So many of us are driven by the things that touched us as children. The objects and ideas that took hold of our imaginations, also shaped our dreams. This is especially true in artists and personified in painter Richard Schmid.

Born in Chicago in 1934, Richard Schmid's interest in painting began early and grew out of his fascination with pictures of all kinds.

"They [pictures] are such marvelous things. I have loved them since I was a child."

It is fitting that Richard's love of pictures inspired him to paint, since his paintings have moved countless others to love pictures too. And drawing others into your world is the true mark of a great artist. By illuminating ordinary images and transforming them into extraordinary paintings, by elevating them to art and doing so in a way that allows others to feel the moment, Richard allows every man to see through an artist's eyes.

It is because of this quality, along with his masterful techniques and stunning body of work, that Richard Schmid has been chosen by The American Society of Portrait Artists as this year's recipient of the coveted John Singer Sargent Award.

At the age of twelve, Richard began studying landscape painting, figure drawing and anatomy. He went on to study under landscape painter Gianni Cilfone.

While he loves painting, Richard has always shared his enthusiasm for art with a love of music. Fortune smiled on the art world and a simple matter of size led Richard down the artist's path rather than the musician's.

"In high school, I almost chose music instead of painting, but the army interrupted. I realized that I couldn't haul my piano to basic training."

But a sketch book probably traveled easily.

After that, Richard knew painting would be his life's work.

He entered the Chicago Institute of Art in 1952 and it was there that Richard learned the techniques of the classics and formed his devotion to realism. It was also during this time, that Richard's own individual style began to emerge.

Developed over his long career, Richard's style is marked by precision, lavish color, and most importantly, fidelity to the idea of alla prima or direct painting.

Richard was first introduced to the term while studying at The Chicago Institute of Art. Direct painting can best be defined as the artist painting in a way that presents an accurate representation of his perception of the subject at the moment of painting. It is realism at its purest. It forces the artist to realize that realistic painting is not enough, he must convey his perception of the moment and in doing so, communicate the reason he painted the subject.

"Whether an artist realizes it or not , he can never paint the Ôout there' that is really out there, he can only paint his perception of out there, but that is what is most important."

It is this method that lies behind all of Richard's work. To him, painting is a vehicle through which an artist can tell a story or relate a message. Richard sees this capacity for communication as an integral part of painting and for this reason he rejects abstraction and relentlessly pursues realism.

"Painting is a language; a unique form of communication. If people don't understand what they are looking at, they can't get the message. I want people to understand what I am painting and why."

As important as it is, realism alone cannot make a painting great. Richard looks beyond these characteristics in his own and in other works. He looks for the "why? " in a painting.

"If a painting does not move me emotionally or spiritually, it means nothing to me, no matter how technically correct it is."
It is alla prima that can take a painting beyond realism, that can answer "why?" and in so doing, impart to the work that indefinable quality that somehow stirs the heart and soul.

A few years ago, Richard's book, aptly titled Alla Prima, All I Know About Painting, hit the shelves, proving him as talented a writer as he is a painter. In this handsome volume, he divulges the three criteria that move a painting past reality and make it truly superb:

The first is a clear mental image of the end result. A painter must be able to see the painting he wants to paint. Secondly, he must have an analytical grasp and understanding of the subject he is painting, and finally, he must be in control of the painting process.

While Richard admits other factors must also be present, such as enough time and good painting conditions, these three are vital.
The book went through fifteen years of preparation and has been very well received. It lets others in on Richard's training and knowledge, offering the experience gained in lifetime of painting.

"I get such joy out of sharing what I know. Many artists have not had the opportunity to get the training I've had. I really wanted to put the classical into simple terms."
Richard is not strictly a portrait artist, but people are his favorite subjects, so a large amount of his work has been devoted to portraits. However, he does not do portraits on commission.

"I love to paint people, but I do it for myself."
Richard has painted many celebrated landscapes as well as portraits and says that the difference in the techniques between the two is substantial. "I can take far more liberties with portraits than with landscapes."

Richard emphasized one point about portrait painting that relates back to the concept of alla prima. According to him, capturing the entire essence of a person in a portrait is impossible. "The only thing I can capture is how I see the person; that's enough."

But again, the how in Richard's paintings is really secondary to the why. What inspires him to put brush to canvas? Richard claims that the muse is always present, but there are certain things that fuel his creative process.
"Music is vitally important to my painting. I constantly relate my work to music. Nature is important too."

Nature is surely abundant in Richard's new home. He currently resides in Southern Vermont with his equally talented wife, Nancy Guzik. The peaceful setting provides perfect conditions for painting. Since the success of his book, though, Richard has been so busy that the time to paint has become very elusive. He admits that, "Painting now is a luxury for me."

For this artist, being awarded the Sargent Award is the latest in a long list of awards and recognition.

Since 1958, he has won every major award in the United States, including the American Watercolor gold medal. In 1987, he was honored with the $100,000 National Arts in The Parks award for his oil painting Rocky Mountain National Park-Mountain Stream. The painting was featured on the first official 1988 National Park Stamp.

The Sargent Award is still tremendous honor, however, even for an artist as celebrated as Richard Schmid.

His voice swelled with pride, but his answer was humble when asked what receiving the Sargent Award meant to him.

"Getting this award is like God coming down from heaven and touching me on the head to say, 'You've done well.' Sargent is such a hero and this such a breathtaking honor. To have The American Society of Portrait Artists, my peers, bestow this award on me is beyond anything I ever expected."

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Jennifer Kornegay earned her degree in journalism from the University of Alabama. She is a freelance writer in Montgomery, Alabama.