Artist Profile

Primary Style: Realism, Fine Art

Credentials: Bachelor of Fine Arts Degree

Career Level: Independent Artist

Experience: Mature Artist

Juried Artist: Yes

Represented by Galleries: No

Jack Nixon

Jack Nixon A native-born Chicagoan, Jack Nixon graduated in 1975 from New Trier High School in Winnetka, Illinois. While at New Trier he excelled in history, art, and technical, architectural, and engineering drawing.

Mr. Nixon developed formal composition and the aesthetics of positive and negative space at the Cleveland Institute of Art, earning a Bachelor of Fine Arts Degree in Graphic Design Communication. Shortly afterwards, he received a number of merits, including two national design and calligraphy awards from Communication Arts Magazine in San Francisco.

After returning to Chicago in 1984, Jack began to illustrate private homes and public buildings on the North Shore. He also began to notice the serious pride and appreciation Chicagoans had for their architecture. Not having perceived Chicago's architecture in his youth, books he read, lectures and walking tours he took of the city revealed Chicago's heritage and historical significance for the first time. Architectural photography was visible, as was art composed in water color, pen & ink, and oils.

But something was missing in the art of the old buildings he loved to study. Mr. Nixon realized the contemporary art did not complement their excellent craftsmanship; contrary to old, intricate, architectural prints he had seen in his college research. The vast majority of contemporary interpretation was to impressionist to capture their elegance. The warmth and human quality of the beautiful embellishments of the classic stone and terra cotta reliefs were being lost in the art of general street scenes.

And richly detailed, framed European architectural prints of were hanging in corporate offices and retail shops all over town? Prints of old engravings and etchings were filling a void in the art market that should have been filled with ornamental prints of Chicago. Either no one had taken advantage of the opportunity to supply the public these graphics or no one had realized the market's need.

"In the last two decades, an intensified interest in the preservation of our natural environment has evoked a broader understanding of environmental quality: environment is both natural and man-made. This expanded concept of environment is a recognition that buildings and neighborhoods should be preserved for reasons that go beyond historic or architectural significance. A sense of place and cultural continuity are increasingly accepted as genuine needs in American society."

"Equally widespread is the growing recognition that "quality of life" is intimately related to hospitable surroundings- in terms of scale, texture, and a design of place. Architecture is the art that defines our sensabilities more than any other form of visual expression. Warm, natural materials and elements of craftsmanship in ornament bring value to our surroundings. As we build structures of glass and steel that have few elements to celebrate our own humanity, we have grown to appreciate older buildings that relate more to us. Conservation, renovation, or restoration of fine, old buildings made of limestone and terra cotta have helped to save our deteriorating visual urban environment."

But, with little graphic reenforcement, how could the education, awareness, and appreciation of Chicago's classic architecture be manifested more concretely to the public on a day to day basis?

Inspired by the likes of the Italians, GiamBattista Pirenasi and Andrea Palladio, and the French Ecole Des Beaux Arts illustrators, Jack's goal is to give the world high quality drawings and prints of the beautiful architecture, architectural ornament, and monuments produced in late 19th and early 20th century America that will rival the 18th and 19th century graphics of the Europeans.

In 1987 Mr. Nixon began to draw a series of master original pencil drawings that could be reproduced in lithograph, giclee, and gravure prints for the general public. The series is called: CLASSIC CHICAGO: THE ART OF ARCHITECTURAL DRAWING".

Writing stationery cards with matching envelopes are also available of many of the major cultural institutions and landmarks. They are called: "THE MUSEUM OLLECTION," "THE CLASSIC COLLECTION", and "THE ADLER PLANETARIUM ART DECO ZODIAC".



Featured Art Work

"Study In Light and Form: The Wrigley Tribune and Medinah Spires" Chicago, Illinois "STUDY IN LIGHT AND FORM: THE WRIGLEY, TRIBUNE, AND MEDINAH SPIRES" is a master work of talent, patience, and determination which celebrates the beauty and grandeur of the three most notable buildings in the City of Chicago.

As a super-realist, black and white pencil drawing, line and composition were critical. Finding a spot along the Chicago River where the buildings came in close proximity to one another was also paramount for overall unity. And strong diagonals from all their different perspectives, with the heights and positions of their spires, created tremendous visual movement and aesthetic power.

This piece is the pinnacle of the artist's talent and will never be equaled or surpassed. After lengthy study, late afternoon sunlight was chosen for its tendency to reflect brilliant whites, while creating subtle grays and dark shadows. The dramatic range produces a deep, three-dimensional effect usually not found with the mid-day sun.

One important aspect to the image is having a solid base for the buildings to rest upon. The stone balastrades, evergreens, and streetlights were pulled from a miniature green space on Wacker Drive, fifty yards to the west of the spot were Jack was standing to view the buildings. After many months of illustration, two major changes were made to the drawing's foreground. Notice in the drawing's early progress, the southwest corner sculpture "Defense", on the Michigan Avenue Bridge House, was substituted for an evergreen tree. The artist needed to balance the street lights on the left corner with another architectural element. The sculpture was the perfect answer to the problem, though the bridge is actually 700 yards to the east. Another evergreen was slightly repositioned to allow the Tribune Building's extremely detailed, arched entrance to be fully represented.

For the artist to draw comfortably in his studio, reference photographs were taken in February of 1987 to clearly capture the scene in brilliant, crisp, dry air (notice the background summer Cumulus clouds or thunderheads drawn for subtle diagonal effect). A powerful 800mm lens was used from 1/4 mile away on Wacker Drive, between Wabash and State. To help guide the artist, a 100-print collage of the 3 x 5" photographs was then assembled. The original drawing was slowly and painstakingly outlined and illustrated from May 1987 thru October 1988 and took 3000 hours to finish. The 50 x 67" original was drawn with ebony and 2B-leaded technical pencils on paper, and was produced oversize to fully document the details of each structure.

Original 50 x 67" Pencil Drawing on Paper, Framed 62 x 79" ... $200,000.00

Wrigley / Tribune Signed and Numbered Photo-Offset Lithographs
500 Large Prints 23 x 30" $150.00, Framed w/ Print $450.00
1000 Medium Prints 14 x 19" $75.00, Framed w/ Print $225.00
2000 Small Prints 8 x 10" $35.00, Framed w/ Print $100.00

With new digital giclee technology, custom prints of sizes up to 48 inches in width can be made available upon request. Jacknds@cs.com. Copyright 1989 All Rights Reserved. Jack Nixon, Nixon Design Studio.