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An Interview With Harley Brown

Julie Mardell

Harley Browns Self-portrait as Paranoid

The Canadian artist Harley Brown is my greatest contemporary hero. I came across Harleys
work for the first time only two years ago, when I read one of his regular articles in
International Artist magazine. Harley is best known for his pastel portraits of Native
American Indians and other characters of the Wild West. All Harleys portraits possess what
can best be described as heart and soul. Wide-eyed Indian maidens, stately chiefs and
craggy faced natives of South America gaze out from Harleys instantly recognisable multicoloured backgrounds in calm and dignified communication with the viewer.

Harley Brown spent his early years in Canada, firstly in Moose Jaw, Saskatchewan and then
in Calgary, Alberta. He paid for his training at the Alberta College of Art by playing honkytonk piano in a night club, before attending the Camberwell School of Art in London and
spending many years travelling, painting and teaching in art workshops. He now lives with
his wife, Carol, in Tucson, Arizona, where he is a member of the Tucson Seven, a group of
renowned western artists. Harley has illustrated many magazine covers, written three
bestselling books, Confessions of a Starving Artist, Eternal Truths for Every Artist and
Inspiration For Every Artist and is a regular contributor to International Artist Magazine.
Harley has very kindly agreed to give us a personal insight into his life and work.

Detail from Feather

JM: Harley, you have made it clear in your writing that you always wanted to be an artist. If
that hadn't been possible, what would you have like to have done to earn a living?
HB: For sure, I would never have done anything where I felt I was "working for a living." Or
having a boss. So, for a while I was thinking about playing classic piano, as I was seriously
training. Suddenly, I fell into jazz piano and that became an obsession. To this day, I've
always figured if no one buys another painting, I'll play in a club. A third option: write for a
travel magazine; assuming they send me all over the world.

JM: I understand that you have been influenced by Rembrandt, Sorolla, Sargent, Fechin,
Repin and Velzquez. Can you pick any one of these as being particularly important to you
and your art? What have
you learned from these masters, and did you ever copy any of their paintings?
HB: I can honestly say that I've picked fairly evenly from each of these masters. And each has
a definite, and extremely personal approach to their art. These artists actually have shown
many us the way quite openly. For instance, I studied Rembrandt even when I was 10 years
old, and his brush work and tonality opened my eyes at his directness and at the same time,
immense care with where he put those lights and shadows. Deceivingly simple yet at the
same time with a grand touch of genius. The only artist I've ever copied was Rembrandt and
that was when I was quite young. But it opened up doors in my aesthetic mind. There are
many greats with whom I've learned. Here's an old saying: "If you copy from one artist its
called plagiarism and if you copy from many it's called research." I'm always researching!

JM: Who do you admire


amongst
contemporary
portrait artists?
HB: Without question,
Bettina Steinke stands out
in
the
contemporary
portrait world. She rose
above most others because
of her brilliant technical
skills
and
immense
drawing talent. But most of
all, one could see her
profound love of the
human face. For decades,
she inspired me and we
finally met and became
friends.
JM: It took 30 years for
you to become well known.
How did you survive
financially during that
period and did you ever
think of giving up and
doing something else?
HB: One survives if one
does not give up. In the
early years, I had bill
collectors after me, rent
Ahyoka
due, food to buy and no
money coming. But knocking on enough doors, all I needed was one sale; which eventually
always happened. I would do portraits in taverns, fair grounds, restaurants, wherever and for a
dollar a portrait. Three things happened with each portrait: I got a little survival money; I
learned a little more about art and life; and each time I got stronger with my commitment.
There was no way on earth, other than an asteroid hitting me, that I was through. But most
important, not once in my wacky life did I ever think that I was a failure. Not once. I wasn't
hoping to be an artist. I was an artist.
Then a major break came when I was down to a single dime in my pocket. It happened in
Helena, Montana. I had gone to restaurants, frame shops, department stores, asking anyone if
they'd be interested in showing my works. They all rejected me. Then in a flight of fancy, I
decided to go to the state museum. Not only did curator Bob Morgan want my works but he
was prepared to have a one man show for me. "Can you get me 50 works by this summer,"
Bob asked. "Oh, yes I can," I declared, feeling like I could take flight. We had the show and
most of the paintings sold. Dealers and patrons and fellow artists came to see my exhibit at
this important museum. It changed my life. I've had many other breaks, but this one was a
turning point.

JM: You are reaping the


rewards of your talents now. I
know your portrait of Chief
Sitting Bull sold well at
auction!
HB: Yes, that painting of
Sitting Bull sold for over
thirty thousand dollars. That
was also when the economy
was booming. The very next
year, when the economy went
bust, the same auction sold a
work of mine for around
twelve
thousand. That's very good
money incidentally, but in the
art world, nothing is certain.
Let's put it another way: if I
never sold another painting, I
would very happily continue
life on a very modest scale. I
enjoyed myself in my early
poverty days. Money didn't
buy me happiness because I
was already happy.
Sitting Bull

JM: You are best known for your portraits of Native American Indians. Do they form the bulk
of what you paint or are they simply better known?
HB: Native People are really what I'm known for portraying. Mostly with my galleries and
shows. But I have done many portrayals of present day and historic celebrities for magazine
covers. As well, in my travels, I have painted individuals from far corners of the world. From
the South Pacific to Russia to Mexico, Canada, England and South America. Yes, my work
mostly consists of Native Americans. I've done drawings of them since the 1950s. I lived only
blocks away from a large community of these amazing people. So I would often walk over
and sketch them. Inspiring part of my life!
JM: Commissions were your bread and butter in your early career. Do you ever do
commissions now?
HB: I do very few commissions now but will do them if I like the person or situation. For
instance, I just finished painting a Hollywood director. Plus I do portraits for magazine covers
and sometimes a noted politician. Commissioned portraits are a special challenge that I take
extremely seriously; something that I periodically love to do.

JM: Of your works, which is your own personal favourite?


HB: That might be like asking who is my favorite grandchild. But I have a few that I've
enjoyed. Yet, for most of my works, once it is finished, I quietly say goodbye to it. I've hardly
ever needed to keep one of my pieces; the thrill is in the doing.

There's a portrait I did of Christopher Lee as Dracula. This was for a film magazine.
I'll mention one more
portrait of a character. I
can't mention who it is
because it is going to be in a
major book coming out this
fall. I can say that it took
longer to paint than any
other that I've done in my
life. Yet, to look at it, you
would think it was finished
in a day. It also took a toll
on my mind because I kept
working to bring out the
essence
of
the
character........week
after
week.
Finally
one
afternoon, the final strokes
and finished! I had to turn it
towards the wall; I was
afraid I'd keep fussing with
it. I immediately framed it
and shipped it off. It still
haunts me.

Above: Christopher Lee as Dracula


Right: Peruvian Dog

I did the drawing of a dog in Peru. I wanted to


make him immortal; he was alone and deserved
it. So I placed him in an article in International
Artist magazine.

Detail from Self Portrait as Paranoid

Also, and I hope I'm not being biased, I like a portrait I did of myself as a paranoid [detail
above]. It is very close to the real me and is about as close as I've ever gotten to digging in to
the personality of a subject. It is different and continues to have a fresh feel when I look at it.
JM: Most of your work is soft pastel. Why do you prefer pastels to oils or any other medium?
HB: In a word, pastels are immediate. They are the ultimate form of combining drawing with
painting. I started with oils early in my career in the galleries. But as time went by, I kept
reverting back to pastels. I had worked with pastels since my school days and felt a kindred
spirit to them. Using the soft pastels and my fingers became so very natural to me.
They are really part of my life; like eating and sleeping and conversation. They are my real
form of expression. If I don't do a pastel for a few days, I get quite melancholy. They are not
only my love but also my good therapy. In fact, when I'm a bit down, within the first few
strokes of a soft pastel, I'm back on top of the world again. This is not an exaggeration.

JM: Do you have a favourite brand of pastel and pastel surface and do you use ny particular
set of colours for your portraits?
HB: I've used all the brands known. Whether through sets or individual colors. I've gotten to
know the various traits of each label whether the subtle differences of colors and the feel of
the pastel as it goes onto paper.

Some brands are much better than others and even some colors within the same brand are
variable in quality. Each artist demands a particular type of pastel, in shape, color assortment,
hardness, size, quality of performance.
Over the past years, I've begun to have my own made for me. I have learned exactly what I
need over the decades. My set is very personal in size and color and softness. The colors I've
chosen are those I "can't live without." The set unites all the best that I've experimented with
throughout the years. Others might like my set, but it suits my needs perfectly.
The paper I use and have used for so many years is Canson. I love the way it "grabs" the
pastel strokes. And incidentally, I use the smoother side as I feel the waffled side is too
mechanical for my taste. Once in a while, for a smaller piece, I work with sand paper. It has a
character all its own and is a joy to work with. It's all about the paper "obeying" what the
artist is after. Obeying and even adding to the performance.

JM: You have always felt compelled to draw and paint, and you draw every day-but where do
you find your inspiration for subject matter? Do you see a face you simply must paint, or do
you have an idea and then go looking for the right face?
HB: My inspiration mostly comes from moment to moment unless I have a specific project
to do. For instance, my article in the June/July 2010 issuse of International Artist came from
my sitting at a supper table in Helena, Montana and seeing a marvelous face across from me,
lit by an overhead light. She was my grand daughter-in-law, Caitlin. There was no question
that she must be painted. All of my works start the same way: I must paint them without
doubt. And this feeling happens several times a day so I sort out what I can reasonably
accomplish.
I just got off an airplane a few days ago and
was greatly inspired by an airline hostess.
So much so that I took a quick photo of her,
(it was perfect,) and will probably use it,
with her permission, in a future article. She
had a rare charisma and put smiles on the
faces of all the passengers.
At the airport, I saw an elderly gentleman
sitting alone, asleep. A perfect and natural
"pose." I took a photo of him. I never have
looked for inspiring subjects, they keep
leaping out at me. The lighting, the colors,
the shapes, the forms, the expressions, the
emotions... they're all out there awaiting.
I've been to open studios to draw. Once in a
while, they'll have a model on the platform
that isn't all that inspiring; whether it's the
lighting, the pose or the model. But the
minute I put down the first stroke, I'm
excited beyond belief. This is true. I'll

El Paso

discover subtle things I've never seen before. And when the session is over, I'm elated. All the
troubles in the world disappear. And without exception, I'm so glad I came to the session and
experienced that moment.
There are times, I'll have an idea and then search around for the right model. This is a bit
more complicated but it always ends up a bit different that it started. I have one piece that was
in a major show. It was of a Native mother and child. I changed everything around in this
large drawing. Everything.
Even the models were changed along with their positions. The only thing that was left from
the original was the lady's hand holding a shawl. I know of many artists who go through the
same transformations. The best part is that our excitement through these stages does not
diminish. It's because we're always advancing ahead towards a goal.

Detail from Feather

JM: Do you mostly paint from life or from photos?


At the start of my career, I worked strictly from life. Sometimes life in the raw. Whether in
beer parlors, restaurants, down dark streets, a brothel (where I worked as a pianist.) Over
those years, I studied and understood the shapes of faces and figures on the move. I even went
door to door doing portraits on the spot; for a few dollars apiece. Endless life drawings.
Eventually, because of circumstances, I had to take photographs because the people whom I
wanted to paint often didn't have the time. They might be laborers, children at play, a famous
person with little time to spare. When I take photographs, I take them by the hundreds
digitally. I always take them myself because I know what I want. (Unless I'm doing the
portrait of a historic figure.)

Detail from Feather, rotated 90 degrees.

JM: At the moment, there seems to be a push towards absolute realism. How you feel about
paintings which are indistinguishable from photographs?
HB: Regarding highly detailed paintings, I've becoming much less critical of the artists who
put in the hard work towards photographic realism. First I'm often impressed with the
photograph they took in the first place and from which they work. But I so often see why their
love of the details is an obsession. Also, it is most difficult for the artist not to have his own
personal touch within those fussed areas. Part of my benevolence is because many of my
colleagues are highly detailed artists and I have understood their minds and approach for
many years. Certainly there are cases where artists who do these works might be afraid to
escape from the confines of their photographs.

JM: Do you know before you start what the composition and colours will be or do these
evolve as you paint?
With portraits, I'll often take some chances and see what happens during the painting. It does
evolve as one thing leads to another. This keeps my adrenaline going. On the other hand, if it
is a more complicated subject or a group portrait, I'll often do a small sketch of it for my
benefit and sometimes for the person commissioning the painting.
JM: What, in your view, makes a successful portrait and a successful artist?
HB: In my own terms, I know my portrait is a success when I feel the heart beating within the
portrait. At that point not another stroke. A successful commissioned portrait must have part
of the subject and part of the artist within it. Twenty artists will paint the very same subject
twenty different ways and each will be different. Most important, and something that took me
a few years to understand, is that I don't paint to impress the subject. The person came to me

and therefore I "call the shots." At the same time,


I don't take advantage of buyers, I always give
them my best. I work hard for them but that's
Harley Brown, (and the subject,) on the paper or
canvas.
A successful artist is generally one who is
always open to learning and developing. Who is
intensely interested in subjects to paint and not
just self indulgence. I have never actually
thought in terms of success or failure. Even
when I wasn't selling for weeks on end. Nor later
when I might win a gold medal at a show. The
latter is a great honor, but it doesn't change my
attitude of humbly honoring nature and working
even harder. To me, success doesn't mean lots of
money and prestige. Success is being happy with
what I do. And that's the whole reason I became
an artist.
Steve McQueen

JM: What is the most valuable piece of advice you were given in your career?
HB: Please allow three pieces of advice that were offered me, (there are certainly many
more.)
1) My dear father taught me the value of never giving up and having profound faith in
myself as an individual. He started me drawing from the age seven. And he kept after me as
the years went on. Until I finally "got it." He showed me how to keep that urge to
create flowing. It was ingrained in me and although he and my mother are no longer alive,
their spirit is within me every minute of the day.
2) Donald Teague, great artist, handed a word to me that I've kept close. It's a word I've
passed on as much as I can. Donald told me this just before he died when I asked him what
was the most important word in art. He said, "Design." And certainly we can see this from
Rembrandt to Sargent to Picasso to Franz Kline. Design is what generally makes me stop in
front of a painting whilst walking through a museum. Then I look closer and inspect its other
wonders.
3) A major mentor of mine, Robert Lougheed gave me some words near the end of his life.
He told me that I had learned much from him and others in my years of art. He said that it
was my turn to pass my knowledge to others; it was my duty. With that, I immediately
signed on to do workshops and seminars and eventually books and articles for the exceptional
publication International Artist. I can honestly say that what I've passed on to others has made
me the happiest. I feel real joy when something I say or do strikes a note with an artist.

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JM: What advice would you pass on to aspiring artists


who work in a medium that is "forgotten" in Europe.
HB: To me and many of my colleagues, working with
soft pastels is the most rewarding and fulfilling way I
can think of spending each day. Pastels will do things
that other mediums don't come near. It feels personal
and it goes on to paper as a direct, unencumbered
expression of every impassioned moment. To get the
feel of it, one must bury oneself into its very essence.
These are sticks of color containing intense pigments
from dull grey to blazing red. Once the artist has a
command of the technique, time and space no longer
exist. Only the artist in front of the easel with a set of
pastels awaiting. And the emotions will range from
joy way up to euphoria.
I feel as one with the artists who have chosen soft
pastels. We live in a secret Shangri la within the art
world. But there are more and more "travelers" who
are finding our existence.
Greta Garbo, in her role as Mata Hari.

JM: All your writings suggest that you have lead and continue to lead a truly happy, fulfilled
life. Your books and articles give the reader not only tips on becoming better artists but tips
to achieving lasting contentment. I would really love to know where that "grounding" comes
from.
HB: From life's experiences eventually comes a deep strength. That is if those experiences are
each dealt with in effective and ultimately positive ways. In my early years, I was wild
beyond belief; parties every day and just a few hours sleep at night. I took big, dumb chances
and was erratic to an incomprehensible degree. But my glue to survival was art. Art, art, art.
And finally, on one fateful day, I quit drinking and cigarettes and parties. Thus leaving me
with plenty of time to develop my art in a major way. I was 35 years old at the time and was
more than ready. And the next years were a torrent of intense hard work and good fortune
combined. I've always said that good luck comes to most of us but few are ready for it.
Or even recognize it when it's standing there.
By nature, I'm a shy person, which no one believes. I'm also very reclusive. So contentment is
a quiet life with a few friends but mostly family. I'm drawing closer to them as the years go
by and shucking much of my massive, galling ego. I still have an ego but it doesn't over ride
all else.
I was very fortunate to meet Vincent Miller many years ago. He is a brilliant individual who
had the dream of putting out the best art publications and books in the market. That dream
came true. He finds the best artists in the world and has them write for his art magazines. I
read every issue and can't believe the fountain of info that each contains. Where were these
words way back when I was starting out?!

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But I'll tell you Vincent's secret, at least with me. He allows every word I write to end up on
his printed page. He alters nothing at all. So what we get in these articles are the undiluted
truth from each of us. He was the same way with my books. He told me, "You write it and I'll
print it."
This is a marvelous way for me to pass on what I've learned both the hard way and through
great mentors I've know over the years.
As with many artists on this site, I'm associated with a few art organizations. I love them
because we are in this together. Periodically, I need to be with other artists so I can praise and
complain and laugh and trade ideas. And maybe even talk about a fun trip down a fast river.
I think part of my "grounding" comes from a contentment that I'm fulfilling my dreams. I
don't want to prove anything but just find the sweet solace of doing what I want whenever I
want. I've earned it; at least I think I have.
JM: Your books are out of
print and change hands for
large
sums
of
money,
(particularly "Confessions!). I
have copies of Eternal Truths
and Inspiration and believe
that every portrait artist
should have them to hand. Is
there any possibility of these
coming back into print?
HB: I can't answer that
because I never question
Vincent Miller's plans, as he
doesn't question my ideas for
articles. I can say that my
"Confessions" book cost the
company a small fortune Detail from Greta Garbo
because it was done with the
utmost care in every aspect. Something that is unknown by most people is that there was also
a special edition of 100 "Confessions." That came in a velvet box and two of my etchings;
plus extra pages. It is also sold out and is literally impossible to get.
Maybe one day I'll ask Vincent about "Harley Brown's Eternal Truths for Every Artist." That
book seems to have helped a number of artists. It lays out, in a general way, most of what I
learned through the years.
JM: Harley, it has been a delight to talk to you. I believe you have secured your place in art
history but what would you like your epitaph to be?
HB: He loved and he was loved.

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A step by step demonstration of Harley's portrait of Caitlin will appeared in the August /
September issue of the magazine The International Artist.

Feather

Julie Mardell, all images Harley Brown

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