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"The first thing I usually consider when composing a painting is the light, what is it doing, where does it fall, what does it mask? I am always attracted to very dramatic light effects, to the bright smash of light upon form that melts into a deep mysterious shadow. I tend to emphasize the shadows in my work as a way of unifying the painting, paring things down to the essentials.
My work has been influenced by the work of the early American Impressionist painters such as Edmund Tarbell and John Singer Sargent. Also some of the work of Edward Hopper and that wonderful quality of solitude that his paintings evoke. I look for ways to make my subjects modern rather than a throwback and you can see this in my series of Grand Central station and the he art museum series including several which depict the Metropolitan Museum of Art. I enjoy the visual pun of these works that show paintings within paintings and make the spectators of the Met the subjects of my own work." (https://stevenjlevin.com/figures-interiors/)
Still life painting provides me the opportunity to concentrate on the abstract beauty of form, color and texture. Here, the narrative elements that might be part of any figurative work need not apply.I tend to focus my still life subjects for the .... (https://stevenjlevin.com/still-life/)
Steven J. Levin was classically trained in fine art painting in Minnesota.... He is emerging as a pivotal player in the resurgence of the American Realist Movement and is widely admired by his fellow artists....
His work covers a wide spectrum of subject matter. His palette is bold, often containing his striking, signature cherry red. Not satisfied depicting one subject, Levin often pushes himself to produce highly complex works containing dozens of objects, multiple figures, and richly detailed interiors. His series based on museum visitors, for example, contain as many as 10 figures in one painting, each with their... (http://johnpence.com/visuals/painters/levin/)