August 27, 2025 • 24 mins
Highwaymen artist Al Black is front and center in the discussion with Todd Martin and Susan Harris. Tributes abound with eyewitness memories of painting with Al Black and his teaching techniques, trips to galleries, and poignant times.
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Speaker 1 (00:10):
And we're back on Arbidham's Voice radio show in Ralph
Nathan Oko.
Speaker 2 (00:13):
Today it's the highwaymen.
Speaker 3 (00:15):
Yeah, we weren't discussing the legendary Hall of fame al
Black high Women. So what what's the one word we
can use to describe what kind of artist l was?
Speaker 1 (00:29):
I say, I got to interrupt you on this one
that he was not he started as an artist? Uh
he No, he started as a salesman, became the artist
and a mentor. So Sam comes out to Sam, that's
what I always remember, a salesman, artist, mentor. Just like
the Three Birds, he had the three facets of himself
and he's shown at it. I think of all, just
(00:50):
like Todd, the young artists that he taught and have
gone on. Not just Todd, there's West and Mary Anne,
and I'm sure there's others around. How is he as
a teacher?
Speaker 2 (01:04):
Oh? You know, he very uh he he just surprised me.
Speaker 3 (01:10):
Uh.
Speaker 2 (01:10):
I just go down watch him paint, whether it was
late at night and and then just one day in
the afternoon on a Monday, he turns to me and says, uh,
told you been watching me long enough, We're gonna paint
our own painting today, you're gonna paint with me? How
long would you think you're inter by that? Well? That uh,
(01:34):
he uh, he painted, He told me what he was
gonna do. He painted all the background and uh, and
he painted all the water. He painted all the basic
vegetation scenes and everything. And then he wanted me to
put the poincyanitry in so he was I still have
the painting. And uh when he came back out, because
he went in the house, I don't. I'm kind of
(01:55):
glad he did because I was a nervous wreck. I
never painted a painting my life. So but when he
came back out, he said, Todd, I think you got
a gift.
Speaker 3 (02:04):
So you did. That was the first time you ever.
You did not paint at home or at the garage.
Speaker 2 (02:08):
I had never painted before ever.
Speaker 1 (02:12):
Okay, yeah, what time period?
Speaker 2 (02:15):
That was probably twenty twenty two, that's exactly.
Speaker 1 (02:18):
So you've been watching him for a year.
Speaker 2 (02:20):
Yes, I'd been watching him probably at least six months.
Six months, and our friendship will tell say that our
friendship really had developed a lot then. I think the
trust was a big thing.
Speaker 3 (02:33):
Yes, And but you came through and he had the need. Yes,
always you always there. Yeah.
Speaker 2 (02:40):
I always used to say that when he was painting,
they can't take this away from me. And I think
that that was, you know, a motto for him, that
if I had anything to say about Al Black, when
he painted, he was free. He painted free, he moved
a paintbrush free, and that was beautiful to watch.
Speaker 3 (03:00):
Does that sound familiar to you. I've been telling Todd,
I've been trying to get him to slow down working.
He's been working five six days a week at the shop.
And the one thing I've seen with him is when
he goes into his shop or in the garage at
home and he's painting, He's in a completely different, transformative mood.
(03:23):
He's in another world. And that's what you need. And
that's what you just said, Al Black does, and you
I'm realizing, you know, maybe knowingly, yes, you know that
that's your salvation, that's your escape.
Speaker 2 (03:38):
I've since his death painted many, you know, quite a
few paintings. But there was one day that I was
painting a painting and I had a picture of him
next to me, and I just looked over at him
and I thought, I said, to you, are you are
you wanting to ask me this question because it was
that real. I thought he was looking at what I
(04:00):
was believe. So yeah, very very real. I mean even
this interview today, I mean his booming voice dismissed all
that about him and so so many things that he
opened a new world for me. I mean he he
opened something. Him and the Good Lord gave me the
(04:26):
opportunity to do something I never really done before. And
mixing color and a hair salon was nothing for me.
And I think that when I really got the paint,
mixing paints was nothing for me either. I was thank you,
but I to make the transition from from hair doing
(04:46):
working on hair and painting and painting was it happened?
Speaker 1 (04:50):
Uh?
Speaker 2 (04:50):
Not not overnight. But you got a paint to get better.
Speaker 3 (04:55):
Yeah, that's whatever you're doing. The more you do it,
the more confidence, the more experience, and the more of
an ease it is to perform, no matter what it is.
But I've got to tell you, if you take that
dial and the thumbstam and you can move it from
warmth to cold, to cold to warm whatever. I think
Susan will agree with me that I've seen the difference
(05:18):
in your art. I was there when you started. I'm
here when you're doing it. And I got to tell
you something. You have achieved a level, a wonderful, superb level,
and I enjoy looking. We just did a show this
past weekend and you sold that painting that evening and
it was at the painties stunning, Yes, stunning. So you're
(05:40):
doing it the thing that's amazing, don't So now you
put your masonite on the easel. Do you know what
you're going to paint? Do you sketch it ahead of time?
Or do you just start and let the brush become
your wand and it's just almost like it does it
on its own. What motivates you to paint? What?
Speaker 2 (06:03):
I think that's the you know, I want to go
back to my childhood in so many ways because it
wasn't it was so we didn't play inside. We always
were doing something with our friends outside, and we were
making things up in our imagination to be able to
do that. And I think that plays a big role
with my paintings. I can think about something and put it,
(06:27):
put it on a piece of Maisonier canvas and and
try to bring it to life.
Speaker 3 (06:32):
I remember when the painting was done Saturday afternoon and
next thing I know is you're wiping out the right
hand side because you just don't like it. And I
thought the paint was gorgeous. It was a tree. And
next thing I know, I says, what are you doing?
I just have I don't like the way. It's not
(06:53):
my feeling, and I feel something else. And the next
thing is when you start painting over you will write
yes instead of the tree. The the brushwork that you
did with the palette knife unbelievable. And and you sold
that painting. One of that brought clients and that night.
Speaker 2 (07:12):
Well, you know, and I think too that I've had
many opportunities to teach people and they asked me, can
can you teach me how to to paint a painting
with a palette knife or And I tell them it's
very difficult for me to teach that. I can teach them,
but you need to have your own hand. I can
(07:33):
pick a I can put a a painting of some
paint on a on a board, and but it's going
to be up to you to work it. And I
think that that's the that's the trick, I mean, that's
the that's the gift, or that's the talent that that
you have and and I'm thankful that I that I.
Speaker 3 (07:52):
Can brushwork and palet knife.
Speaker 2 (07:56):
You know, I think you have to credit Beanie Baccus
and go back in time with this, because and Harold Newton,
Harold Newton seemed to stay with Bacchus, And if Bacchus
was doing full palette knife work, then Harold would do
full palet knife work. And if Bacchus would switch to
brush and a palette knife, then Harold would switch the
(08:18):
brush in the palet knife. And I think that in
the end of their time period, they were not only
that palette knife work takes a lot of a lot more
effort to put it on a full canvas and and
spread the paint. It's a lot quicker with a brush.
And I think that they probably speeded themselves up in
the latter part of their days, but they also gave
(08:40):
the painting a lot more softer feel.
Speaker 3 (08:42):
What is a palette knife? The palat knife is I
thought a butter knife in a way, I.
Speaker 2 (08:48):
Want to say it's I think it's the greatest tool
in the painting bag. There's a fan brush, there's number one,
There's there's all kinds of brushes that you can use.
But I think a palett knife really adds texture and
it adds maybe a three D look to a painting
that you just can't get with a brush.
Speaker 3 (09:09):
Now, the different style of palet knives, yes, yes, there
is long, short, heavy.
Speaker 2 (09:16):
There are some, you know, especially if you're gonna put
birds in the air, you need something with a little
more point, uh and uh mix the paint just a
little thinner. So you know, I like to use the
littlest pant palette knife I have, and a lot of
people say, wow, how do you do that? And I said, well,
it's just something more I can control.
Speaker 3 (09:38):
But you have more, you more work to do with it.
You make up for the width of a regular sized
palet knife. Yes, okay, okay.
Speaker 1 (09:46):
So with Al Black when you were learning from him
and you it seems like he taught you the way
back as taught his students, which I'm sure Al was
there too, and picking it up that way by osmosis
more than you. You know, you have to do this,
you have to do that, and you know you'd watch.
You've got that way about you. So Al's style was
(10:07):
much more folk artsy, simple style. In my book, that's
how I look at it. You know the three birds
very simple. Yes, he was doing for speed, and that
was al But now you've gone on to I don't know,
many many levels to my way of saying it or
trying to explain it above that, could you could you
paint like al if you wanted to do one is
(10:28):
a tribute to him? Could you do that same style
and do it?
Speaker 3 (10:31):
Yes?
Speaker 2 (10:31):
Very much so. In fact, when I first started painting,
I got criticized for my paintings looking too much like
Al Black's.
Speaker 3 (10:41):
So that's what the heck of a compliment.
Speaker 2 (10:43):
It's one thing that I changed. But you know, Al
used to say all the time that Harold Newton was
a demon with a paint brush.
Speaker 3 (10:52):
Oh yeah, they said that.
Speaker 2 (10:53):
And I used to say that Al Black is a
demon with a paint brush because I never seen anybody
paint as fast to him, And and really he could.
He could absolutely put you would didn't didn't know if
it was a palatinnife or not, because he was that
good at putting paint on with a brush. So I
learned so much from him. When it came to now
(11:14):
our Black painted with a three and a half inch brush.
That's not very easy to do for most people. Most
people paint with something a lot smaller, and he did
have a big hand. Yeah, I was going to say that,
and uh, his creativity of colors, his colors were fantastic
and he could he was great. He was not color blind.
(11:35):
He had a great vision that.
Speaker 3 (11:36):
Called peachy sky of his yesh. Yeah, let's take a
break here, we're going to go into the fourth quarter.
After we come back, I want to talk a little
bit more, but I want to also, uh emphasize commission work.
So we'll be right back everybody. We're just discussing the
legendary Hall of Fame Al Black, our different We'll be
(12:00):
read back everybody.
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Speaker 3 (13:05):
Hey, did you hear the latest about our Florida High Woman? No?
Speaker 2 (13:08):
What?
Speaker 3 (13:08):
There's a new High Woman art gallery and Vero Beach.
Really where eighteen seventy two Commerce Avenue?
Speaker 5 (13:15):
Wow?
Speaker 3 (13:15):
When's it open? Seven days a week? Called nine five
four five five seven six two two six for an
appointment any time, No kidding, Just call for your appointment
ninety five four five five seven six two two six
and then go to eighteen seventy two Commerce Avenue.
Speaker 1 (13:31):
Wow, that's good news.
Speaker 3 (13:32):
A member of the itex trading community, your I text
dollars are welcome.
Speaker 1 (13:39):
And welcome back to Arbred and the sports radio showing
Ralph dathan ik.
Speaker 3 (13:43):
Hi you're hearing it here from really this is a
history lesson in a way for me. Also, I came
to Vero Beach in twenty ten. Fortunately I met quite
a few of the artists the High Women that unfortunately passed.
There was sub sequent to that. But we're talking with
Susan Harris, who's been here for I think it was
(14:05):
nineteen ninety something, nineteen ninety four, and in our studio,
and I want to thank you, Susan. We have Susan
presented me with a Vero Beach magazine from the year
two thousand where you wrote a ten page article with
absolutely magnificent painting color copies of some of the most
(14:25):
beautiful High Women paintings. And so with your permission, I
gave it to our printer and we abbreviated a couple
of pages and we have a tent literally eight or
ten page staple set of the two thousand article. Now
what's significant about two thousand, Well, the name High Women
has already been attributed to them, but Garry Monroe's book
(14:48):
hasn't yet been published. The Bible of the High Woman
Saga was not even printed. Susan, your article was the
first magazine article go about the High Women, and it's
superb today as it was then. But then you're way
ahead of the time. But the two thousand article is
(15:09):
four years before the twenty six High Women were inducted
into the State of Florida Artists Hall of Fame. So
you have literally prioritized everything before anybody got involved. So
and we will not mail them, we will not email them,
and we will not fax it. This is our way
to kind of solicit you to come and visit the
(15:32):
High Woman Art Gallery at eighteen seventy two Commerce Avenue
in Fero Beach. We're open from ten to three on
Saturdays and weekdays. Just give me a call and either
Sheila or I will be happy to entertain you, give
you a private tour over our museum and gallery. Now
let's go back because we were reminiscing with Susan ere.
(15:55):
You know, we've had a lot of beautiful runs, the
shows we've been at, the shows that we've attended, and
Susan brought up something one of the more beautiful weekends
shows a day in our lives that cannot be repeated. Susan,
what do you.
Speaker 1 (16:12):
I got invited by Ralph and Todd. They're telling you
about history, but they took me on one of their adventure. Yeah,
one of their adventures a road trip, as everybody says.
They invited me to come along. Al was going to
be up at a gallery in New Smyrna Beach, which
give or take is about an hour and a half
hour and forty five minutes from Bureau Beach, and it
(16:33):
would be on a weekend. And did I want to come?
I jumped at it. I thought it'd be great fun.
And off we went. And we get there and the
place is packed, and it was summertime and it was
shacked ACKed wall to wall people. Not only was Al
Black there, and there were all black paintings for sale,
and there are other vintage paintings for sale. But fellow
(16:56):
artists came, not only Todd, but Jerry Hut and there
were others. We were just trying to reminisce who they were.
We know there were other artists there, and everybody was
talking with and watching. It was an old home week
there was. It was a big place, but there was
not an inch of room. You walk sideways, You walk sideways,
and everybody wanted his opinion on paintings, and everybody. It
(17:19):
was a great trip. It was a great time. I
think it probably gave you a different perspective on him
and seeing how he interacted with people. I know, Ralph,
you had a great time there, Yeah, you were, And
you guys picked up some paintings and had fun. And
we stopped at a thrift store down as we headed home,
and you got frames for different treasures. So it was
(17:41):
an artist Highwaymen kind of fun day. I wish you
all could have enjoyed it with us. Gave me a
lot of fun. I still remember that.
Speaker 3 (17:50):
That's what and this is something I want to emphasize
in something. You know, we all collect in business, you
buy it self for a profit. But this is more
cod and I. It's more about than money, Yes, the feeling,
the love. Yes, my life. When I moved up in
twenty ten, Todd, I've had enough. I didn't want anything
(18:10):
to do with anybody. Just leave me alone, let me
do my thing. Well, I talk about thirty days. That's
the end of that. My entire life. If you look
at my contact lists in my phone, if you look
at who I deal with, who I talk to, who
I live with, who I work with, who I dine with,
it's all related to the Highwaymen movement. I am still
(18:31):
as much in love with it. I'm more in lamor
than ever despite some negative whatever, this is the greatest
movement of art that we can witness in the High
Indian River School of art. It's a very last school
movement of art. Where do you see how that fits
(18:52):
in from the past to today to tomorrow?
Speaker 2 (18:56):
Big question I have to I have to first thank
Al Black for allowing me the privilege of being able
to paint and to be able to share his talents
alongside of me. And you know, everywhere we went uh together.
I think what I must have did five or six
(19:18):
shows with Al, I think and even Newsomerna Beach. If
Al made a commitment that he was going to be
at the show, he was there. Yeah. And you know,
I think the beautiful thing about that was is people
could see us at work and we painted a painting
(19:40):
together and you know, the creativity and the the fun
that we had together. And I want to I want
to kind of bring this out. And I know it
may be a touchy subject on some things, but but Al,
you know, he he didn't see color in so many things.
Al Al took me under his wing and it wasn't
(20:04):
it had no didn't didn't think one thing about it
that I was a white man, or just told me
that I could sell a lot more paintings if you were,
if you were a black man, to polish my face.
So that, yeah, yeah, that's that's a great thing. But
that's a tribute to to Al Black and to the
(20:26):
friendship that we had together.
Speaker 3 (20:27):
I don't remember who coined susan maybe you know this,
who meant who coined the expression? I never met a
stranger and didn't like everybody became his friend. Yes, I
don't know who. He had a way of just looking
at you, making feel make you feel like that he
cares that he's looking and listening.
Speaker 1 (20:44):
Al was a man's man. He took to all of you,
and you'd always find men in there more than women
hanging out there. He was a man's man. It was
a man's love down there. I would anytime i'd ever stopped.
That's what I noticed when I was in. But but
so one day, all of his men friends must been busy,
because out of the blue, I get a call and
he's in good frame of mind. He's in happy frame
(21:05):
of mind. He says, I was just at a show.
I could do the whole Voice of Al But he
was at a show and he says, I did great,
my greatest show ever. And I said really, I said when.
Speaker 2 (21:16):
Was the show?
Speaker 1 (21:16):
He says today. I said it's a weekday.
Speaker 3 (21:19):
He goes.
Speaker 2 (21:20):
He said yeah.
Speaker 1 (21:20):
I said, who else was there?
Speaker 3 (21:22):
He said, just me.
Speaker 2 (21:23):
I'm like, oh boy, he did do great.
Speaker 1 (21:26):
So I said, tell me about it. He said it
was north of Orlando somewhere and that it was all
car dealers. He says, I made the most money ever.
And you know, he wants to tell you, so I'm
just waiting. I don't want to be nosy and say
how much. But he says, I made thirty seven thousand dollars.
Speaker 2 (21:46):
That's what he told me.
Speaker 1 (21:47):
If I had been driving out had gone off the road,
I was like, wow, congratulations. You know, I hope he goes,
how did that all happen that you're the only one?
Speaker 3 (21:56):
He said.
Speaker 1 (21:56):
It was a car dealership and they were all there
and there's a big lunch and they asked they called
him up and asked him to set up his paintings
and he did.
Speaker 3 (22:05):
That's great.
Speaker 2 (22:06):
Oh, just to reminisce on some of the things we
did a show a new Summerna beach, and we sold
the painting that we painted right off the easel. The
lady and her husband bought the painting and after we
got done with the show, Al says it, well, it
looks like you're buying dinner tonight. So okay, this great stuff.
Speaker 3 (22:30):
Todd, We're going to have to have another show because
there's so much more that the three of us can
enjoy sharing with everybody, because this movement is just it's
not stopping. It's our job to teach everybody out there
to keep that livelihood going. As far as your happiness
and it exudes, so Todd, thank you for taking the time.
I know you're a busy man, Susan. I don't know
(22:52):
anybody busier than you, So thank you for always being
there and holding having me, mentoring me. Sincerely, thank you
for everybody. We also wanted to great the Highwayman Art
Gallery at eighteen seventy two Commerce Avenue, phone number ninety
five four five five seven six two two six. The
(23:13):
gallery is open on Saturdays from ten to three. You
call them nine five four five five seven six two
t six. You can have your own private appointment and tour.
Thank you and God bless all of American veterans.
Speaker 1 (23:33):
Clarence Jack b Rogers, Junior Air Force, Korea.
Speaker 2 (23:38):
David Walter Kirpatrick Navy, Vietnam.
Speaker 1 (23:43):
Doctor Lester Epstein, Army Vietnam. Michael Thomas Lacardi, Coast Guard, Korea.
Speaker 2 (23:53):
Terry Williams Navy.
Speaker 1 (23:56):
Daniel John Artists Encore, William Otis Cullum, Army Korea, and.
Speaker 3 (24:05):
All of our other fallen heroes. Your brothers and sistors,
thank you for your service. From the bottom of our heart,
would proudly salute you. Rest in peace forever
And we're back on Arbidham's Voice radio show in Ralph
Nathan Oko.
Speaker 2 (00:13):
Today it's the highwaymen.
Speaker 3 (00:15):
Yeah, we weren't discussing the legendary Hall of fame al
Black high Women. So what what's the one word we
can use to describe what kind of artist l was?
Speaker 1 (00:29):
I say, I got to interrupt you on this one
that he was not he started as an artist? Uh
he No, he started as a salesman, became the artist
and a mentor. So Sam comes out to Sam, that's
what I always remember, a salesman, artist, mentor. Just like
the Three Birds, he had the three facets of himself
and he's shown at it. I think of all, just
(00:50):
like Todd, the young artists that he taught and have
gone on. Not just Todd, there's West and Mary Anne,
and I'm sure there's others around. How is he as
a teacher?
Speaker 2 (01:04):
Oh? You know, he very uh he he just surprised me.
Speaker 3 (01:10):
Uh.
Speaker 2 (01:10):
I just go down watch him paint, whether it was
late at night and and then just one day in
the afternoon on a Monday, he turns to me and says, uh,
told you been watching me long enough, We're gonna paint
our own painting today, you're gonna paint with me? How
long would you think you're inter by that? Well? That uh,
(01:34):
he uh, he painted, He told me what he was
gonna do. He painted all the background and uh, and
he painted all the water. He painted all the basic
vegetation scenes and everything. And then he wanted me to
put the poincyanitry in so he was I still have
the painting. And uh when he came back out, because
he went in the house, I don't. I'm kind of
(01:55):
glad he did because I was a nervous wreck. I
never painted a painting my life. So but when he
came back out, he said, Todd, I think you got
a gift.
Speaker 3 (02:04):
So you did. That was the first time you ever.
You did not paint at home or at the garage.
Speaker 2 (02:08):
I had never painted before ever.
Speaker 1 (02:12):
Okay, yeah, what time period?
Speaker 2 (02:15):
That was probably twenty twenty two, that's exactly.
Speaker 1 (02:18):
So you've been watching him for a year.
Speaker 2 (02:20):
Yes, I'd been watching him probably at least six months.
Six months, and our friendship will tell say that our
friendship really had developed a lot then. I think the
trust was a big thing.
Speaker 3 (02:33):
Yes, And but you came through and he had the need. Yes,
always you always there. Yeah.
Speaker 2 (02:40):
I always used to say that when he was painting,
they can't take this away from me. And I think
that that was, you know, a motto for him, that
if I had anything to say about Al Black, when
he painted, he was free. He painted free, he moved
a paintbrush free, and that was beautiful to watch.
Speaker 3 (03:00):
Does that sound familiar to you. I've been telling Todd,
I've been trying to get him to slow down working.
He's been working five six days a week at the shop.
And the one thing I've seen with him is when
he goes into his shop or in the garage at
home and he's painting, He's in a completely different, transformative mood.
(03:23):
He's in another world. And that's what you need. And
that's what you just said, Al Black does, and you
I'm realizing, you know, maybe knowingly, yes, you know that
that's your salvation, that's your escape.
Speaker 2 (03:38):
I've since his death painted many, you know, quite a
few paintings. But there was one day that I was
painting a painting and I had a picture of him
next to me, and I just looked over at him
and I thought, I said, to you, are you are
you wanting to ask me this question because it was
that real. I thought he was looking at what I
(04:00):
was believe. So yeah, very very real. I mean even
this interview today, I mean his booming voice dismissed all
that about him and so so many things that he
opened a new world for me. I mean he he
opened something. Him and the Good Lord gave me the
(04:26):
opportunity to do something I never really done before. And
mixing color and a hair salon was nothing for me.
And I think that when I really got the paint,
mixing paints was nothing for me either. I was thank you,
but I to make the transition from from hair doing
(04:46):
working on hair and painting and painting was it happened?
Speaker 1 (04:50):
Uh?
Speaker 2 (04:50):
Not not overnight. But you got a paint to get better.
Speaker 3 (04:55):
Yeah, that's whatever you're doing. The more you do it,
the more confidence, the more experience, and the more of
an ease it is to perform, no matter what it is.
But I've got to tell you, if you take that
dial and the thumbstam and you can move it from
warmth to cold, to cold to warm whatever. I think
Susan will agree with me that I've seen the difference
(05:18):
in your art. I was there when you started. I'm
here when you're doing it. And I got to tell
you something. You have achieved a level, a wonderful, superb level,
and I enjoy looking. We just did a show this
past weekend and you sold that painting that evening and
it was at the painties stunning, Yes, stunning. So you're
(05:40):
doing it the thing that's amazing, don't So now you
put your masonite on the easel. Do you know what
you're going to paint? Do you sketch it ahead of time?
Or do you just start and let the brush become
your wand and it's just almost like it does it
on its own. What motivates you to paint? What?
Speaker 2 (06:03):
I think that's the you know, I want to go
back to my childhood in so many ways because it
wasn't it was so we didn't play inside. We always
were doing something with our friends outside, and we were
making things up in our imagination to be able to
do that. And I think that plays a big role
with my paintings. I can think about something and put it,
(06:27):
put it on a piece of Maisonier canvas and and
try to bring it to life.
Speaker 3 (06:32):
I remember when the painting was done Saturday afternoon and
next thing I know is you're wiping out the right
hand side because you just don't like it. And I
thought the paint was gorgeous. It was a tree. And
next thing I know, I says, what are you doing?
I just have I don't like the way. It's not
(06:53):
my feeling, and I feel something else. And the next
thing is when you start painting over you will write
yes instead of the tree. The the brushwork that you
did with the palette knife unbelievable. And and you sold
that painting. One of that brought clients and that night.
Speaker 2 (07:12):
Well, you know, and I think too that I've had
many opportunities to teach people and they asked me, can
can you teach me how to to paint a painting
with a palette knife or And I tell them it's
very difficult for me to teach that. I can teach them,
but you need to have your own hand. I can
(07:33):
pick a I can put a a painting of some
paint on a on a board, and but it's going
to be up to you to work it. And I
think that that's the that's the trick, I mean, that's
the that's the gift, or that's the talent that that
you have and and I'm thankful that I that I.
Speaker 3 (07:52):
Can brushwork and palet knife.
Speaker 2 (07:56):
You know, I think you have to credit Beanie Baccus
and go back in time with this, because and Harold Newton,
Harold Newton seemed to stay with Bacchus, And if Bacchus
was doing full palette knife work, then Harold would do
full palet knife work. And if Bacchus would switch to
brush and a palette knife, then Harold would switch the
(08:18):
brush in the palet knife. And I think that in
the end of their time period, they were not only
that palette knife work takes a lot of a lot more
effort to put it on a full canvas and and
spread the paint. It's a lot quicker with a brush.
And I think that they probably speeded themselves up in
the latter part of their days, but they also gave
(08:40):
the painting a lot more softer feel.
Speaker 3 (08:42):
What is a palette knife? The palat knife is I
thought a butter knife in a way, I.
Speaker 2 (08:48):
Want to say it's I think it's the greatest tool
in the painting bag. There's a fan brush, there's number one,
There's there's all kinds of brushes that you can use.
But I think a palett knife really adds texture and
it adds maybe a three D look to a painting
that you just can't get with a brush.
Speaker 3 (09:09):
Now, the different style of palet knives, yes, yes, there
is long, short, heavy.
Speaker 2 (09:16):
There are some, you know, especially if you're gonna put
birds in the air, you need something with a little
more point, uh and uh mix the paint just a
little thinner. So you know, I like to use the
littlest pant palette knife I have, and a lot of
people say, wow, how do you do that? And I said, well,
it's just something more I can control.
Speaker 3 (09:38):
But you have more, you more work to do with it.
You make up for the width of a regular sized
palet knife. Yes, okay, okay.
Speaker 1 (09:46):
So with Al Black when you were learning from him
and you it seems like he taught you the way
back as taught his students, which I'm sure Al was
there too, and picking it up that way by osmosis
more than you. You know, you have to do this,
you have to do that, and you know you'd watch.
You've got that way about you. So Al's style was
(10:07):
much more folk artsy, simple style. In my book, that's
how I look at it. You know the three birds
very simple. Yes, he was doing for speed, and that
was al But now you've gone on to I don't know,
many many levels to my way of saying it or
trying to explain it above that, could you could you
paint like al if you wanted to do one is
(10:28):
a tribute to him? Could you do that same style
and do it?
Speaker 3 (10:31):
Yes?
Speaker 2 (10:31):
Very much so. In fact, when I first started painting,
I got criticized for my paintings looking too much like
Al Black's.
Speaker 3 (10:41):
So that's what the heck of a compliment.
Speaker 2 (10:43):
It's one thing that I changed. But you know, Al
used to say all the time that Harold Newton was
a demon with a paint brush.
Speaker 3 (10:52):
Oh yeah, they said that.
Speaker 2 (10:53):
And I used to say that Al Black is a
demon with a paint brush because I never seen anybody
paint as fast to him, And and really he could.
He could absolutely put you would didn't didn't know if
it was a palatinnife or not, because he was that
good at putting paint on with a brush. So I
learned so much from him. When it came to now
(11:14):
our Black painted with a three and a half inch brush.
That's not very easy to do for most people. Most
people paint with something a lot smaller, and he did
have a big hand. Yeah, I was going to say that,
and uh, his creativity of colors, his colors were fantastic
and he could he was great. He was not color blind.
(11:35):
He had a great vision that.
Speaker 3 (11:36):
Called peachy sky of his yesh. Yeah, let's take a
break here, we're going to go into the fourth quarter.
After we come back, I want to talk a little
bit more, but I want to also, uh emphasize commission work.
So we'll be right back everybody. We're just discussing the
legendary Hall of Fame Al Black, our different We'll be
(12:00):
read back everybody.
Speaker 4 (12:03):
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Speaker 3 (13:05):
Hey, did you hear the latest about our Florida High Woman? No?
Speaker 2 (13:08):
What?
Speaker 3 (13:08):
There's a new High Woman art gallery and Vero Beach.
Really where eighteen seventy two Commerce Avenue?
Speaker 5 (13:15):
Wow?
Speaker 3 (13:15):
When's it open? Seven days a week? Called nine five
four five five seven six two two six for an
appointment any time, No kidding, Just call for your appointment
ninety five four five five seven six two two six
and then go to eighteen seventy two Commerce Avenue.
Speaker 1 (13:31):
Wow, that's good news.
Speaker 3 (13:32):
A member of the itex trading community, your I text
dollars are welcome.
Speaker 1 (13:39):
And welcome back to Arbred and the sports radio showing
Ralph dathan ik.
Speaker 3 (13:43):
Hi you're hearing it here from really this is a
history lesson in a way for me. Also, I came
to Vero Beach in twenty ten. Fortunately I met quite
a few of the artists the High Women that unfortunately passed.
There was sub sequent to that. But we're talking with
Susan Harris, who's been here for I think it was
(14:05):
nineteen ninety something, nineteen ninety four, and in our studio,
and I want to thank you, Susan. We have Susan
presented me with a Vero Beach magazine from the year
two thousand where you wrote a ten page article with
absolutely magnificent painting color copies of some of the most
(14:25):
beautiful High Women paintings. And so with your permission, I
gave it to our printer and we abbreviated a couple
of pages and we have a tent literally eight or
ten page staple set of the two thousand article. Now
what's significant about two thousand, Well, the name High Women
has already been attributed to them, but Garry Monroe's book
(14:48):
hasn't yet been published. The Bible of the High Woman
Saga was not even printed. Susan, your article was the
first magazine article go about the High Women, and it's
superb today as it was then. But then you're way
ahead of the time. But the two thousand article is
(15:09):
four years before the twenty six High Women were inducted
into the State of Florida Artists Hall of Fame. So
you have literally prioritized everything before anybody got involved. So
and we will not mail them, we will not email them,
and we will not fax it. This is our way
to kind of solicit you to come and visit the
(15:32):
High Woman Art Gallery at eighteen seventy two Commerce Avenue
in Fero Beach. We're open from ten to three on
Saturdays and weekdays. Just give me a call and either
Sheila or I will be happy to entertain you, give
you a private tour over our museum and gallery. Now
let's go back because we were reminiscing with Susan ere.
(15:55):
You know, we've had a lot of beautiful runs, the
shows we've been at, the shows that we've attended, and
Susan brought up something one of the more beautiful weekends
shows a day in our lives that cannot be repeated. Susan,
what do you.
Speaker 1 (16:12):
I got invited by Ralph and Todd. They're telling you
about history, but they took me on one of their adventure. Yeah,
one of their adventures a road trip, as everybody says.
They invited me to come along. Al was going to
be up at a gallery in New Smyrna Beach, which
give or take is about an hour and a half
hour and forty five minutes from Bureau Beach, and it
(16:33):
would be on a weekend. And did I want to come?
I jumped at it. I thought it'd be great fun.
And off we went. And we get there and the
place is packed, and it was summertime and it was
shacked ACKed wall to wall people. Not only was Al
Black there, and there were all black paintings for sale,
and there are other vintage paintings for sale. But fellow
(16:56):
artists came, not only Todd, but Jerry Hut and there
were others. We were just trying to reminisce who they were.
We know there were other artists there, and everybody was
talking with and watching. It was an old home week
there was. It was a big place, but there was
not an inch of room. You walk sideways, You walk sideways,
and everybody wanted his opinion on paintings, and everybody. It
(17:19):
was a great trip. It was a great time. I
think it probably gave you a different perspective on him
and seeing how he interacted with people. I know, Ralph,
you had a great time there, Yeah, you were, And
you guys picked up some paintings and had fun. And
we stopped at a thrift store down as we headed home,
and you got frames for different treasures. So it was
(17:41):
an artist Highwaymen kind of fun day. I wish you
all could have enjoyed it with us. Gave me a
lot of fun. I still remember that.
Speaker 3 (17:50):
That's what and this is something I want to emphasize
in something. You know, we all collect in business, you
buy it self for a profit. But this is more
cod and I. It's more about than money, Yes, the feeling,
the love. Yes, my life. When I moved up in
twenty ten, Todd, I've had enough. I didn't want anything
(18:10):
to do with anybody. Just leave me alone, let me
do my thing. Well, I talk about thirty days. That's
the end of that. My entire life. If you look
at my contact lists in my phone, if you look
at who I deal with, who I talk to, who
I live with, who I work with, who I dine with,
it's all related to the Highwaymen movement. I am still
(18:31):
as much in love with it. I'm more in lamor
than ever despite some negative whatever, this is the greatest
movement of art that we can witness in the High
Indian River School of art. It's a very last school
movement of art. Where do you see how that fits
(18:52):
in from the past to today to tomorrow?
Speaker 2 (18:56):
Big question I have to I have to first thank
Al Black for allowing me the privilege of being able
to paint and to be able to share his talents
alongside of me. And you know, everywhere we went uh together.
I think what I must have did five or six
(19:18):
shows with Al, I think and even Newsomerna Beach. If
Al made a commitment that he was going to be
at the show, he was there. Yeah. And you know,
I think the beautiful thing about that was is people
could see us at work and we painted a painting
(19:40):
together and you know, the creativity and the the fun
that we had together. And I want to I want
to kind of bring this out. And I know it
may be a touchy subject on some things, but but Al,
you know, he he didn't see color in so many things.
Al Al took me under his wing and it wasn't
(20:04):
it had no didn't didn't think one thing about it
that I was a white man, or just told me
that I could sell a lot more paintings if you were,
if you were a black man, to polish my face.
So that, yeah, yeah, that's that's a great thing. But
that's a tribute to to Al Black and to the
(20:26):
friendship that we had together.
Speaker 3 (20:27):
I don't remember who coined susan maybe you know this,
who meant who coined the expression? I never met a
stranger and didn't like everybody became his friend. Yes, I
don't know who. He had a way of just looking
at you, making feel make you feel like that he
cares that he's looking and listening.
Speaker 1 (20:44):
Al was a man's man. He took to all of you,
and you'd always find men in there more than women
hanging out there. He was a man's man. It was
a man's love down there. I would anytime i'd ever stopped.
That's what I noticed when I was in. But but
so one day, all of his men friends must been busy,
because out of the blue, I get a call and
he's in good frame of mind. He's in happy frame
(21:05):
of mind. He says, I was just at a show.
I could do the whole Voice of Al But he
was at a show and he says, I did great,
my greatest show ever. And I said really, I said when.
Speaker 2 (21:16):
Was the show?
Speaker 1 (21:16):
He says today. I said it's a weekday.
Speaker 3 (21:19):
He goes.
Speaker 2 (21:20):
He said yeah.
Speaker 1 (21:20):
I said, who else was there?
Speaker 3 (21:22):
He said, just me.
Speaker 2 (21:23):
I'm like, oh boy, he did do great.
Speaker 1 (21:26):
So I said, tell me about it. He said it
was north of Orlando somewhere and that it was all
car dealers. He says, I made the most money ever.
And you know, he wants to tell you, so I'm
just waiting. I don't want to be nosy and say
how much. But he says, I made thirty seven thousand dollars.
Speaker 2 (21:46):
That's what he told me.
Speaker 1 (21:47):
If I had been driving out had gone off the road,
I was like, wow, congratulations. You know, I hope he goes,
how did that all happen that you're the only one?
Speaker 3 (21:56):
He said.
Speaker 1 (21:56):
It was a car dealership and they were all there
and there's a big lunch and they asked they called
him up and asked him to set up his paintings
and he did.
Speaker 3 (22:05):
That's great.
Speaker 2 (22:06):
Oh, just to reminisce on some of the things we
did a show a new Summerna beach, and we sold
the painting that we painted right off the easel. The
lady and her husband bought the painting and after we
got done with the show, Al says it, well, it
looks like you're buying dinner tonight. So okay, this great stuff.
Speaker 3 (22:30):
Todd, We're going to have to have another show because
there's so much more that the three of us can
enjoy sharing with everybody, because this movement is just it's
not stopping. It's our job to teach everybody out there
to keep that livelihood going. As far as your happiness
and it exudes, so Todd, thank you for taking the time.
I know you're a busy man, Susan. I don't know
(22:52):
anybody busier than you, So thank you for always being
there and holding having me, mentoring me. Sincerely, thank you
for everybody. We also wanted to great the Highwayman Art
Gallery at eighteen seventy two Commerce Avenue, phone number ninety
five four five five seven six two two six. The
(23:13):
gallery is open on Saturdays from ten to three. You
call them nine five four five five seven six two
t six. You can have your own private appointment and tour.
Thank you and God bless all of American veterans.
Speaker 1 (23:33):
Clarence Jack b Rogers, Junior Air Force, Korea.
Speaker 2 (23:38):
David Walter Kirpatrick Navy, Vietnam.
Speaker 1 (23:43):
Doctor Lester Epstein, Army Vietnam. Michael Thomas Lacardi, Coast Guard, Korea.
Speaker 2 (23:53):
Terry Williams Navy.
Speaker 1 (23:56):
Daniel John Artists Encore, William Otis Cullum, Army Korea, and.
Speaker 3 (24:05):
All of our other fallen heroes. Your brothers and sistors,
thank you for your service. From the bottom of our heart,
would proudly salute you. Rest in peace forever
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