BIO: BETSIE MOLINSKY
As I proceeded through school, I was exposed to generous amounts of instruction that thrilled my soul. I pursued a degree in Fashion Illustration at the University of Cincinnati in 1960. In 1963 I met my husband George and 8 years later, our 5 young children made my heart sing with the joy of motherhood.
In 1980, I met a wonderful artist in Cincinnati (whom I was aware of from childhood) and visited his studio. His name was Paul Chidlaw. I was excited to understand what Paul (at age 80) knew about painting. He told me that he started with a white canvas, and almost magically, stroke by stroke, proceeded to a fresh conclusion; he developed amazing paintings without a predetermined end.
Because my art education was designed towards illustration, I had no idea how to begin without an end in mind. Paul told me,”You start with an idea, but only a vague one, and then you keep changing your mind, adjusting the building blocks until you get a painting that settles in and pleasures your eye, edge to edge, vertically, horizontally and diagonally. The conclusion is as much a surprise to the artist as it is to the viewer.
“Go to the Art Museum and study the Masters,” Paul said. “If Roland Houston, a former student of mine at the Cincinnati Art Academy decides to teach, he can teach you what I know.” I then asked, “How long will it take for me to learn what you know?” Paul replied, “How long would it take you to learn Chinese?”
Roland called me in 1987 and said he had decided to teach. He explained that he would be teaching a language. He said the Masters built each painting from the inside out. They all understood a certain universal language based on structure found through a determined process and reinforced it with each other.
Roland captured my attention with that first discussion. I drove to Cincinnati on Thursdays for 18 years. Roland often would say, “You have a strong predetermined idea of what you want this painting to be; let go and PAINT! The structure developing in your painting will tell you what ‘the painting” needs.
Shortly before Roland died (suddenly from leukemia at age 69), I knew that I had come to truly understand this language he so generously taught me all those years. I still hear Roland’s words as I paint, and they will sustain me forever. His words of wisdom were not his opinion, but only the words of the Masters on how to construct; he referred often to their books and letters; we observed prints of their works and on occasion visited shows at museums.
Roland told us that when he died and went to heaven, he hoped that the “giants of modern art” would let him sit on a park bench and listen to their conversations. My guess is that they have embraced Roland and encouraged him to join in their discussions. That sounds like heaven to me.
BIO: BETSIE MOLINSKY
I knew at a very young age that I had a
passion for drawing and painting.
As I proceeded through school, I was exposed to generous amounts of instruction that thrilled my soul. I pursued a degree in Fashion Illustration at the University of Cincinnati in 1960. In 1963 I met my husband George and 8 years later, our 5 young children made my heart sing with the joy of motherhood.
In 1980, I met a wonderful artist in Cincinnati (whom I was aware of from childhood) and visited his studio. His name was Paul Chidlaw. I was excited to understand what Paul (at age 80) knew about painting. He told me that he started with a white canvas, and almost magically, stroke by stroke, proceeded to a fresh conclusion; he developed amazing paintings without a predetermined end.
Because my art education was designed towards illustration, I had no idea how to begin without an end in mind. Paul told me,”You start with an idea, but only a vague one, and then you keep changing your mind, adjusting the building blocks until you get a painting that settles in and pleasures your eye, edge to edge, vertically, horizontally and diagonally.
The conclusion is as much a surprise to the artist as it is to the viewer.
“Go to the Art Museum and study the Masters.” he said. “If Roland Houston, a former student of mine decides to teach, he can teach you what I know.” I then asked, “How long will it take for me to learn what you know?” Paul replied, “How long would it take you to learn Chinese?”
Roland called me in 1987 and said he had decided to teach. He explained that he would be teaching a language. He said the Masters built each painting from the inside out. They all understood a certain universal language based on structure found through a determined process and reinforced it with each other.
Roland captured my attention with that first discussion. I drove to Cincinnati on Thursdays for 18 years. Roland often would say, “You have a strong idea of what you want this painting to be; let go and PAINT!”. The structure developing in your painting will tell you what “the painting” wants and needs.
Shortly before Roland died (suddenly from leukemia at age 69), I knew that I had come to truly understand this language he so generously taught me all those years. I still hear Roland’s words as I paint, and they will sustain me forever. His words of wisdom were not his opinion, but only the words of the Masters on how to construct; he referred often to their books and letters; we observed prints of their works and on occasion visited shows at museums.
Roland told us that when he died and went to heaven, he hoped that the “giants of modern art” would let him sit on a park bench and listen to their conversations. My guess is that they have embraced Roland and encouraged him to join in their discussions. That sounds like heaven to me.