威特肯-美国现代著名画家
威廉·威特肯（William Whitaker 1943-），美国现代著名画家，自小受艺术家父亲的熏陶, 17岁就读犹他州立大学，师从学术权威画师阿尔文Gittins，打下坚实的绘画基础。1965年以后，成为一个专业画家和大学美术系教授。作为一个学术画家，威特肯一直描绘自然光。通过高光下模型，他能敏锐地转换成清晰丰富的阴影和亮点。他认为，绘画的价值是在于捕捉精神的力量。他的作品真实地告诉人们,对于所有的生命，他都在深情地试图捕捉看不到的安静和舒适。他还擅长以饱含情韵的笔触描绘梦幻般的少妇形象。他的作品，无处不在追求美的发现，无论是油画还是素描，无论是少妇裸体还是自然绘画，都是精益求精，认真严谨，色彩丰富，柔美虚幻 ，富有表现力与感染力，在细节表现上还很具有穿透性。他与妻子约安1990年结婚，现和两个孩子一起住在纽约。
1、尊贵 August
2、屏风后面 Behind the Screen
3、女模特卡亚蒂 Caryatid
4、海滩上 Cove
5、晨光里 Morning Light
6、波尔赛弗捏 Persephone
7、海墙边 Sea Wall
8、在山居度假 Holiday at Mountain Home
9、演出。所有的人都非常投入，动态与神态的精彩刻画烘托了热烈的气氛。连光滑的旧木地板都画的这么好，远近的空间感表现得很充分。注意一下女孩子的脚，他是有意画的如此虚的。以表现脚的动感。
10、练舞
11、看母鸡啄食
12、艺术家和舞蹈者
13、优雅
14、美丽背影
15、羊和小孩。这幅农家孩子的画，画的非常生动活泼。构图上，通过羊与孩子手的配合，使画面组成了一个圈子。一种其乐融融的气氛就出来了。画面上羊和女孩子比较亮，其它部分暗，突出了主题。左下方椅子上的白娃娃是为了与右边女孩起呼应作用的。如果没有那一点白的，构图上就会失去均衡。再看那只羊，不但是造型正确生动，笔触也用的很好，把羊毛的质感表现得十分精彩。
16、轻盈 Dancer
17、威特肯（William Whitaker）自述 Notes and Personal Stuff
We have paints, brushes, books, props, easels, crates, paper, canvas, pencils, solvents, costumes, computers and banjos everywhere.
We are fixated on art. We are boring company.
画家介绍：
威廉 · 威特肯（William Whitaker 1943-），他父亲是艺术家，是家里唯一的儿子，在艺术家庭的氛围中长大。他从小学习绘画，早期记忆中最深刻的是艺术工作室。他的童年和青年的艺术世界是美好的。他认为画的价值是找到其精神的力量……
The only son of an artist father, William Whitaker grew up in the special world of the working artist. He had access to the finest art materials and was painting in watercolor and oil at the age of six. His fondest early memories are of the sights sounds and smells of the art studio.
The art world of his childhood and youth was the brave new world of abstract expressionism and until he was well out of college his natural inclination to draw accurately and his love for traditional realism was a source of inner conflict. Nevertheless he was fortunate, starting at age 17, to receive a thorough grounding in academic figure drawing and painting from the portrait painter Alvin Gittins at the University of Utah, and after exploring other styles he followed his heart into traditional art.
Whitaker loves to paint from life in an old fashioned studio. No matter what direction his art takes him, he always comes back to the model in the studio, the form bathed in the beautiful quiet cool light coming down from a high north window. He refers to this kind of seeing and painting as the Old Testament of art and feels there is enough magic to engage him there for the rest of his life.
He believes the value of painting is to be found in its spiritual power. Having been told all his life that the kind of painting he enjoys is dead, he takes quiet comfort in lovingly attempting to capture something the camera cannot see. He is also delighted that there are so many wonderfully talented young artists who are not bound or inhibited by contemporary art world conventions and who are out to paint beautifully crafted pictures without apology.
Claire Peterson