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To end off season 13, we sat down with Matthew James Collins, a figurative painter, portrait painter, and sculptor living and working in Florence, Italy. Matthew traces his path from a creative childhood in Oak Park and frustration with contemporary-focused art school to then find classical, atelier-based training in Florence. Matthew explains how Old Masters like Titian, Van Dyck, Rembrandt, and Velázquez shaped his devotion to painting from life, Baroque optical effects, and the idea of following their principles—especially observation of nature—rather than copying their style. Matthew also explains how cameras and screens distort our sense of seeing, why young painters should “go cold turkey” from photographic reference when possible, and how experiencing art in person and in context is radically different from viewing it in what Matthew calls “art zoos” (museums stripped of original context). Matthew shares concrete insights on portraiture—sight-size work from life, historical palettes, thoughtful posing and lighting, and the slow, conversational sittings needed to reveal character—as well as his teaching method of painting alongside one or two students and correcting in real time. Underneath it all, the conversation keeps returning to bigger themes: the likeness of artistic voice to a lifelong "Odyssey", the role of culture and curiosity, the practical and emotional difficulty of being an artist today, and the enduring importance of making ambitious, sincere, beautifully crafted work that lives with people in everyday spaces.

Matthew's FASO site:

matthewjamescollins.com/

Matthew's Social Media:

instagram.com/matthewjamescollinsartist/

facebook.com/matthewjamescollinsartist/

Matthew's Articles:

Historical Approaches for Contemporary Portrait Practice

Dancing Faun of Pompeii: Removed From Habitat, Out of Context