Issue link: http://papercitymagazine.uberflip.com/i/1546313
T wo of America's most celebrated classically trained painters, husband and wife David Larned and Sarah Lamb, are among a crop of Young Turks who, starting in the 1990s, began reviving the almost lost art of realism. While realism in painting goes back to the Renaissance, it also relates to a strain of American art whose practitioners included, in the colonial era, John Singleton Copley, followed by 19th-century masters Thomas Eakins and Winslow Homer, segueing into the 20th century with Edward Hopper and Andrew Wyeth. Lamb's and Larned's work is devoted, respectively, to still-life and portrait painting. Surprisingly, the couple is not located in old- guard Northeastern art-and-culture capitals New York or Philadelphia — although they've both lived in Manhattan and Pennsylvania's bucolic Brandywine Valley, as well as studying in France (Lamb) and Florence (Larned). These two contemporary acolytes of realism have, for the past dozen years, plied their trade in Houston, a metropolis known more for its explosive contemporary swagger. After all, this is the city of the landmark 1985- 1986 MFAH traveling exhibition "Fresh Paint: The Houston School" and also the art town that shaped Julian Schnabel. With dual studios in a contemporary inner- city home they share with daughter Sadie, Lamb and Larned's creative kingdoms are both second-story bedrooms, transformed into the land of easels, palettes, and oil paints. Just like the setup Vermeer favored, their studios are north facing, ideal for the diffused natural light they need for rendering still-lifes and subjects for a constant flow of commissions. The couple, whose Texas and national patrons are illustrious and often intensely private, are both collected by museums. In a recent announcement, Larned has been chosen to paint Jill Biden's official portrait as First Lady. Here, a Q&A with these sought- after painters at the top of their game. Reality of married artists and fellow realists. Sarah Lamb: We understand how unique our careers are. It's probably rare to have two married artists who do the same style of painting but in different genres. We understand when we each need to spend more time in the studio, because we're passionate about what we do. It also helps that we were trained in a similar 19th-century style, so we can give critiques to each other — but only when asked. A golden rule. David Larned: We can talk shop in minute detail or about where we should go on date night. Honestly, we talk way more about where we want to eat than we do painting technique. Challenges of married painters. Sarah: I think most people would imagine it would be a challenge to work so close to each other. But it's actually a joy. Hopefully Dave says the same thing. David: Her studio is an incredible mess. I am probably annoyingly neat. I like her disarray in the way opposites attract. Her nickname in art school was Demolition Dixie — and she Artists Sarah Lamb and David Larned at Home in their Houston Studios A Tale of Two Studios By Catherine D. Anspon. Photography Jenny Antill Clifton. Artists David Larned and Sarah Lamb 110