In Dinkin’s early twenties, he became interested in photography. He dabbled, producing a few paintings and drawings. Unfortunately, he absorbed little in these classes because he was not committed to painting at that time. Later on, Dinkin took several art courses at Pratt Institute, The School of Visual Arts, and various art classes while attending the City College of New York. Within these images, he could see the artist’s hand at work and discern how these paintings were constructed. What he found visually exciting were paintings that were stylistic and possessed energetic calligraphy, such as the works of the illustrator Daniel Schwartz, the oil sketches of Rubens, Rembrandt’s drawings, and George Bellows’ paintings. The photographically realistic paintings did not interest him. While in high school, he would go to the large central library in Queens just to look at art and illustration books. Dinkin’s fascination with this image reflects an innate level of visual sensitivity that formed the foundation of his aesthetics. It was not a copy of reality – it was a creation. He found this picture captivating and charming, like a well-made miniature. (Readers can Google this image.) Dinkin was drawn to this image. In his early teens, he would visit a neighbor’s house where a copy of a painting, Grant Wood’s The Midnight Ride of Paul Revere, was hung. But that was no different than what many children were drawing. As a child, he drew cars, trains, and airplanes. When he was five, his family moved to Queens, New York. Larry Dinkin was born in Brooklyn, New York, in 1943.
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