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Selections by Aaron Bohrod of his paintings

[Printed script for filmstrip],   pp. 13-24

Page 19

                           "A Lincoln Portrait was a favorite of many
of the 
                           students in Madison. How did you choose the objects
                           for this picture?" 
                                "A Lincoln Portrait was actually one
of the very 
                           first paintings I did in my still life vein. I
tried to find 
                           objects that might go together and tell a kind
of story 
                           and I selected the idea of objects that would
                           and echo the idea of the Lincoln Portrait itself.
                           "In the details that we can look at you can
see the 
                           texture of a vase that accompanies the portrait
                           and here I used one of the vases that I did in
                           tion with Carlton Ball, a well-known ceramic artist.
                           I was experimenting with the use of many textured
                           objects, which would tend to make a rather interesting
                           variation in my paintings. 
                           "In the final detail, that we see where the
Lincoln head 
                           is greatly enlarged, I think you see some of the
                   .....texture  of the  painting, which  isn't apparent
on view 
                           of the painting itself, because this is a greatly
                           enlarged section of the entire composition. I
think it's 
                           always interesting to look very closely at portions
                           of an artist's work to see in whichmanner he actually
                           put the pigment onto his canvas." 
                   .........3 1 
                           "In Animal Kingdom, how did you make the
                           so shiny?7" 
                                "The horse required a good deal of trial
                        I err or to see howlI could reflect the shiny texture
                          the painted Iron horse so that it had almost as
                          brilliance as the actual object did. I looked at
                          horse very closely and I examined the source of
                          light, what portions of the horse's body were being
reflected by the highest highlight and which portions of the horse were in
shadow, and I tried to get that feeling into the painting." 

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