the valley on a cloudy day? Perhaps it’s a city scene full of life. Or are the buildings the real story? Whatever it is that seems most important, that’s what I try to hold on to from start to finish.

Whether it’s a landscape or a cityscape, my first reaction is to break it down into a simple statement. By paying close attention to shapes and value, I start to paint a building in the same fashion as I paint a tree or a mountain, by responding to the scene in flat and simple shapes. (The only difference is that a street scene requires a bit more drawing at the outset and more attention to perspective.) Then I’ll go back and add details and variation of color. I generally like to include some elements of human life in my work when I can–a house, or maybe some animals or people. I want to show the gentle sides of nature and man in a harmonious existence.

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Exhibitions

ONE-MAN EXHIBITIONS

2014 The Wildside Salon, Catalina Island Conservancy

2005, 2013 Debra Huse Museum, Balboa Island, CA

2000 Galerie Gabrie, Pasadena, CA

1999 A Year in Retrospect, Galerie Gabrie, Los Angeles, CA

1998 Echoing Nature, Galerie Gabrie, Los Angeles, CA

GROUP SHOWS

2014 Art in Nature Alliance, PAPA Exhibition and Sales, California Center for the Arts, Esconndido

2014 Why Outdoors? PAPA, Salmagundi club, New York, NY

2013 Celebrating Summer, PAPA, Leigh Yawkey Woodson Art Museum, Wausau, WI

2011 The Allure of Water, PAPA, Haggin Museum, Stockton, CA

2013-2009 American Legacy: Our National Parks, On Location with PAPA

2008 European Tradition, American Vision, PAPA, American Academ Art Museum, Easton, MD

2008 California Art Club Gold Medal Exhibition, Pasadena Museum of Art, CA

2007 From the Heart, PAPA 21st Annual Exhibition, Haggin Museum, Stockton, CA

2006 95th Annual California Art Club Gold Medal Exhibition, Pasadena Museum of California Art

2005 Six Masters on Cumberland Island, Fraser Fox Fine Art, Charleston, SC

2005 Plein Air Painters of America 20th Annual Exhibition and Sale,

Tahoe, NV

2000 California Palettes, California Art Club, Los Angeles, CA

2000-1994 Plein-air Painters of America, Avalon, Catalina Island, CA

2000-1999 Laguna Plein Air Painting Competition, Laguna Beach Art Museum, CA

2000-1999 On Location in Malibu, Frederick R. Weiman Museum of Art Pepperdine

University, and Phippen Museum, Prescott, AZ

2000-1996 Annual California Art Club Gold Medal Exhibition

1998 Treasures of the Sierra Nevada, Muckenthaller Museum and Natural

History Museum, Los Angeles

Bowers Museum Invitational Exhibit

California Art Club Exhibition, Mission San Juan Capistrano

Puertas Del Santuario, Carnegie Art Museum

California Wetlands, Natural History Museum

Plein-Air Painters of America Paint San Francisco

Contemporary Southwest Painters, Phippen Museum of Western Art, Prescott AZ

Inland Exhibition, San Bernardino County Museum, CA

85 Years of Art, California Art Club, Carnegie Art Museum

1996-90 Esther Wells Collection, Laguna Beach, CA

Select Press

Art Business News

Art Business News
March 1995
“California Impressionism, An Art Form Comes to Life”

Southwest Art

Southwest Art
February 1996
Carole Katchen
“California Landscapists”

The Quarterly Magazine

The Quarterly Magazine
Summer 1997
Elaine Adams
“Conserving Culture”

Southwest Art

Southwest Art
February 1997
“Market Report Plein Air Painting”

California Art Club Newsletter

California Art Club Newsletter
March1997
Featured Artist

Pasadena Magazine

Pasadena Magazine
Fall 1997
Larry Palmer
“Plein Air Painters Preserve Memories”

Southwest Art

Southwest Art
March 1998
Best of the West

North Light Books

North Light Books
1998
Carole Katchen
“200 Great Painting Ideas for Artists”

International Artist

International Artist
 February/March 1999
“Master Painters of the World”

Southwest Art

Southwest Art
February 1999
Norm Kolpas
“Chasing the Sun”

Art of the West

Art of the West
March/April 1999
Vicki Stavig
“Plein Air Passions”

American Artist

American Artist
August 1999
Michael Zakian
“On Location in Malibu”

Art of the West

Art  of the West
January/February
Vicki Stavig
“A Showcase of Eight Talented Artists”

Art of the West

Art of the  West
November/December
Myrna Zanetell
“An Instrument of Nature”

The Artist Magazine

The Artist Magazine
October 2001
John Budicin
“The Speed of Light”