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“We strive in our early years to learn our craft; therefore we search for a master teacher who has demonstrated this in his own work. Afterwards, there comes a long period of growth during which we experiment, embracing some ideas for fuller development anddiscarding others not useful to our creative needs. When our work begins to reveal individuality, it is still essential to pursue an honest observation of nature interpreted within the framework of varied compositions of our invention. If we fail at this point, we run the risk of displaying mannerisms that will inhibit our artistic growth. This is no small matter. It is a formidable challenge that we try to meet with all our resources. Yet the measure of our artistic success rests in the evaluation of generations yet to come." - Robert Douglas Hunter, 2005
If there were a brick and mortar educational art institution called “The Boston School," then Robert Douglas Hunter would surely be its Dean. As it is, the label Boston School is applied rather loosely to artists who have received much of their training from master painters whose techniques are derived from R.H. Ives Gammell’s adaptation of French atelier instruction.
In this sense as well, Hunter has long been recognized as an informal “Dean” of the movement, adding his own particular signature to the Boston School emphasis on carefully planned compositions, accurate drawing, and a delight in the ability of light and shadow to create atmosphere in painting.
He has personally taught well over 40 students who are now accomplished full-time.
If there were a brick and mortar educational art institution called “The Boston School," then Robert Douglas Hunter would surely be its Dean. As it is, the label Boston School is applied rather loosely to artists who have received much of their training from master painters whose techniques are derived from R.H. Ives Gammell’s adaptation of French atelier instruction.
In this sense as well, Hunter has long been recognized as an informal “Dean” of the movement, adding his own particular signature to the Boston School emphasis on carefully planned compositions, accurate drawing, and a delight in the ability of light and shadow to create atmosphere in painting.
He has personally taught well over 40 students who are now accomplished full-time.