"Aside from my paintings and the reward of seeing paintings take shape, I am proudest of my three grown daughters and four grandchildren."

Artist Onelio Marrero paints impressionist scenes that capture the romanticism of New York City or the soothing quiet of a rippling pond. His work evokes nostalgia and intimacy, giving the viewer a sense of having visited the same places before. Living in New Jersey, he enjoys the luxury of having his favorite subjects to paint—whether it's the urban surroundings or the abundant nature just a short walk from his home. When he’s not painting, Onelio spends time with his grandchildren and immediate family, cultivates bonsai plants, and reads.

In this interview, Onelio shared a glimpse of his life as an artist and a family man.

Please tell us about yourself. What’s your home life like? What are your special interests?

My studio is on the third floor of our Colonial house. It's a very convenient place for working on paintings larger than 8x10 sketches. I live with my wife. We love to go for walks in our town and in the woods near the river that runs through town. We enjoy kayaking on local waterways.

What are you most proud of—whether in art or another part of your life?

Aside from my paintings and the reward of seeing paintings take shape, I am proudest of my three grown daughters and four grandchildren.

Do you have any studio rituals that help you get into a creative flow?

I try to paint daily and usually work in the mornings and early afternoons. Interestingly, I find organizing my palette very cathartic. It gives me time to look at the painting on the easel, allowing me to make mental notes of my next steps.

How do you structure your day?

Setting aside time deliberately for work in the studio is the fulcrum around which I plan each daily activity.

Where do you find inspiration for your art?

The subjects of my paintings are gleaned from the exciting visual experiences I encounter as I observe people and nature. The style and techniques of my paintings come from my deep admiration for artists like Sargent, Monet, Manet, Sorolla, Zorn, and Henri.

Tell us about your evolution as an artist.

I studied painting and sculpture at Manhattan's Cooper Union. There, I worked with professors and students who influenced my aesthetic vision. Other than becoming more confident in executing the results I am looking for, I have always endeavored along the same lines in my artistic pursuits, so my intentions have not altered a great deal.

How do you decide when an artwork is finished?

It's different for every piece. Usually, there is a moment when I realize that the work is complete. It's a balancing act of knowing when to push for more of what I envisioned versus leaving the work alone to avoid overworking it.

What is the most interesting observation someone has made about your work?

The most poignant is when a friend pointed out that they observe in my work what I gleaned from my favorite masters while using the tools of impressionism in a contemporary body of work.

Is there an artwork from another artist that has had a significant impact on you?

I would have to point to John Singer Sargent as the imaginary artist who peers over my shoulder as I work on my paintings.

What’s your favorite museum?

The Metropolitan Museum of Art is and always has been my favorite. When I was in college in lower Manhattan, I walked up to the museum at least twice a month. Currently, I live only about 40 miles from Manhattan, and it's only a bus ride away.

Is there anything else you’d like to share to help viewers better understand your work?

Some people ask me about the varied subjects of my paintings. I think many people expect artists to follow one thread. The art world is full of artists who pursue a particular subject or style and stay on that path so that their portfolio is easily recognizable. My portfolio does not have that trait. My subjects tend to encompass a wide range, and hopefully, the sense of light, the brushwork, the composition, and the color sense make it cohesive.