He likes sketching outdoors, saying that nature is his studio

He likes sketching outdoors, saying that nature is his studio

Guido Frick American Painter - ArtYouhua - Guido Frick is a true outdoor painter. "It may sound like an exaggeration, but I really consider nature to be my original studio. Because of this, I claim that the entire American West is my own and personal studio". The German-born painter, who lived half of his time in Europe and the other half of his travels almost exclusively in the western states of the United States, wanted only to express his love for Montana and Wyoming, the Dakotas and Nebraska or Utah. Great enthusiasm for other places, Idaho. In the early 1980s, he met the famous mentor and painter Sergey Bongart and still considers this meeting the most influential experience he has had as a painter. "Sergey really opened my eyes and showed me the way". By the 1970s Guido was already studying with Professor Karel Hodr from Prague, a respected impressionist painter and art teacher in Europe. Soon Guido's work was featured in exhibitions in Germany, Switzerland, France and Italy, most recently in the UK. He was published in Maler Sehen den Bodensee and in 1980 he won the Salon de Fontainebleau in Paris. "As a painter, I don't like being labelled. I always straddle the line between Impressionism and Expressionism. In art there should be no borders, no fences, no stop signs. I want to paint freely and freely , and labelled as independent...always outdoors, in nature, not in claustrophobic and restrictive studios". Guido's still lifes are also painted outdoors. Thanks to Sergey Bongat Sergey Bongat has had a lifelong impact on most of his students. When I found him, I had been studying in Germany for more than four years, with the great Impressionist Professor Karel Hodr and the artist Hans Sauerbruch with very unique painting skills. But Sergey was the one who changed the direction of my life. To make a living, I couldn't rely on my art income at the time. So I earned my daily bread as a journalist. Then Sergei Bongart opened my eyes in many ways: as a painter I learned how to look, how to see the subject I want to paint, how to judge it and how to execute it. And for my professional perspective, he encouraged me to take this rocky path to becoming a full-time artist. I never regret it, even when I come home from painting class there are many moments of despair when I see no hope on the canvas, just another nightmare. Those moments are moments of decision, crossroads: either you continue to be your goal, knowing the pain continues, or you fail and quit. I'm glad I didn't give up.

(Responsible editor：the scenery)