painter. san francisco, ca.
www.danielcruit.com
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Bovine II, oil on board, 18x24 inches. Second part of a sort-of diptych- the first piece is here. This one was straight out of Remington-land.

Bovine II, oil on board, 18x24 inches. Second part of a sort-of diptych- the first piece is here. This one was straight out of Remington-land.

Small watercolor/gouache sketch of one of my favorite authors, Charles Eisenstein.

Small watercolor/gouache sketch of one of my favorite authors, Charles Eisenstein.

Bovine I, 18”x24”, oil on board, 2013. 
First part of a sort-of-diptych. This kind of came from an idea of paintings of huge animals as metaphors for nature. Or an excuse to draw cows.

Bovine I, 18”x24”, oil on board, 2013.

First part of a sort-of-diptych. This kind of came from an idea of paintings of huge animals as metaphors for nature. Or an excuse to draw cows.

Here’s a little oil thing I did after seeing a cool color scheme in a movie still :)

Here’s a little oil thing I did after seeing a cool color scheme in a movie still :)

Summer, 11”x14”, oil on panel, 2014.

Summer, 11”x14”, oil on panel, 2014.

The Story, 11”x14”, oil on panel, 2014.
This was one of the portraits that hung in my senior show at Ringling College of Art and Design about a month ago.

The Story, 11”x14”, oil on panel, 2014.

This was one of the portraits that hung in my senior show at Ringling College of Art and Design about a month ago.

Clarity, 11”x14”, oil/acrylic on board, 2014.
One of the portraits from my senior show at Ringling College of Art and Design. More to come soon!

Clarity, 11”x14”, oil/acrylic on board, 2014.

One of the portraits from my senior show at Ringling College of Art and Design. More to come soon!

Emma Watching, 11”x14”, oil on board, 2014.
From my senior show at Ringling College of Art and Design. More to come in the next few days!

Emma Watching, 11”x14”, oil on board, 2014.

From my senior show at Ringling College of Art and Design. More to come in the next few days!

Fun little piece from a while ago- I used b/w acrylics, textured foam brayers and about 30 layers of paint. Super fast, super fun!

Fun little piece from a while ago- I used b/w acrylics, textured foam brayers and about 30 layers of paint. Super fast, super fun!

With criticism it’s never just between the critic and the artist, or between the critic and the curator—it’s between the living and the dead. This sort of criticism is as close to human nature as you can get. Anyone living, especially your peers, is a threat. You’re judging them, they’re judging you. That can be a good thing sometimes. Jealously, rancor, competition, those can be good things in art. But it mostly puts you in a dangerous and disadvantageous position, and one that just takes away from you so much. It’s possible to do your best work at your highest level without competing.

— Raymond Pettibon from an interview in The Believer, December 2004 (via frankstocktonillustration)

(Source: frankjstockton)