“Alchemy of Light and Shadow” Solo Exhibition
Master Painter Jeffrey C. Legg Returns Home for “Alchemy of Light and Shadow” Solo Exhibition
Joplin, MO — Renowned oil painter Jeffrey C. Legg is set to captivate audiences with Alchemy of Light and Shadow at the Spiva Center for the Arts in Joplin, Missouri. The exhibition will run from August 23 to October 25, 2025, in the Sharon & Lance Beshore Gallery.
Alchemy of Light and Shadow explores the fragile interplay between illumination and obscurity—how light acts as a revelatory force, while shadow shrouds meaning and invites introspection. Each painting is an invitation to pause, to perceive, and to reflect on how memory, emotion, and perception shape our experience of the visible world. In Legg’s hands, light becomes a language of truth; shadow, a vessel of mystery. Together, they form a powerful dialogue, offering glimpses into realms both seen and unseen.
Born in 1959, Legg’s formidable artistic journey began at a young age, with his foundational talent meticulously cultivated through rigorous studies at Atelier Lack and the Minneapolis College of Art and Design. Today, he stands as a Master Signature Member of the prestigious Oil Painters of America—an honor that reflects his profound contributions to contemporary realism.
His critically acclaimed, award-winning work has been prominently featured in major art publications and is exhibited in prestigious galleries across the country. He has also taught workshops in France and England. Legg’s art is highly sought after by discerning collectors in the United States, France, the United Kingdom, and beyond.
Alchemy of Light and Shadow marks both a homecoming and a milestone—a deeply personal exhibition from one of America’s most luminous realist painters. It is a fitting and profound debut for an artist returning home, bringing with him a world of vision shaped by decades of dedication, curiosity, and quiet wonder.
Exclusive Interview: Q&A with Jeffrey C. Legg
Gain deeper insight into the mind of Jeffrey C. Legg, his artistic process, and the inspiration behind his acclaimed work.
Q: Was there a defining moment when you knew you wanted to pursue art professionally?
A: I knew at a very young age I was an artist. It was a calling for me. I was also fortunate to have a mentor in my teenage years. He was an accomplished artist and professor of art at a local college. After attending art school, I was self-employed at age 19. I started a business in retail. The full-time leap into a professional career in art came at age 30 after burning out in my retail business. I realized that if I was serious about being an artist, I had better get started. My father was a consummate entrepreneur, and from an early age, he instilled in me the value of independence and the importance of working for myself. While I had always felt a deep calling toward art, I wasn’t yet sure how to make it a sustainable career. At the same time, I had a strong passion for cycling, which led me to take a leap of faith. At just 19 years old, with $400 in my pocket and a determination to succeed, I opened my own bicycle shop. What started as a necessity quickly became a thriving small business. I owned and operated the shop for 11 years, during which I gained invaluable hands-on experience in the realities of entrepreneurship. I learned how to manage every aspect of the business—from customer service and sales to marketing, inventory, and bookkeeping. I developed strong relationships with my customers and gained an appreciation for the discipline and persistence required to keep a business running. Though the business was successful, I eventually reached a turning point. I realized that if I was ever going to truly pursue my passion for art, I had to commit to it fully. The years I spent running the shop weren’t just a detour; they were essential in shaping my understanding of hard work, self-reliance, and what it takes to build something from the ground up. When I transitioned into being a full-time artist, I brought all of that knowledge with me. It helped me approach my art career not only with creativity and passion, but with the business acumen and professional mindset needed to thrive in the art world.
Q: How did your classical training at Atelier Lack prepare you – not just artistically, but professionally – for the art world?
A: The Atelier was overall a very good experience. It gave me some good lessons on what is possible artistically and grounded me in some classical techniques with an emphasis on accurate drawing.
Q: Can you share your art journey? Is there anything you would change?
A: Having a mentor early in life was critical for me. It gave me the skills I needed to pursue art when I was ready to. My mentor taught me that creating art really involves all the senses. Meaning that it’s not a static experience. It is a creative experience requiring input into all of our senses, which in turn inspires one to create. My mantra from the start was, Make the highest quality paintings I possibly can. I believe if we have that mindset, we will grow artistically and find our audience. There is not too much that I would change about my path. I don’t worry about the past. We can only press onward and upward. I would like to mention that still life work has provided for me and my family, but most of my early training was in portraits. Portraits and figures are my first love and I’m currently working more in that direction. I will, however, continue to create still lifes as well.
Q: Your still lifes have a dramatic intensity reminiscent of the Old Masters. What draws you to this style and subject matter?
A:I’m drawn to mood and drama. Intense light, atmosphere, form, texture, etc. I find these qualities in the works of many of the masters, like Rembrandt, Caravaggio, Titian, Velázquez, and Ribera.
Q: What advice would you give to artists who want to establish a signature style while staying true to their influences?
A: Paint every day. Seek for truth and beauty. Don’t compromise quality or be in a hurry. Your style will just happen if you paint enough paintings. Ten thousand hours is a good start.
Q: Can you walk us through your typical painting process, from concept and setup to final brushstroke? What role does lighting play in your compositions, and how do you manipulate it to create mood and depth?
A: Lighting is extremely important. Light and shadow paintings, also known as “chiaroscuro,” depend on having a strong single light source. That’s the main thing. Set up whatever draws you and paint it from life. It’s the best way to understand your subject and how to create the illusion of space, form, and texture.
Q: What business decisions (gallery partnerships, pricing, branding, etc.) have been most important in your success?
A: Gallery representation has been extremely important. Galleries find the collectors and allow me time to create. Keeping your name and work out in galleries gives the artist credibility. Doing special shows and competitions has also been important. Attending in person and meeting other artists, collectors, and media people has been important. I consider it as advertising my “brand.” It’s a time and money commitment to attend gallery openings and events, but in the long run, it seems to always pay off.
Q: Many of your works evoke quiet contemplation. What do you aim to communicate through your still lifes?
A: Evoking quiet contemplation is not a conscious choice. It’s just inevitable to come across since it’s who I am internally.
Q: What are some essential materials or tools in your studio that you return to again and again?
A: I keep it simple. I’ve had the same basic palette of colors for 35 years. I prefer a smoother surface to work on, sometimes, glass smooth. Other times a fine portrait linen is preferable. I have many Rosemary brushes (mainly filberts) that are my mainstay.
Q: How do you structure your studio time to stay both productive and creatively engaged?
A: I treat it like a job. Put in the hours. For the first ten or fifteen years of my career, I tried to work at least 10 to 12 hours a day. Being self-employed and learning to master a craft is no easy task and takes time and lots of effort. Most people think it’s the talent that matters. Talent is a start, but desire or love for it rules all.
Q: Has your subject matter or approach evolved over the years, and if so, how?
A: It has evolved but in subtle ways. I’ve come to prefer a certain paint consistency, painting surface, brushes, etc. I’m very particular about composition, oftentimes spending endless hours developing ideas, finding the right props, and setting up the objects in a way that is balanced, flows, and holds the viewer within the work.
Q: What challenges have you faced in sustaining a long-term career in fine art, and how have you overcome them?
A: I think it’s always a challenge to stay disciplined and work consistently. Waiting for inspiration is not an option. The inspiration will come if you just start the work. For me, creating something feeds the soul. It’s not just a want, it’s a need. I’ve learned to have a “thick skin” in the art world. Rejection will come. An artist must believe in themself, and keep going. We are created in the image of God, the ultimate creator and I follow that lead.
Q: Are there particular artists – historic or contemporary – who continue to influence your work?
A: The artists I mentioned earlier would be included. Also, the Wyeths, Odd Nerdrum, Rodin, Sorolla, the Impressionists. The list goes on.
Q: How do you balance creative exploration with maintaining a recognizable style?
A: As I stated earlier, don’t think about style. It will come if you put many miles on your brush.
Q: What’s the biggest misconception people have about being a full-time fine artist?
A: That it only takes talent. The most important thing is desire, love, and commitment.
Q: Finally, what three pieces of advice would you offer to a younger artist hoping to master classical techniques and become a successful artist?
A: It’s hard to list only three. Here’s five pieces of advice that might help: • Learn to draw. • Learn to see. • Paint or draw daily. • Don’t compromise quality for quantity and always seek the truth and beauty of your subject. • Start with an idea of what you want to communicate to the viewer. Ask yourself — what is it about your subject that draws you or inspires you to use visual imagery as your language of communication?
Q: This exhibition marks your first solo show in your hometown of Joplin, Missouri. What does this homecoming mean to you personally and artistically?
A: Returning to Joplin for my first solo exhibition, especially at the Spiva Center for the Arts, where I have deep roots, is incredibly meaningful. This is where my artistic journey began at age 12, where I had my first mentor, and where the initial sparks of my passion for art were ignited. To bring ‘Alchemy of Light and Shadow’ back to the community that shaped me feels like a full circle moment. It’s deeply personal and incredibly gratifying to share my work with the place that first inspired it.
