Originally from Cincinnati, Ohio, Shane Wolf is one of the few contemporary Masters of figural drawing and painting. After completing his bachelor’s degree in graphic design from the University of Cincinnati, Shane was hired by the French ski company Salomon in Annecy, France, as a graphic designer. Nearly 4 years later Wolf packed up and backpacked around the world for 16 months—an intense voyage during which he reconnected with his innate passion for fine drawing.
Returning to school in the cradle of the Italian Renaissance, in Florence, Shane attended the prestigious Angel Academy of Art to pursue intensive studies of traditional, academic drawing and painting. Beginning his studies as an auspicious student in 2005, he later became one of the Academy’s professors of drawing and painting for his remaining 2 years.
After 4 years in Italy, Shane moved to Paris in 2009. Through his works he seeks to uphold Humanist aesthetic values much as they were intensely developed during the Italian Renaissance, namely that of artistic expression via the mastery of human form. One of today’s rare masters of contemporary figurative art, Shane works—as according to the tradition—uniquely from the live model, his keen knowledge of human anatomy and his imagination to create his works. Some of the many international awards and recognition Shane has received include: 1st and 2nd place Best Nude from the Art Renewal Center, New York (2013); Gold Medal from the European Academy of Arts—France (2013); medalled by both historic French organizations: the Société des Artistes Français (2013, 2012) and the Société Nationale des Beaux-Arts (2011); the prestigious “Taylor Prize” during his exhibition at the Grand Palais (2011); and finalist in the America China Oil Painting Artists League, New York (2010).
I am a Humanist through and through. As such I aim to communicate the power of this worldview via the clearest language I speak: that of my drawing and painting. Neither by written word nor oration can my ideas find clarity as they do on canvas and paper. It is my hope that the strength, grace, elegance, power, vulnerability and finesse I see in humanity—simply put: our beauty—be felt and perhaps better understood via my work.
It is important to me to work uniquely from life, imagination and knowledge. I do not use any photographic references whatsoever.
My choice of who I depict in my work is of primary importance; I paint for my day, for my time, for the 21st century. My savoir-faire is deeply rooted in classical techniques, my aesthetic from the 20th and 21st centuries.
About the painting Suspension:
Suspension is my salute to Gustav Klimt, namely his 1901/02 painting Goldfish. In both paintings Goldfish and Suspension, the choice of the redhead reflects a common aesthetic of womanly beauty respective of the time period: a voluptuous late 19th-century/early 20th figure and an athletic woman’s build of the 21st century. In Goldfish the woman gazes intently at us; in Suspension she averts her regard. Both women offer us something, something of hers, each differently.