(Image: Maine Department of Labor Panels 1, 2 & 5 by Judy Taylor)

Born in Nebraska, Judy grew up in the Midwest and moved to the East coast and to New York City in 1985 to study at the Art Students League. She was accepted into the scholarship program at the New York Academy of Figurative Art in 1986 and studied in the atelier system for two years acquiring a Masters Certificate in Advanced Studies. In 1988 she moved to the National Academy of Design to study painting with Harvey Dinnerstein, Ron Sherr and Leo Neufeld. She spent part of the summer of 1988 studying at the Jacobs Atelier in Les Cerquex sous Passavant, France. In 1995 she moved to Mount Desert Island in Maine where she now operates her studio and gallery in Seal Cove.

When did you first realize that you were going to be an artist and when did you first start making art?
I was born and spent the first 10 years of my life in Nebraska. I painted my grandfather on his farm so I imagine that was an indication. I was also drawn to anything visual.

(Image: "Nude on Beach" by Judy Taylor)

Who or what inspires you?
A quality of naturalness in light, the figure, whatever I choose to paint. I want the painting to have that quality and sensitivity that faithfully represents nature or life.

Is (was) anyone else in your family in the arts?
No, not professionally.

Are you self-trained or did you go to art school?
I trained at the New York Academy of Figurative Art where I received my master's certificate and also at the National Academy of Design under Ron Sherr and Harvey Dinnerstein among others. Also classes at the Art Students League, Art Institute of Chicago, American Academy of Art and an atelier program in France.

Is the process of creating your art long or short?
If I had to make a choice, long in preparation and execution. Of course, if I'm painting plein aire, the timing is short but the practice is long.

(Image: "Grotto Boatmen of Capri" by Judy Taylor)

Do you have a subject matter that defines you as an artist?
No. I paint narratives—that is about as definitive as I can get. I make choices based on what I think will make a good painting and good composition with an impelling narrative, literal or subjective.

What makes you stay with a particular subject matter? Why are you drawn to it?
Something in my gut and training tells me it is working and it is communicating.

How do you stay motivated?
I practice my art every day similar to an athlete staying in shape. This minimizes frustration in tackling difficult subjects and allows me to continuously challenge myself.

What have you been working on lately? Are you experimenting with anything new?
I am working on a series of nudes and farmhouses. I have also been experimenting with my model on "themed" or archetypal subjects using costuming and props.

Has your medium changed from when you first became an artist?
I'm still an oil painter but I also work in gouache.

(Image: "1953" by Judy Taylor)

What advice would you give to an artist just starting out?
Don't worry about losing your "style", just focus on learning. Your independence and vision of the world will dictate how you communicate with your audience.

What kind of comment do you despise the most when overheard at one of your openings?
I try not to take this into an opening. I've learned that I cannot control commentary nor do I wish to.

What kind of comment pleases you the most when overheard at one of your openings?
It is nice to see when people are really looking. Otherwise I refer to my answer above.

(Image: "Martine" by Judy Taylor)

How have you handled the business side of being an artist?
This is challenging but I have good advisers and a helpful husband.

Do you have any outside interests other than art?
Many. I love the theater and travel. Also taking advantage of living next to a National Park. I'm a reader of all literature and in particular history.

Are you disciplined about your creative process (in other words, do you treat the process like a job, where you keep particular hours in the studio), or are you more spontaneous?
Yes, I treat it as a job that I look forward to going to. I work when the light works. Otherwise, I'm developing sketches and concepts.

How would your life change if you were no longer allowed to create art?
I guess I would finally try to learn the piano. Of course I would like to do some large sculptures. You see, it would be difficult.

(Image: Maine Department of Labor Panels 6, 7 & 8 by Judy Taylor)

What's the best part of being a full time, working artist?
I'm my own boss.

What's the worst part of being a full time, working artist?
Health insurance.

Where can we find your work?
I have work on Little Cranberry Island in Maine (Islesford Dock Gallery) and Frenchmans Bay Gallery in Somesville. You can also call for an appointment to visit the studio.

>link to Judy Taylor's website

- Brenda Bonneville, editor

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Like that straightforward attitude! Janet Glatz 2012-06-11 19:06:15 I've often wondered what the painter of the famous mural in Maine might be like--now I know at least a little. I admire your directness and confidence. Thank you for telling us about yourself.

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