Clyde SteadmanClyde Steadman work captures the essence of contemporary impressionism. Bold use of colors mixed with purposefully placed broad strokes of paint creates images that unfold after careful study of the subject. The viewer is challenged to take a step back and finds he is at once pulled in to study further. The brilliance of Steadman’s work is exemplified in his figurative works but remains a constant whether Plein air or still life.

Steadman explored many paths before being drawn to the art world. When it became clear that he was more interested in painting than prose or poetry, he began studying at the Art Students League of Denver. Here he worked with Mark Daily, Doug Dawson and master artist Quang Ho. However, his subjects have always been his best teachers. Steadman has been overseeing life drawing sessions at the Art Students League for over six years. There he works mostly on quick oil sketches, or portrait sketches during the longer poses.  This disciplined approach has given him a technical facility that is reflected in all his painting.

Clyde describes two different kinds of painting.  One is from life, either working with a model, or going out on location to paint  "plein air."  The other is working in the studio.  Clyde thinks of working from life as similar to gym work for an athlete.  Responding immediately to what is in front of the artist sharpens his skill, and lends the work a compelling urgency.  Getting a good painting is gravy.  Normally he spends at least one day a week out amongst the mosquitoes and dust, fighting with the quickly changing shadows of the Colorado day.  Clyde describes studio work somewhat differently. He likes to take time in the studio to plan out a painting, carefully considering the composition before committing it to paint.

    "I spent so many years developing my analytical mind, it seems a shame to abandon it.  Studio work seems somehow more holistic: careful analytical work on composition can be combined with the sensual thrill of playing with the artistic elements of shape, color, edges, value, and texture.  A successful painting has not only a subject that speaks to the viewer, but also works as an abstract composition of the artistic elements executed in gobs of paint."