| A studio artist exhibiting for two decades, I create carefully crafted representational paintings of figures and still life, using the techniques and processes of the Old Masters. My works are included in many fine private collections, and my skills as a portrait painter have won commissions from patrons both regional and national. I attended the Columbus College of Art and Design, a high-intensity, five-year program based on the Bauhaus curriculum with emphasis on drawing, design principles, and color theory. Meetings with artists such as illustrator Gennady Spirin and painter Felix De La Concha, a student of Antonio Lopez-Garcia, made me acutely aware that the tradition of representational painting had continued unbroken, contrary to the orthodox assertions of art historians. | 
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Matthew Kinsey
Courtesy of the artist.A studio artist exhibiting for two decades, I create carefully crafted representational paintings of figures and still life, using the techniques and processes of the Old Masters. My works are included in many fine private collections, and my skills as a portrait painter have won commissions from patrons both regional and national.
I attended the Columbus College of Art and Design, a high-intensity, five-year program based on the Bauhaus curriculum with emphasis on drawing, design principles, and color theory. Meetings with artists such as illustrator Gennady Spirin and painter Felix De La Concha, a student of Antonio Lopez-Garcia, made me acutely aware that the tradition of representational painting had continued unbroken, contrary to the orthodox assertions of art historians. The chance discovery in the late 1980s of a book on the work of Pietro Annigoni confirmed for me that even at the height of postmodernism, a glowing ember of the great figurative tradition was still alive.
After graduating from the Columbus College of Art and Design in 1991, I began independently studying traditional methods of painting, observing master works, and reading historic texts in a pursuit that continues today. Frequently cautioned by art museum staff to step back from the pictures, I take every opportunity to scrutinize the surfaces of master paintings, especially unfinished works and sketches, which reveal the brush stroke and sequence of application.
As Consulting Technical Editor for the Utrecht Art Supplies Resource Guide, I wrote dozens of original instructional articles, produced supporting illustrations, and continue to give lectures and demonstrations, sharing my understanding of the craft.
