Michael Hussar Interview by Danny Stygion - Part 2

Michael Hussar Interview by Danny Stygion - Part 2
Here is part 2 of our interview with Master painter: Michael Hussar. He has taught
Portraiture-Head Painting for almost 10 years at an art college in Los Angeles and continues to
teach painting workshops in the
United States
and
Europe
. He paints in the Old Master style and his subjects are often provocative. You can also read the
full interview in the Winter Issue of Sinical. ~
Danny Stygion
1/5
Michael Hussar Interview by Danny Stygion - Part 2
Robin
2005
Red Red
Sinical
Magazine:
have
influenced
ItCourt,
has
you?
been
said
that
you
paint
in
the
Old
Master
style.
Which
Old
Masters
Michael
Hussar:
reasons,
at
different
Yeah,
times.
that's
I'm
aall
long
over
list.
the
Different
place
on
artist's
this
topic.
have
influenced
me
forgothic
different
But
painters
much
their
and
to
not
palettes
more
try
just
of
and
the
dynamic
a
better,
answer
tube
Baroque
of
which
and
dark
your
period.
more
paint
question,
improved
directly
The
to
added
Spanish,
the
their
applied
core
to
other
group
Italian
during
and
mixtures.
tonality.
at
and
that
the
Flemish.
period.
moment
Black
IThe
became
think
could
use
they
be
of
astreet
narrowed
color
paint
were
to
became
managing
be
toAnd
used
the
Some
were
They
painters
could
familiar
paint
of
names
the
midgets
would
for
and
popes
Diego
buffoons.
and
Velazquez,
kings.
Which
That's
Anthony
is
not
badass.
unlike
Van
what
Dyke,
They
IHe
had
Goya,
do
now.
access
Rembrandt.
tofrom
everything.
These
Pontormo,
an
Italian
mannerist,
was
amazing
Draughtsman.
His
figure
drawings
are
brilliant.
And
influence
europe
then
painting,
as
there
well. isJohannes
moving
the
Not
American
just
through
his
work
portrait
scene
but
painter
how
and
society.
he
John
moved
Singer
through
Sargent.
life,
always
moving
always
around
been
aearly
big
I,
renaissance.
they
toand
this
proved
day
that
and
People
not
always
having
like
will,
Hans
abe
like
good
Memling,
the
grasp
awkwardness
Jan
of
proportion
van
Eyck,
of
the
and
Bruegel,
painters
perspective
Bosch.
from
the
is
Ihas
appreciate
ok.
late
the
and
fact
There's
just
went
a
to
flawless
visit
itthe
the
portrait
other
of
day.
Christ
It'll
by
bring
Memling
acolor
tear
at
to
a
your
museum
eye.
right
down
the
me.
Ino
Oh
drawings.
there
is
Vermeer.
Ian
respect
that
he
left
little
over
30
paintings
behind.
known
2/5
Michael Hussar Interview by Danny Stygion - Part 2
Rx
2005
Sinical
Magazine:
style
chiaroscuro.
something
Which
else?
There
style
do
are
you
two
see
classical
your
work
styles
leaning
associated
more
towards?
with
the
Old
Or
Masters,
do
you
sfumato
your
and
Michael
Hussar:
balance
between
the
Both.
two,
I particularly
respect
which
isn't
both,
alight.
Ifor
contradiction
feel
like
Iyou
draw
as
from
they're
both
not
and
mutually
have
found
exclusive.
aheavy
good
Sfumato
value
tends
edges
relationships
can
have
is
be
an
aeffect
very
certain
vivid,
and
of
atmosphere
accessibility
edges.
That
and
and
is
in
all
light,
implies
clarity
important
but
to
alight
can
it,
deep
to
despite
also
me.
layered
be
Chiaroscuro,
the
expect
spacial
dark
inis
passages.
shadows.
property
on
the
other
The
which
detail
hand,
diffuses
and
Both
down
and
object
are
to
how
effects
or
amuch
figure
painter
based
within
chooses
on
the
a
specific
painting.
to
describe
property
the
of
density
within
and
aquality
certain
of
spatial
air
between
quality.
the
Itpretty
comes
viewer
Impressionism,
Parisian
air
and
which
how
itwith
introduces
affects
natural
us
to
the
full-effect
Color
is
unified
of
Sfumato,
by
the
is
atmosphere.
reacting
to
the
Chiaroscuro
a
gain
can
very
greater
closed
climb
access
on
space,
the
into
other
to
it.
the
hand
little
subject.
reguard
aims
And
to
capture
we're
the
drawn
air
direct
between,
through
light.
Many
the
the
color
picture
times
unified
candle-lit
plane
by
as
interiors
the
aconsider
result.
light.
within
You
We
So
My
as
work
Ialmost
often
an
lays
painter
open
up
you
those
closer
pick
shadows
and
to
the
choose
Chiaroscuro
in
awhere
way
that
along
end
ofthat
the
would
sliding
scale
expect
utilizing
scale
to
you
see
strong
want
in
Sfumato.
definitive
to
work
within..
shadow.
But
3/5
Michael Hussar Interview by Danny Stygion - Part 2
Lamb
of
God
2003
Sinical
Magazine:
How
has
your
work
evolved
over
the
years?
Michael
Hussar:
Artists
tend
to
evolve
over
their
careers,
and
II'm
have
too.
Each
incrementally
more
clearly.
new
painting
but
change
Ibe
think
presents
from
an
those
Artist
an
Artist
feels
before
with
as
though
a
When
new
set
they're
viewed
of
challenges,
always
from
afar
doing
you
so
each
the
can
same
see
painting
the
thing.
evolution
might
A
was
few
smaller
years
prices.
Imy
suffered
Itmy
was
a
the
business
decsion
from
on
a
gallery
their
part
to
work
smaller.
What
they
were
after
So
such
may
as
actually
allows
merely
devolving
suggesting
because
detail
Iblowback
am
as
opposed
working
larger
to
tightly
again.
noodling
Scale
the
changes
everything.
everything;
That's
tend
to
paintings
draw
part
anext
due
person
aof
to
viewer
where
closer
will
a
to
person
stand
it,
so
much
stands
you
are
farther
when
forced
away.
looking
to
refine
at
aotherwise
detail
painting.
rather
Smaller
then
suggesting
intimate
pieces
it.
On
Ibigger
my
painting
of
think
the
day,
ifin
or
had
there
body
and
made
ultimately
wasn't
work
the
work
can
into
Internet.
instantly
in
apressures
awhile
gimmick.
bubble
Now
turn
I'd
there
probably
is.
Having
or
be
something
doing
means
the
that's
same
to
instantly
a
thing.
standout,
When
share
to
IIt's
started
flavor
It
seems
now
more
then
ever
we
are
more
than
willing
to
share
or
appropriate
ideas
and
styles, As
followers
my
work
and
has
emulators.
gained
a
larger
unfortunate
audience
via
the
internet
of
what
Ithe
is
find
trying
an
to
amazing
shake
a
technology.
legion
ofthis
Sinical
Magazine:
painting.
Do
you
listen
Clive
to
Barker
music
has
said
you
he
paint?
has
If
to
so,
have
what
loud
are
music
you
listening
in
the
background
to?
while
Michael
Hussar:
And
laying
easier
anyway.
the
in
access
large
to
broad
is
usually
Generally
intuition.
areas.
dialed
speaking
There's
builds
way
up
momentum.
no
yes
atit.
point
that
Isomeone
do
point
in
work
over
For
too.
to
me
thinking
music.
Music
working
Definitely
things;
helps
quickly
drive
it'll
when
at
all
the
that
get
starting
moment
painted
point
allows
aaa
when
over
piece.
me
As
silence.
point
IIcareer
settle
where
IIitmusic
do
my
into
Iago
so
really
a
because
painting,
body
connect
of
IAn
though,
enjoy
work. listening
the
at
painting
that
mid
to
my
and
point,
thoughts
with
it's
life
not
and
in
unusual
general.
letting
for
my
It's
me
mind
where
to
work
wander.
IMaynard.
begin
in
complete
to
at
Icompose
listen
to
Pilots,
stuff
like
Manson.
Faith
It's
no
More
aItwith
long
and
list.
Tool.
Actually
anything
by
Mike
Patton
or
Stone
Temple
4/5
Michael Hussar Interview by Danny Stygion - Part 2
Flown
Sinical
Magazine:
Apart
from
painting
....and
illustration....
what
other
things
are
you
into?
Michael
Hussar:
Wow,
haven't
worked
in
15
years.
Sadly
When
not
I2005
need
much
athe
release
else
get's
I Iget
my
on
attention
an
airpane
these
days.
travel.
I don't
watch
movies
and
don't
have
a for
TV.
I've
2-3
hours.
recently
It's
nice
to
drawing
take
a from
night
life.
off
occasionally
I've
having
and
come
unwind
over
and
to
the
draw.
studio
and
pose
Sinical
Magazine:
What
galleries,
projects
or
workshops
do
you
have
coming
up?
Michael
Hussar:
loosely
relocate
by
the
end
scheduled
to
Rome
ofbegun
year.
or
I'm
for
London.
currently
November
And
working
of
I've
2012,
finally
oncommercially
most
aand
new
got
likely
amodels
body
book
bejust
of
coming
in
work
LA
but
for
out.
hopefully
my
It next
should
solo
it'llIbe
pack
show.
on
the
up
It's
and
shelves
{plusone}
www.michaelhussar.biz/
5/5