Gregg Kreutz pursued his training as a painter in earnest at the Art Student’s League of New York winning a merit scholarship. He studied with Frank Mason, Robert Beverly Hale, and, most significantly, David A. Leffel.
After his training at the League, he signed up for the Washington Square Outdoor Art Show where we won best in show. From there, he found representation in galleries and became a full time painter.
He has won numerous awards including:
- The Frank C. Wright Award
- The Hudson Valley Art Association Award, 1986
- The Medal of Merit (first prize in oils)
- Knickerbocker Artists
- The Council of American Artists Awards
- Salmagundi Club
- The Grumbacher Award
- Knickerbocker Artists
- Most recently he won the Merit Award at the 2005 National Portrait Society of America.
He has had one man shows at Grand Central Galleries, The Fanny Garver Gallery, the Newport Art Association, and the Hilligoss Gallery in Chicago.
He is currently represented by the Fanny Garver Gallery in Madison, Wisconsin, and The Gallery at Shoal Creek in Austin, Texas.
He teaches painting and drawing at the Art Student’s League in New York City as well as at The Fechin Institute in New Mexico, The Scottsdale Artist’s School, The California Art Institute, and other workshops throughout the country. His videos are popular learning tools used by artists all over the world.
About making art Kreutz says,
“For me, painting is an opportunity to learn what is meaningful. Each picture is a visual separation of the highly significant from the less significant. Painting is really a window into the essential.”
A quote from Problem Solving for Oil Painters.
“Painters are fortunate in that they can convey large ideas with very modest means. And realistic painting is an especially rewarding endeavor, to actively go after it means to learn what makes art, and what the external world really looks like, and how the two can be fused.”
10 Painting Principles from Oil Painter Gregg Kreutz
1. The four stages of painting are placement, background, shadow and light.
2. To paint something convincingly, you have to determine local color, shadow color, turning color and highlight color.
3. Dynamics (high contrast, color, paint thickness, and so forth) bring passages forward (see Fish Market Dawn, below).
4. Paint relationships — not isolated things or people.
5. Everything is either light against dark, dark against light or same against same.
6. Paint passages in the light thickly (see Fall at the Farmer’s Market, below).
7. Light turns gently into shadow and emerges crisply from the shadow.
8. Every object needs a form shadow (see Up the Lane, below).
9. Shadows are dark versions of local color.
10. Highlights are never on the starting edge (see Golden Earring, below).