Category: dog

Flashback to some of the work I did back around 2005 when I was focused on color studies and building solid fundamentals while a student at Loyola Marymount University. I have different voices and stories to tell and once upon a time I did something a bit different from what many know me for now. Be true to yourself and the work you want to create. I only have one large triptych left from this series measuring nearly 12’ overall. It reflects upon inner struggle and the battle between heaven and hell, though through the subject of the shepherd. 

This is part of a seven canvas polyptych. I’ve always loved the idea of standalone pieces that could also be part of something more…as life is a puzzle. 

More from Carini Arts at | Michael Carini

From the art journal of Carini Arts

Michael Carini | The Lost Shepherd

Majority: Why don’t you paint something realistic?

Me: Because I don’t fucking want to. I’m more interested in what comes from the mind at this stage of my development. I was classically trained. Here are some pieces from my “Lost Shepherd” series from when I was around 20. The series was an introspective reflection upon how even the shepherd can lose his or her way. I only have three painting left from this series. There you go…now hush lol! No, I will not paint your fucking dog 🤣

Simon Vouet (1590 – 1649), Portrait of a Seated Dog, black and white chalk, pastel strokes, Artcurial

Jean-Auguste Barre, Ulysse recognized by his dog, 1834, Compiègne Castle, source: RMN-Grand Palais

Jean-Auguste Barre, Ulysse recognized by his dog, 1834, Compiègne Castle, source: RMN-Grand Palais

Léonard Tsuguharu Foujita, May, ou La Chienne noire allaitantLempertz

Detail from the Museum Boijmans Van Beuningen, Rotterdam

Achille Simonetti, Youth Playing With A Dog, white marble, Blouinartinfo

Norman Rockwell, Breaking Ties, 1954, Sotheby’s

A father and son from a rural community sit waiting for the train that will take the young man off to his first year of college. Rockwell captures this rite of passage with his trademark ability to convey an entire narrative in one simple scene. 

The pair’s body language is powerful: it communicates the generational gap that divides the Depression-era rancher—who has likely had little to no formal education—from his college-bound son. The rancher hunches over with his elbows resting on his knees, his weather-beaten and unshaven face downcast and angled slightly towards his son. By contrast, the young man, alert and fresh-faced, looks with youthful optimism down the tracks impatiently waiting for the train to arrive, for his future to start. The boy’s large and weathered hands, however, disclose his ranching background and are a visual reminder of the important, albeit fading, link with his father and his roots.

The theme was autobiographical for Rockwell: “I was trying to express what a father feels when his son leaves home. Jerry, my oldest son, had enlisted in the Air Force; my younger sons, Tom and Peter, had gone away to school. Whenever I feel an idea strongly, I have trouble painting it. I keep trying to refine it, express it better”