“He basically told me, ‘There are lot of people trying to be architects but not a lot of people with your oil painting skills,’” Smith says. “It seemed like a better idea to focus on that.”
Adds Urbina, “I just remember seeing the paintings and saying, ‘Wow, take it from there.’”
To earn his keep, Smith stuck with gigs on renovation crews. At Waialae Country Club on Oahu. At Claremont Country Club in Oakland. At the California Golf Club, south of San Francisco, where he also began learning the superintendent’s trade. In 2015, he landed the top job at Orinda Country Club.
All the while, he continued painting, building a name as an architecture buff with an artist’s touch. As his reputation grew, so did demand for his work. At the outset, Smith mostly painted holes that caught his fancy. Nowadays, he works largely on commission, though, as it happens, many of the holes he feels inspired to paint — like the 7th at Pebble, the 18th at St. Andrews — are the very holes that people want him to capture.
Every so often, Smith shows up at a course and paints outdoors, en plein air. More frequently, though, he works in his studio from photographs, which opens the entire golf world to him. That he’s never been to Scotland has not stopped him from bringing the Old Course to life.
At nearly any time, he has two paintings in progress, toggling between projects that take anywhere from several weeks to several months to complete. The finished works fetch from $3,000 to $8,000. (You can browse his portfolio here.)
There is interplay between his two pursuits, each aesthetic influencing the other. Just as caring for a golf hole requires restraint, so does capturing one on canvas.
“I try to keep things raw and natural looking on the course, but this same applies in the studio,” Smith says. “Probably the hardest thing about painting a golf hole is knowing when you’re done.”
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https://www.golf.com/news/features/2020/02/07/josh-smith-golf-course-superintendent-oil-paintings/
2020-02-07 11:18:54Z
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