Tom Ouellette’s paintings seem to emerge from a time long ago, an era where modern conveniences weren’t even taking shape in some brilliant inventor’s mind. A time when daylight was precious as the evenings were lit by candles and oil. A time where the daily distractions were minimal and the pace was slow and languid. In fact, this renaissance man is entirely a product of a modern-day upbringing, with a series of obstacles that might have disillusioned anyone else. “I was good at math, so my family really pushed me into the sciences and math,” the Harvard graduate explains. “I remember there was a print making class for beginners, it required being interviewed by the professor in order to enroll. When I showed up, she asked me where my portfolio was, and I replied, ‘I thought this was a beginners’ class?’ She told me so many people had portfolios she decided to make it an advanced class. So, I couldn’t get into that class but ended up being an art history major.”

Attracted to jewelry making in high school, Ouellette supported himself as a jewler and turned his parents’ garage in Rockport into a jewelry shop, and although he had exhibited signs of being a creative child—writing stories, drawing pictures, writing plays and making puppets—it wasn’t until he was 28 that he started to dedicate himself to pursuing art seriously by focusing on drawing. His first drawing class was a figure drawing class, where he explains the teacher was less than helpful, informative or inspirational. Next came a program at the Art Institute of Boston, he found that their motto of “no rules” not only wasn’t teaching him, but when told not to ever use black, he thought, “That sounds like a rule to me.”

“I moved to New York to pursue a master’s degree at Columbia, but was disappointed in the program and left after a few weeks.  I had heard about the New York Academy of Art, that taught traditional techniques, and being in good shape, went there looking for a job as a model. The model coordinator was out for a few weeks, but they had an office position available if I could type, which I could.” While working there, Ouellette took courses at Brooklyn College, including with Lennart Anderson, an artist whom he greatly admired. The following year, Ouellette left the office of the Academy and enrolled full time as a student in the program, where he studied with Michael Aviano, a brilliant teacher.  The school was later accredited as a graduate program by the State of New York and the program changed. Though Aviano was let go because he had no degrees, Ouellette followed him to study under his tutelage privately for the next five years.

Ouellette teaches today in Boston and his work hangs in the Massachusetts State House on Beacon Hill where his skills in portraiture are on full display. Ouellette’s still life compositions are simple and unfettered and reflect the shadows and limited light found in paintings 400 years ago. “Ouellette says Aviano deserves the credit helping him achieve such a classic presentation. “He was very scientific in his approach,” he explains. “He used the Munsell color system and he had a profound understanding  of artistic anatomy, which differs from medical anatomy, and that subtle difference is inherent in the appreciation of a painting.” 

In a world where so much is focused on advancements, Tom Ouellette’s masterpieces are a refreshing attempt to turn back time. 

Tom Ouellette’s work is represented on Cape Cod at Tree’s Place Gallery in Orleans, treesplace.com and online at realistpainter.com.