Adapting Studio Procedures to Outdoor Painting, PleinAir Magazine, Feb-Mar 2014
“In 2000, Massachusetts artist Jeremiah Patterson began supplementing his studio practices by venturing outdoors with his watercolors, as he now does when teaching annual workshops and college courses in Italy. Most artists who use transparent watercolors are accustomed to working under the controlled, comfortable, and un-timed conditions of a studio. That was certainly the case when Jeremiah Patterson was creating large, detailed, and carefully planned still life and interior paintings in watercolor. He spent weeks developing compositional sketches, plotting out his subject on watercolor paper, and executing the work with and extensive palette of colors. Then, in 2000, he decided to attempt working directly from the landscape, which led him to simplify his approach to painting in watercolor.”
UNTARNISHED, American Art Collector Magazine, September 2013
“Untarnished is the title of an exhibition at the Mercy Gallery of the Loomis Chaffee School in Windsor, Connecticut. Referring to the silver of silverpoint drawings and the gold often incorporated into egg tempera paintings... The artists are among the leaders of a renaissance in interest in egg tempera painting, a technique that can be traced back to ancient Egypt and reached prominence during the 16th century. Each approaches the medium from his or her unique personal perspective... Patterson’s Incontro (the encounter) measures nearly 4 by 6 feet. ‘In choice of subject’, he says, ‘I make subtle reference to certain themes I find in Italian Renaissance or Flemish paintings, working to create compositions, which may touch on these timeless themes, but do so by revealing them in a contemporary, modern, and realistic way’. ”
The art of the ‘other’ Santa Fe, American Art Collector Magazine, January 2007
“Just down the road Klaudia Marr Gallery was exhibiting its 13th Annual Realism Invitational. The exhibition included Jeremiah Patterson’s egg tempera, Sleeping II, and David Malan’s oil painting, Oratory. The sensuous repose of Patterson’s female figure safe in her bed contrasts with Malan’s angst-ridden young boy... On my drive back I thought about how professional and personal pursuit of quality received a boost from those Chinese porcelains in Philadelphia and from the ancient ruins and contemporary art in Santa Fe. It’s easy to be seduced by the novel and the merely competent. There’s a lot of it out there. If you train yourself to seek only the very best, you will be rewarded over and over again.”
Exhibitions: Group Shows, American Arts Quarterly Magazine, Spring 2006
“Contemporary realists often demonstrate skill in rendering the detail of an object, as Jeremiah Patterson does in his watercolor Morning Shine (2005). The color and texture of the flowers, fruit, and ceramic bowl are sensitively captured, and the filigree shadow on the wall adds nuance.”
Exhibition proves that still life is not standing still, American Art Collector Magazine, January 2006
“Despite its classical roots, still life painting is continually being reworked and reconfigured by endless numbers of contemporary artists. This evolving nature of still life painting is definitely evident in William Baczek Fine Arts’ current group exhibition of contemporary still life. While most of the artists in the show are from the northeast area and most of them employ traditional means in creating their paintings, their take on the still life genre is decisively different. Jeremiah Patterson, represented in the exhibition by the painting, End of Summer, uses still life painting to capture moments of beauty and melancholy that he finds around his home on a daily basis.”
Considering the Space Within a Still Life, Watercolor Highlights Magazine, 2003
“The dynamic spaces between the objects in Jeremiah Patterson’s still lifes are as important to the success of his watercolors as his careful rendering of the flowers, fruit, plants, and furniture....Artists paint still lifes because they love beautiful objects, yet the success of their pictures often has more to do with the spaces between and around those shapes than it does with the objects themselves... Most artists paint for years before they grasp this key to success, but Massachusetts artist, Jeremiah Patterson has mastered the concept early in his career.”
Advice from Experts: Fostering Creativity, Watercolor Magazine, Spring 2003
“Jeremiah Patterson cultivates his creativity by staying productive, finding quiet time, surrounding himself with art, and seeking and responding to new inspiration.”
Jeremiah Patterson – Sherry French Gallery, M: The New York Art World Magazine, April 2001
“In Three Bosc Pears, Patterson places three pears upright on a worn cutting board. By themselves they are study in form and composition; but set against an intense burgundy colored background, the watercolor becomes highly evocative. The level of technical adeptness on display in these paintings proves as intriguing as their deceptively simple subject matter.”
exhibiting its 13th Annual Realism Invitational. The exhibition included Jeremiah Patterson’s egg tempera, Sleeping II, and David Malan’s oil painting, Oratory. The sensuous repose of Patterson’s female figure safe in her bed contrasts with Malan’s angst-ridden young boy... On my drive back I thought about how professional and personal pursuit of quality received a boost from those Chinese porcelains in Philadelphia and from the ancient ruins and contemporary art in Santa Fe. It’s easy to be seduced by the novel and the merely competent. There’s a lot of it out there. If you train yourself to seek only the very best, you will be rewarded over and over again.”
