Can you see the difference? Fine Art Painting

PART 2: Paintings by a fine artist – my Dad Bernard Safran

First I’d like to say – illustrators are artists….(and humans)

In my last post I showed you several examples of my father’s illustration work done between 1947 and 1957. What I hope I got across is that when he did commercial illustration in the 1950s he had to implement other people’s ideas and styles to please his clients.

When he quit doing illustration work in 1957, he started to paint to satisfy only himself.

He employed time honored techniques to express his own unique point of view. Across his ouevre you can see changes in content and a freeing up of brushstroke through time – but the essence of his work remains his consistently.

Home From the Marsh by Bernard Safran, detail, 1978

If you click on this image you can see up close how my father painted. It is an almost impressionistic use of rich color – daubs, dots, lines – painted thick and thin, light and dark: the whole working to move across the form of each figure and to give defined textures to surfaces. There is no uniformity of brush stroke and no period style imposed on the figures – it is timeless.
The horse is alive with movement and light – you can almost hear it snorting, and see it swinging its head up and down while the girl’s calm demeanor is punctuated by the smooth surfaces of the clothing and skin.
Home From the Marsh by Bernard Safran, detail, 1978

I’ve intentionally loaded really large image files so you can see up close how my father laid down the paint (click on the image to see close up, then back arrow to return to post).

The paintings I’ve chosen very clearly demonstrate how he used color to build depth and to reinforce an emotional response. The paintings are a reflection of how my father felt – the paint directly expresses him. He is the master of the image, the composition, the colors, the textures, the light, the mood… the works are entirely his creations and not dictated to by anyone or anything but his inner artistic sensibility.

He, as the artist, was free to paint whatever he wanted however he wanted.

My father chose to paint realistically because he felt it was the most direct way to communicate his art to people. The paintings may make you think about the people in them, but he did not impose a story line or try to steer the viewer towards an opinion. He tried to show what he saw as honestly and openly as he could and hoped the paintings would evoke an emotional response in the viewer.

I’ve tried to show you work from both periods of his life to help you see that his fine art is representational – but it is not illustration.

Betty (with gold leaf) by Bernard Safran, oil on wood panel 1969/revised 1987

My father painted a series of family portraits every few years. In this period he was inspired by the beautiful gold leaf work of the Renaissance. The background is indeed gold leaf that he applied and worked the design into.
To see the head and how he defined the features through paint click on the image (and back arrow to return to page)… again, its very clearly his work as you can see from the way he applied the many colors of paint to create form and texture.
Betty (with gold leaf) by Bernard Safran, oil on wood panel 1969/revised 1987

As I mentioned in an earlier post – he was swimming upstream for his entire career – by choosing to paint realistically during a period when contemporary realism was at best considered a dirty word.

Its not an overstatement to say that he really painted for himself. By mid life he didn’t care if his paintings sold or not. And, later in his life he refused to sell any of his paintings – turning down shows and sales: the paintings were part of him, and by that point he didn’t give a damn what anyone thought of his art.

He carried on the traditional methods of painters and married them to modern imagery, bringing his own personal perspective of life to life. His work is not sentimental, slick or about beauty: it is not like the sentimental Victorian work of William-Adolphe Bouguereau that is often held up as the supreme of realism; or the sharp, slick images of Richard Estes who paints in the photorealist style.

Bernard Safran’s work is direct, honest, nuanced and painted with a masterful brush.

I truly believe that my father’s work stands alone in the 20th century – he left an incredible gift to the world of his art.

Bernard Safran, Sleeping It Off, oil on masonite 1986, 16" x 32.75"

This painting is from the New York series by Bernard Safran. In the series my father depicted people on the streets of New York City who are often overlooked by society – in his work he brings the viewer up close to the point that the viewer is forced to see the individual and his circumstances. The colors are applied in the same way as his other works: painted to give texture and form, and evoke an emotional response. The paintings of the homeless are particularly emotive… Click on the image to see the brushstrokes.
Bernard Safran, Sleeping It Off, oil on masonite 1986, 16″ x 32.75″


Can you see the difference? how my father’s work changed: illustration vs fine art

PART 1 – My Dad’s Illustrations from the 1950s

In this post I want to point out how my father’s illustrations are so different from his later works because sometimes I think people don’t recognize that he went from being a commercial illustrator to being a fine artist… both forms are representational you may say, so what’s the difference?  – well I’d like you to look more closely at the work and I’ll try to show you if I may…

In this post I’m going to concentrate on the commercial work that he did after graduating from Pratt Institute during the years 1947 to 1957. During this time he did a broad range of works from illustrating a children’s bible to making a giant billboard for beer.

Bernard Safran accounts ledger for illustration work

This shows some of the entries in my Dad’s accounts ledger for illustration work from 1953 – note how many jobs he had and how little he made for each (this just shows 2 publishing companies, there are many many more for the year).

I’ve already written about his disillusionment with the industry and his desire to do more fulfilling work – leading him to take 6 months off in 1956 to study the Old Masters and refine his eye and technique.

One of the things he found so difficult to accept was the fact that he had to work within a very limited range of artistic interpretation – meeting the publishers demands for content, colors and often the layouts. So the desired final work had to satisfy the publisher not the artist.

1950s bra ad borrowed from -

Ah – the 1950s when men were men and women had really tiny waists and pointy boobs.
This is NOT by my Dad – I’ve included it because I want you to think about the 1950s and how there is a very definite look to the time period. And if you look at this art you’ll notice some very clear stylistic points (no pun intended) that resonate in my father’s work from the 1950s – have a look specifically at the sylization, the limited color palette, and the weirdly fake loving couple and notice its not at all “painterly“.
1950s bra ad

The illustrations had to be current and meet the style of the day – 1950s all the way. Even the brushstrokes had to fit into the current trends with a certain coarseness – the whole piece had to be marketable to the 1950s audience… representing a certain idealized plastic quality to life.

Further limitations were placed on him, especially when he was doing Pulp Fiction covers (see my earlier post) – he had to be careful of the moral codes restricting certain sexy depictions but at the same time make the paintings as trashy as possible – so tree branches had to be covering just the right areas of a naked woman; shirts could only be open on certain parts of the torso; no nipples could be showing, and so on. The Pulp publishers pushed him to work to the limit of the prohibitions and in many cases made him re do layouts and compositions repeatedly to meet their demands.

Far Flies the Eagle, detail of book jacket by Bernard Safran

Let’s be honest here: this is a pretty awful illustration. Because I’m familiar with my Dad’s work I can tell that he was working to somebody’s specifications here regarding the composition and the look of the two main figures. He obviously had to make the chick look like some sexy 1950s B actress (not at all like an historical representation of a real Russian countess), and the guy also looks like some 1950s ideal white guy (and a stuffed dummy too). Notice that even though she is pretty much showing off her goods full on, the guy is stoically looking into the distance – there is no eye contact – it wouldn’t do to make it too overtly sexy… The landscape in the back is very nice however, and he added what looks like Napoleon on his horse in the background (my Dad was fascinated by Napoleon and read all about him frequently). It also looks like he cut his losses and put a lot of effort into the crest – he had to have something in this that he could be proud of!
Far Flies the Eagle, detail of book jacket by Bernard Safran, Ben Feder Inc 1954 

With many of the publishing jobs, he was given limited color palettes with which to work – depending on the budget for printing – sometimes only using black and white, or a minimal three colors for example.

And there were obvious creative restrictions on layouts too – he had to work around the type, titles, and with novels – the spine of books when creating art for covers.

The business was all about the sale: illustrations  had to be compelling to the consumer so they’d buy the publication – he had to make it eye catching, and make it communicate the story or product in a quick glance.

There was little or no consideration of the artist’s vision or his personal point of view. With many jobs the artist was treated primarily as a technician who could create the publisher’s vision.

This isn’t the illustration of NC Wyeth or Arthur Rackham – this is the stuff that 1950s publishers were looking for and the only work my father could get during that time. Photography was already dominating and replacing the illustration business in most fields.

Its very difficult to make a living with art as your primary source of income – and my father was at least able to say that he did support his wife and his first child with that income solely. Each job was a little bit of money – he had to do multiple jobs at the same time, and quickly, in order to get enough to live on.

Sample illustration from portfolio by Bernard Safran, guache on illustration board, 1949

This is a sample my Dad made up to show to publishers. Its very skillfully done and meets all the same criteria as the illustrations above: limited color range (black and white is the cheapest to reproduce); models that look like 1950s starlets and stars; its simplified and stylized; and its easy to “read” from a distance – it broadcasts what the story is about – you see a guillotine; beautiful aristocrats in love; France in the 18th century – adventure, drama, intrigue, death, sex….
Sample illustration from portfolio by Bernard Safran, guache on illustration board, 1949

There are many other examples of artists who did commercial work before they went on in their careers to be recognized as fine artists – Winslow Homer is perhaps the most well known.

I’m not meaning to be apologetic about my Dad’s illustration work – I only want people to see how its different from his later work… which I’ll be writing about next for your comparison…

Time and the Wind, book jacket by Bernard Safran, Macmillan Publishing 1951

This is an example of my Dad’s illustration work from 1951: Please take note of how stylized it is, and note the limited palette (3 colors) that was used to reduce printing costs. In this case the editor probably insisted on what characters had to be shown and might have even demanded he adhere to the company’s layout suggestions. The woman has that definite 1950s style face and hair (Audrey Hepburn? Ava Gardner?).
You can see there is very little in the way of artistic interpretation happening here; my Dad is doing the minimum to please the publisher and still make it professional – the drive behind this is to sell the book. (and the monk is my Dad by the way)
Time and the Wind, book jacket by Bernard Safran, Macmillan Publishing 1951

Jeb Stuart the Last Cavalier, book jacket by Bernard Safran, Ben Feder Inc 1957

This is one of the few illustrations that my Dad did that he really liked. It was one of the last commercial jobs he took in 1957 just before he got work with Time Magazine. He was a huge reader of Civil War history and so this assignment was a special treat to him. He also enjoyed and excelled at painting horses – many people just don’t get the muscular anatomy right when doing horses – but he was great at it.
Jeb Stuart the Last Cavalier, book jacket by Bernard Safran, Ben Feder Inc 1957

Paintings of Life on the Streets of New York City: 1960s and 1970s

As promised I am posting a few of my late father’s paintings of New York City. He chose the subject of life on the streets of New York because it was his home, and he knew it, and loved it.

The paintings give a humanist perspective onto the often overlooked people of the street. I will be writing more about this series of magnificent paintings in the future, but for now a small selection for your viewing pleasure – and Yes, they are paintings.

To see more paintings by Bernard Safran visit

PS the color of the reproduced images of the paintings below doesn’t really reflect the vibrant color they were painted with – I’m sorry for that (the color is better if you click on the image and go to the original upload which also shows more detail for some reason).

The bottom line is – you have to see them in person to really appreciate them. (Photography of paintings by Glen Reichwein)

Bernard Safran, In the Park, oil on masonite 1972, 24" x 30"

Bernard Safran, In the Park, oil on masonite 1972, 24″ x 30″

Close up of  In the Park by Bernard Safran, oil on masonite 1972, 24" x 30"

Close up of In the Park by Bernard Safran, oil on masonite 1972, 24″ x 30″
Please note that if you click on this image you can go to a one to one scale image of this.

Bernard Safran, Gossip, oil on masonite 1986. 19.75" x 28"

Bernard Safran, Gossip, oil on masonite 1986. 19.75″ x 28″

Bernard Safran, The Market, oil on masonite 1970, 24" X 30"

Bernard Safran, The Market, oil on masonite 1970, 24″ X 30″

Bernard Safran, Sleeping It Off,  oil on masonite 1986, 16" x 32.75"

Bernard Safran, Sleeping It Off, oil on masonite 1986, 16″ x 32.75″

Bernard Safran, The Alley, oil on masonite 1972, 33" x 38"

Bernard Safran, The Alley, oil on masonite 1972, 33″ x 38″