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THE DETAILS JT Grant His work is part of the permanent collection of the Dallas Museum of Art and corporate and private collections across the U.S. Other examples of Grant’s work can be seen on his website (www.jtgrantpaintings.blogspot.com) or by appointment at William Campbell Contemporary Art, 4935 Byers Ave., Fort Worth; 817-737-9566. Look for the Mayfest/Trinity River installations May 3-6 in Fort Worth’s Trinity Park. Through June 17, 2012 friendship with Grant. The U.S. congresswoman from Fort Worth is one of a handful of his private painting students. “He’s a brilliant artist, a wonderful teacher,” she says. “I would not have gone as far with my painting as I have with him. He pushes you to do things that are very hard to do. Each lesson combines painting technique with art history.” Granger pegged Grant to commemorate the September 2012 launch of the Navy’s new littoral combat ship that she worked to have named for the city of Fort Worth. His cityscape will hang in the boardroom of the USS Fort Worth. For 18 years, Fort Worth art dealer Bill Campbell has represented Grant through William Campbell Contemporary Art. They met when Grant was working on his master’s degree at TCU. “His paintings are phenomenal. My favorites are always the surreal paintings, and our clients gravitate to those as well.” What attracts Campbell’s studied eye is Grant’s fi nesse and the thoughtful subtexts in much of his work. “There’s so much to think about in his work,” Campbell says. As each of his paintings is a labor of love, so is this inconvenient but necessary remodeling. Grant anticipates — and hopes — that his parents will one day share his home. “They’re still a little too young, and too feisty, but I hope they’ll come when they’re ready,” he says. This sort of devotion fairly defi nes JT Grant — a man who believes in responsibility and family, community and giving back, and who has a connection to the rich history of art in the area. He’s a Renaissance man, comfortable in his own skin, with many and varied interests. He can be political, philosophical, philanthropic, academic and very funny but, primarily, he’s a masterful painter whose canvases have been compared to those of Rembrandt, Rubens and Vermeer. “I’m certainly no Rembrandt,” Grant says, “but I paint portraits, and, like him, I don’t stick exclusively to portraiture. He did what was necessary for him as an artist and as a person.” Other than the blissful and consistently exquisite technique of each of his paintings, and his exceptional and subtle use of color, Grant doesn’t choose a theme for a series of artwork. “I paint the fi gure, or a still life, or a skyscape, or fl ora form images that appear to be tulips but aren’t,” he says. He’s keen on creating a subtext beyond the obvious images a viewer can readily see. “Real art’s purpose is to communicate on a subliminal level. The best work, to me, triggers so many responses on so many levels about so many things. It demands consideration.” His precise renderings of storm clouds, sunrises and sunsets offer subtle color cues of pastels in a vividly true-to-life effect, one Grant creates with oils and by manipulating the timbre with traditional glazes. He’s not satisfi ed with communicating the literal beauty of the sky in transition. “These are moments of terror and hope, alternately,” he explains. “The death of the day and the birth of the night.” His subtext, then, is the human experience of something to nothing and back again. But he’d rather you look at his paintings and relate to them through your own experience. “I don’t like to talk about them,” he says. “My joy, my desires, my fears and hatreds, delights and disgusts are turned over and over in the lines, fi elds, glazes and scumbles. The text, the images of things shown on the picture plane, are simply vehicles for the more confl icted, invasive and intimate experience of unexpected connections each viewer might bring.” 360 Annabelle Massey Malloy is a freelance writer in North Texas who’s taken her share of painting classes only to realize she is not a painter. Kimbell Art Museum Promotional support is provided by: impressionism . kimbellart.org 3333 C AMP B O WIE B O ULE V ARD | F OR T W OR TH, T X 7 61 0 7 -2 7 9 2 81 7 -332-8451 | METR O 81 7 -6 54-1 0 34 This exhibition is organized by the Sterling and Francine Clark Art Institute, Williamstown, Massachusetts. It is supported by an indemnity from the Federal Council on the Arts and the Humanities. Image: Pierre-Auguste Renoir, A Box at the Theater (At the Concert) , detail, 1880, oil on canvas. © Sterling and Francine Clark Art Institute, Williamstown, Mass.