My journey began with doing a lot of drawing at a young age and the discovery of oil paint at 16.
Oils have been my favorite medium ever since. I enjoy the whole process of creating a painting, from stretching the canvas to it’s completion. Painting for me is a journey in exploring the medium itself. The World provides me with an endless stream of subjects to paint, including portraits, landscapes, animals and still lifes.
Rembrandt, The “Hudson River School” Painters and John Singer Sargent have had a significant influence on me as an artist. Some modern masters as well, including Mark Greenwold, David Leffel, Richard Schmid and Gregg Kreutz.
- Junior College of Albany 1984-1986, 2002
- University at Albany 2002-2004
- Best in show – Greenpoint Gallery, National Juried Art Competition
- Finalist – July 2013 Bold Brush Painting Competition
- Finalist – December 2012 Bold Brush Painting Competition
- Finalist – animal/wildlife category – The Artist’s Magazine’s 29th Annual Art Competition 2012
- 2nd place – animal/wildlife category – The Artist’s Magazine’s 28th Annual Art Competition 2011
- Finalist – November 2011 Bold Brush Painting Competition
- Blue ribbon – Saratoga ‘Art In The Park’ – 2011
- Blue ribbon – Saratoga ‘Art In The Park’ – 2009
The hound peering inquisitively from the sofa is Robert Bootier’s dog Sienna. Bootier captured the varying textures of upholstery and dog fur by carefully controlling his medium. “The biggest challenge for me is brush control,” he says. “I get into such detail that it requires a steady hand.” To create brushstrokes that followed the form and the direction of the fur, he used a mahlstick and sometimes both hands to hold the brush for steady, consistent strokes. Bootier uses the smallest brushes on hand, preferring the Princeton Mini Liner 20/0 for paintings such as Sienna, in which detail is important.
When photographing his subjects, he uses a tripod to ensure sharp and detailed reference pictures.
Bootier prepares his surface by applying several layers of gesso, then sanding the surface with a wet, fine-grit sanding sponge until absolutely smooth. “I want to get an eggshell-like surface to work on,” he says. He sketches his subject with pencil first and then retraces the drawing with an ultra-fine Sharpie marker. Next he layers on the oil paint, mostly Old Holland, Winsor & Newton, RGH artists’ pigments and James C. Groves mediums, including copal varnish medium. To complete the painting, he builds up the textures, continuing to work from dark to light. “The highlights are the final touch in my finished paintings,” says Bootier.