Current Issue:
Spring 2004

 



Adult Jumper
Adult Jumper, Ox Ridge
­ Oil on brown paper, 17 x 14 by Michael Poncé. Collection of the artist.



Charging
Charging
­ Oil on canvas, 18 x 20, by Michael Poncé, 2001, Private collection. This painting appeared on the cover of the publication for the 18th Annual Harriman Cup polo tournament.



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    Drawing with Paint: Michael Poncé - by Sarah H. Crampton

      Michael Antonio Poncé believes that a skilled painter is first and foremost an expert draftsman and this has led to his dedication to further his academic training.

      Poncé studies include a bachelors degree in illustration, and in 2003 he completed his masters in fine art at the New York Academy of Fine Art in New York City. He continued his graduate research at Oxford University in England. The concentration on drawing live models while obtaining his illustration degree was a solid basis for his painting career today. Poncé remarks, "The ability to draw as you paint gives the image movement."

      Poncé was born and raised in New Mexico and as a boy explored the Mesilla Valley on horseback. His background with horses led to an artistic admiration and awe of their classical beauty. Sketching horses on location and from photographs taken at the racetrack and horse shows gives Poncé the opportunity to observe and translate movement and form. The Belmont racing scene resulted in a collection of watercolor drawings of jockeys and horses.

      "My watercolor sketches are a version of shorthand - putting down on paper essential jots of color notes that include the important values of the lights and darks. To capture the movement and beauty of a horse and jockey, I focus on the structure and proportions of the horse and rider."

      The series of English riders are studies painted from photographs Poncé took in June 2002 at the 73rd Annual Ox Ridge Charity Horse Show in Darien, Connecticut. The images are cropped to keep the compositions simple and focused on the rider. Strong, fluid drawing simplifies the form, especially when using a limited color palette of black, raw umber and white. The toned paper offers a middle value and creates a sense of space around the figure that otherwise would not be there. Poncé remarks, "My goal is to make the horse and rider monumental - giving the drawing a sense of power and structure."

      The study of how to apply tools and techniques of the Old Masters continues with viewing paintings in museums and reading art history. Poncé looks to the artwork of Velasquez, Van Dyke and others, and continues to work with current masters including Everett Raymond Kinstler for continued inspiration.



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