Artists Magazine June 2010

An Intuitive Approach to Abstraction in Acrylic

Mixing Dry Media

Masters of

the Real Daniel E. Greene & Steven J. Levin

Best Frame

Forward

Preserve & Present Your Work June 2010 www.artistsmagazine.com US $4.99

A New (Twisted) Take on Perspective 0

Self Portrait (oil, 40x32) by Steven J. Levin

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contents JUNE 2010

54

VOLUME 27 NUMBER 5

features 24 Dramatic Shadow,

Expressive Light Steven J. Levin exploits the dramatic possibilities of extreme contrasts. By Rosemary Barrett Seidner

32 The Fifth Perspective Add a dynamic aspect to your work with this twist on conventional perspective. By Rudolf Stussi

40 The Design Is in the Details Master realist Daniel E. Greene plans every aspect of his complex compositions. Interview by Maureen Bloomfield

48 Between Chaos & Serenity Working in a square format in acrylic, Cathy Woo solves visual puzzles. By Ruth K. Meyer

54 The Fine Art of Framing Present your work to its best advantage by carefully considering the latest options for matting, framing and installation. By Rosemary Barrett Seidner

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24

32

48

columns 6 Letters 10 The Artist’s Life Ulrike Arnold picks up handfuls of dirt to paint vistas of earth and sky; TheArtsMap.com offers artists around the world a way to connect with one another, and more. Edited by Grace Dobush 14 Exhibitions Take to the road to see great art this spring. Edited by Holly Davis 18 Drawing Board Sketch quickly in pencil en plein air to render the essence of a scene. By Jerry N. Weiss

66 Supply Cabinet Don’t miss these new products fresh to market. Edited by Grace Dobush 68 Art Clinic Can a still life based on history be meaningful without an explanation? By Greg Albert 74 Workshop Guide Find a workshop here or abroad to suit your schedule. 80 Competition Spotlight Beijing artist Kathy Hirsh paints landscapes on site in pastel. Edited by Grace Dobush

60 Brushing Up To make a memorable portrait, suggest the universal rather than the particular. By Stan Miller 64 Ask the Experts How to combine graphite and charcoal to best effect and how to transfer a drawing. By Anthony Waichulis

10

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on the cover Abstraction in Acrylic 48 Masters of the Real 24, 40 Best Frame Forward 54 A New Take on Perspective 32 Mixing Dry Media 64 COVER: Self Portrait (oil, 40x32)

by Steven J. Levin

The Artist’s Magazine (ISSN 0741-3351) is published 10 times per year (January, March, April, May, June, July, September, October, November and December) by F+W Media Inc., 4700 E. Galbraith Road, Cincinnati OH 45236; tel: 386/246-3370. Subscription rates: one year $22.96; two years $45.92. Canadian subscriptions add $15 per year postal surcharge and remit in U.S. funds. Foreign subscriptions add $20 per year postal surcharge and remit in U.S. funds. The Artist’s Magazine will not be responsible for unsolicited manuscripts, photographs or artwork. Only submissions with a self-addressed, stamped envelope will be returned. Volume 27, No. 5. Periodicals postage paid at Cincinnati OH and additional mailing offices. Postmaster: Send all address changes to The Artist’s Magazine, P.O. Box 420235, Palm Coast FL 32142-0235. F+W Media Inc. Back issues are available. For pricing information or to order, call 800/258-0929, visit our online shop at www.northlightshop. com/category/artists-magazine, or send a check or money order to The Artist’s Magazine/F+W Media Products, 700 E. State St., Iola WI 54990. Please specify The Artist’s Magazine and the issue month and year. Canada Publications Mail Agreement No. 40025316. Canadian return address: 2835 Kew Drive, Windsor, ON N8T 3B7.

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web

EXTRA

Look for the online extras icon throughout this issue to find out what’s waiting for you online.

online at

www.artistsmagazine.com JUNE

Art Clinic Submit an image for a critical analysis at bit.ly/artclinic.

Pastels by Daniel E. Greene Greene paints in several media; see a sampling of his paintings in pastel at www.artistsnetwork.com/article/pj-greene.

Save Space With Issues on CD www.artistsnetwork.com/ digitalproducts

More Art by Steven J. Levin View additional paintings at www.artistsnetwork.com/article/steven-j-levin.

Two Rapid Drawings En Plein Air See more of Jerry N. Weiss’s landscape sketches at www.artistsnetwork.com/ article/rapid-landscape-drawings.

More Fifth Perspective Paintings Find more examples of Rudolf Stussi’s unconventional method for implying space at www.artistsnetwork.com/article/rudolf-stussi.

Online Seminar: The Simple Secret to Better Painting Take advantage of Greg Albert’s hour-long seminar at www.northlightshop.com/ product/online-seminar-the-simple-secret-to-better-painting.

Watch Video Workshops www.artistsnetwork.tv

Download Free Wallpaper www.artistsnetwork.com/wallpaper

02_TAM0610Contents.indd 4

Daily Extras Artists Network message board: Join a creative community—connect with other artists and post your work for critical review at forum.artistsnetwork.com. Artists Network online seminars: Sign up for our live, interactive seminars at www.artistsnetwork.com/art_online_ seminars. ArtistsNetwork.TV: Watch online video workshops at www.artistsnetwork.tv. Back issues: Pick up a print or digital issue you may have missed at www.northlight shop.com/category/73. Books—fantastic savings: Browse the best and newest books in fine art instruction and get discounts on a huge selection of books and DVDs at www.northlightshop.com.

Blogs: Find out the latest art happenings at artistsblog.artistsnetwork.com. CD compilations: Check out our digital collections of articles and issues at www. artistsnetwork.com/digitalproducts. Free e-mail newsletter: Get featured tips, breaking news and great deals delivered to your in-box. Go to www.artistsmagazine. com, fill in your e-mail address in the top left-hand corner and click Go. Subscription services: Subscribe to the magazine, renew your subscription, pay your bill or change your address at www. artistsnetwork.com/magazines. WetCanvas: Take a look at all this vast artists’ community has to offer at www. wetcanvas.com.

3/19/10 9:59:20 AM

letters

Publisher & Editorial Director Jamie Markle Editor Maureen Bloomfield Senior Art Director Daniel T. Pessell Managing Editor Christine McHugh Associate Editors Holly Davis, Grace Dobush

CALL FOR ARTISTS

CONTRIBUTING EDITORS

Greg Albert, Daniel Brown, Sandra Carpenter, Paul Dorrell, John Elliot, Daniel E. Greene, Louise B. Hafesh, Albert Handell, Sheila Hollihan-Elliot, Everett Raymond Kinstler, Kevin Macpherson, Ross Merrill, Phil Metzger, Ruth K. Meyer, Dean Mitchell, Birgit O’Connor, Jean Pederson, Maggie Price, Stephen Quiller, Koo Schadler, Burton Silverman, Jerry N. Weiss, Jimmy Wright MEDIA SALES DIRECTOR

Kristin Roark 513/531-2690 ext. 11381 [email protected] MEDIA SALES SPECIALISTS

Elayne Recupero 301/570-4301 [email protected]

Seeking Artists to Create United States Coin and Medal Designs

Jan Clemmons 678/905-4238 [email protected] Joe Johnson 513/531-2690 ext. 11380 [email protected] ADVERTISING SALES COORDINATOR

UNITED STATES MINT ARTISTIC INFUSION PROGRAM Application Deadline: July 6, 2010 www.usmint.gov/artists

Barb Prill 800/726-9966 ext. 13435 [email protected] THE ARTIST’S MAGAZINE EDITORIAL OFFICES

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Curtis Circulation Co. 730 River Road, New Milford NJ 07646 Tel: 201/634-7400 Fax: 201/634-7499 F+W MEDIA INC.

Chairman & CEO David Nussbaum CFO James Ogle President Sara Domville Senior VP, Operations Phil Graham Executive VP, E-Media Chad Phelps Circulation Director Linda Engel Newsstand Director Susan Rose Director, Business Planning Trent Miller Events Director Cory Smith Director of Magazine Production Vicki Whitford PRIVACY PROMISE: Occasionally we make portions of our customer list available to other companies so they may contact you about products and services that may be of interest to you. If you prefer we withhold your name, simply send a note with the magazine name to List Manager, F+W Media, 4700 E. Galbraith Road, Cincinnati OH 45236. ATTENTION RETAILERS: To carry The Artist’s Magazine in your store, call April Krueger, Newsstand Sales Supervisor, at 800/894-4656, or write The Artist’s Magazine Retail Sales, P.O. Box 5014, Iola WI 54945-5014.

Copyright © 2010 by F+W Media Inc. All rights reserved. The Artist’s Magazine is a registered trademark of F+W Media Inc.

June 2010

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5

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letters

FROM THE EDITOR, OUR CONTRIBUTORS AND READERS

Time and Chance I LAST INTERVIEWED DANIEL E. GREENE for the June 2005 issue of The Pastel Journal. Though he certainly hasn’t abandoned pastel, Greene currently enjoys working close to life-size in oil. Paintings like To North Moore Street (page 44) or Dartman (below) are the painterly equivalent of theatrical soliloquies. Greene places his actors against backdrops that mirror their isolation—for example, the subway station, which is emblematic of departure, or the carnival, where illusion and chance collide. The recurrent image of the game board brings these themes—choice, chance, illusion, fate—together. His pictures are so full of feeling that you may be surprised to see how cerebral Greene’s process is (“The Design is in the Details,” page 40). A realist who takes another tack, Steven J. Levin depicts characters who interact with art and with one another (“Dramatic Shadow, Expressive Light,” page 24). Rudolf Stussi skews a Renaissance convention (“The Fifth Perspective,” page 32), while Cathy Woo poses whimsy against structure in her acrylic abstractions (“Between Chaos & Serenity,” page 48). Finally, Jerry Weiss imparts a lesson for plein air (Drawing Board, page 18), as Stan Miller does for portraits (Brushing Up, page 60). A top gallery director presents a crash course on “The Fine Art of Framing” (page 54), and contributing editor Greg Albert critiques a reader’s work (Art Clinic, page 68). Submit your own work for review at bit.ly/artclinic, and keep in touch, between issues, by visiting our blog, artistsblog.artistsnetwork.com.

Fraudulent or Practical? Regarding “Projection: An Ethical Issue?” (Letters, April 2010), the old masters used to assign apprentices to “scale up” their drawings onto the canvas. Was that cheating? I would like to suggest a simple test for the letter’s anonymous author, who believes that another artist’s prizewinning work was less “genuine” than his or her own because the prizewinner used a projector: Try using a projector, and see what happens. The writer will probably be amazed, and perhaps relieved, to learn that having a projected image on an otherwise blank canvas leaves one far, far away from a prizewinning painting. If he or she has an honest emotion to express, good mastery of materials and process, good drawing skills and a strong compositional sense, a good painting may result— but it won’t be due to the projector. Like an artist’s plumb line, like a grid—in fact, like a photograph that’s not projected—the projector is an aid, one of many, and nothing more. Lacking any of the foregoing factors, using a projector will do an artist no good. But if it works for you, why, knock yourself out! It’s not cheating. Deborah Weinstein, San Clemente, CA

Private collection

An Artist’s Subject Casey Baugh has a lush and masterly painting style that’s a pleasure to look at (“Practice Makes Perfect,” April 2010); however, I find his current subject matter a bit disappointing. The portraits look like oil versions of a women’s fashion magazine photo shoot. Baugh states, “I like to paint what fascinates me ... .” Presumably that’s a series of flawless, young, runway models. I hope that he starts to expand his horizons and show work that depicts more breadth to the human experience, as his skills are truly wonderful. Cara Nilsen, via e-mail Dartman (oil, 68x68) by Daniel E. Greene

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www.artistsmagazine.com

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3/26/10 11:20:37 AM

letters Afternoon Storm (pastel, 24x24) by Richard McKinley

Keep In Touch Subscribe at subscribenow.artistsmagazine.com. Share your comments on and suggestions for The Artist’s Magazine. Please write us at The Artist’s Magazine, 4700 E. Galbraith Road, Cincinnati OH 45236, or at [email protected]. We also count on your letters and questions for the following sections of the magazine: Letters: Send us your letters to the editor. All letters become the property of The Artist’s Magazine, and those chosen for publication may be edited for clarity and length. Art Clinic: To submit artwork for Art Clinic, go to bit.ly/artclinic. Creative Workout: To submit artwork in response to a Creative Workout prompt, go to bit.ly/workout-1. Ask the Experts: Send your questions on painting techniques, technical matters, business practices, legal issues and more. Not all letters will receive a reply; all letters become the property of The Artist’s Magazine. Please include your name, address, phone number and e-mail address with all correspondence. Follow us on Twitter: www.twitter.com/artistsmagazine. Become a fan on Facebook: www.facebook.com/artistsnetwork.

in a vain attempt to find one that would successfully sharpen my pastel pencils without breaking the soft pastel tip. (Sharpening on the oldfashioned sandpaper slab takes too much time when you’re in the middle of drawing a model.) The other day I thought I’d try sharpening my pastel pencils with a “makeup” pencil sharpener, which is designed to sharpen wood yet still leave the soft tip in one piece. It really works! I happened to use the Shaklee Minerelles sharpener that is designed for eye and lip pencil crayons. ■ Stellar at 60+ I hope you’re still running the Over 60 competition and publishing the results (“Simply the Best,” March 2010) when I reach that age. It’s exciting to think of where my art will have taken me by then. After all, art—like life—is a journey, and those who have been on the road a while always have the most interesting stories to tell.

Donna J. Dubsky, Columbus, Ohio

Coming Up in the July/August 2010 Issue Plein air master Richard McKinley inspires you to get outside, while Michael Chesley Johnson tells you what gear you’ll need for a satisfying painting adventure, regardless of your medium. Nava Grunfeld explains her exotic approach to color in watercolor and acrylic; classical realist Nick Raynolds demonstrates how to block in shapes; and mixed media artists Laura Breitman, Joan Hall, Kitty Kilian and Pat Street demonstrate four distinct approaches to collage. Finally, we showcase the grand prize and first place winners of our All-Media Online Competition and remember the beloved California watercolorist Henry Fukuhara. Look for the July/ August issue on sale on newsstands June 8.

Tracy Brown, via e-mail

Sharpening Pastel Pencils I discovered something I want to share with your readers. I’ve purchased several pencil sharpeners June 2010

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the artist’s life

EDITED BY GRACE DOBUSH

Heaven and Earth German artist Ulrike Arnold takes landscape painting to the extreme. BY KAREN LELAND

Canyon Point in southern Utah is a sweeping desert filled with stratified rock formations that reach up to the sky and deep canyons that reveal mossy brown rivers. Aside from the sandstorms and 110-degree heat, it’s the perfect place for German artist Ulrike Arnold to do her work. Painting outdoors isn’t a new idea, but Arnold takes it a step further: She paints with the outdoors. Over the past 30 years, she has traveled to five continents—setting up shop in Algeria, Egypt, Madagascar, Tasmania, Greece and India (among other countries) and painting with the elements she finds. “I paint on the spot, with only the colors that THE LANDSCAPE OF

are there,” says Arnold, who has shown her work in more than 90 exhibitions. “Some might say that’s a limitation. What if there’s no blue around? But I capture the essence of a place through the authentic materials and the forms around me.” Using pigments from the earth contained in rock, sand, mud and clay, Arnold crushes them into a fine powder and mixes them with a transparent medium that acts as a binder. The finished product becomes part of her palette. In June 2009 Arnold was invited to create artwork to adorn the new Amangiri Resort at Canyon Point. “When I started exploring the land, I found a cave near the resort,” Arnold says. “The Anasazi people had lived in that cave and created petroglyphs there 6,000 years ago. I knew that was my place.” So she set up shop and created an outdoor studio at the mouth of the cave, putting up a wooden table that could hold the

6x14-foot canvases she’d be working on. Renting a house a mile away, she worked 10 hours a day for five months, in extreme heat, rain and sandstorms. The result: three large abstract landscapes for the hotel’s public areas and 50 small paintings for each room in the resort. “I want to capture the essence of a place,” Arnold says. “In Utah at Amangiri, it was the rock formations and the color of the earth, the rainstorms and very hot weather that influenced me. I could feel the power of nature there day and night—that was my inspiration.” She says her abstract landscapes aren’t meant to describe a river or a mountain, but to evoke the spirit of the place through free forms. “I think of my work as a view from an airplane, a bird looking down at earth,” Arnold says. Her fascination with using materials of the earth began when, as a 21-year-old art student, she traveled

ABOVE: A selection of earth samples from

every continent. RIGHT: Ulrike Arnold paints in Bryce Canyon

National Park, Utah.

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the artist’s life

to southern France to see the famous cave paintings at Lascaux. Several years later, Arnold encountered the red ochre pits at Roussillon in Provence. “That was for me a major enlightenment,” she says, “a big bang. That’s when I decided to paint with the earth.” If Arnold has spent much of her artistic life looking to the ground for her medium, a chance meeting with an American meteorite expert in Flagstaff, Arizona, recently left her gazing up at the stars for inspiration. “I met this meteorite expert named Marvin Killgore, who collected meteorites from Argentina and Greenland,” Arnold says. “When I told him I painted with the earth, he told me he had some leftover meteorite dust I could use.” When Killgore sliced meteorites to prepare them for study under a microscope, small pieces would fall off. He’d been saving the dust but didn’t know what to do with it. “Killgore said it was like a miracle meeting me,” Arnold says. “Now I’m painting with material from the cosmos as well.” Using the donated dust, Arnold has created a series of silvery and shiny meteorite paintings (see them on her website, www.ulrikearnold. com). With stones from the earth and stardust from the sky, Arnold is painting a little bit of heaven right here on Earth. KAREN LELAND (www.karenleland.com) is a writer and artist in Tiburon, California.

ABOVE: Bisbee, Arizona, fullmoonpainting (1991; earth on canvas, 59x118), by Ulrike Arnold, is in the collection of actor Dennis Hopper.

Radiant Oils BY ARLETA PECH Ever wish your paintings had the appearance of stained glass? Radiant Oils teaches you how to build realistic values and create luminescent paintings that glow with color. With more than 10 mini demonstrations and three extended painting demos that reinforce the mini lessons, you’ll discover how to apply glazes of transparent color to attain that perfect glow. The demos illustrate all the key concepts, from creating the background to preserving edges to establishing form and completing a painting. Hardcover, 144 pages, $29.99.

Available at bookstores and at www.northlightshop.com JEN LEPORE is a senior editor for North Light Books. To see all of Jen’s Picks and sign up

for her newsletter, go to www.artistsnetwork.com/northlight.

June 2010

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the artist’s life FROM THE SKETCHBOOK OF…

Marina Grechanik marinagrech.carbonmade.com Ra’anana, Israel Materials: black pen, gouache, colored pen-

cils and found paper in a Moleskine Cahier About the sketch: I drew this in a bar-

bershop while waiting for my turn in the chair. I love watching barbers work—their moves are so coordinated. They change their poses fast, but I had the chance to capture positions they repeated. Drawing a barber’s assistant washing a woman’s head was easier because he stayed in one place for a couple of minutes. These sketchbook pages come from the correspondents of URBAN SKETCHERS (www.urbansketchers.com), a nonprofit organization devoted to fostering the art of on-location drawing.

George Jartos

Arts Map

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Collage artists Robin Colodzin and Jonathan Talbot were coming up empty while looking for new ways to connect with clients, collectors, curators and other artists. They realized that they weren’t the only artists seeking connections, so they created The Arts Map (www.theartsmap.com). The Arts Map is a worldwide, interactive map of artists’ studios, galleries, arts organizations, museums and more. You can search and filter your results by medium, type of organization or type of instruction. Map markers on the Arts Map are user-generated. It takes just a few minutes to input information about your artwork, studio or gallery, and the listings are free. You can explore the map and add your own info at www. theartsmap.com. —G.D. ■

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EDITED BY HOLLY DAVIS

Picasso in The Metropolitan Museum of Art Through August 1, The Metropolitan Museum of Art New York City, 212/535-7710, www.metmuseum.org

The Metropolitan Museum of Art, gift of Mr. and Mrs. John L. Loeb, 1960 (60.87); © 2010 Estate of Pablo Picasso / Artists Rights Society (ARS), New York

The Metropolitan Museum of Art, bequest of Scofield Thayer, 1982 (1984.433.276); © 2010 Estate of Pablo Picasso / Artists Rights Society (ARS), New York

exhibitions

Why see it: His name a household word around the world, Pablo Picasso (Spanish, 1881–1973) might well be considered the greatest fine artist of the 20th century. His oeuvre includes paintings, sculptures and prints. In a career spanning seven decades, Picasso engaged in a variety of styles and manners, absorbing the influences around him and, in turn, asserting his own influential genius. The Metropolitan Museum of Art has long been collecting pieces from the full scope of Picasso’s oeuvre and is especially known for its cache of the artist’s drawings and its selection of his early figure paintings. Despite the Met’s significant holdings, the museum has never before put so many works from its Picasso collection on display. What you’ll see: On view are 250 works by Picasso from the Metropolitan Museum of Art’s collection, including 34 paintings, 58 drawings, a dozen sculptures and ceramics, and 150 prints.

14

ABOVE: Seated Harlequin (1901; oil on

canvas, 34¾x241⁄8) by Pablo Picasso TOP, LEFT: Head of a Woman (1922; chalk on

wove paper, 423⁄8x283⁄8) by Pablo Picasso

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exhibitions

Hendrick Avercamp: The Little Ice Age Through July 5 National Gallery of Art, Washington, D.C. 202/737-4215, www.nga.gov

of Art in Washington, D.C., and the Rijksmuseum in Amsterdam.

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Pat’s Coastal Blue

panel, 11¼x203⁄16) by Hendrick Avercamp

What you’ll see: On display are 15 paintings and 15 drawings by Avercamp from museums and private collectors in Europe and the United States.

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ABOVE: Colf Players on Ice (ca 1625; oil on

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gone for the season, but in the landscapes of Dutch artist Hendrich Avercamp (1585–1634), the hardships and pleasures of winter weather go on forever. Between 1550 and 1650, Northern Europe experienced what is known as the Little Ice Age, a period of particularly long, severe winters. During this time, Avercamp became the first painter to specialize in depicting the joys of icy weather— skating on canals, snowball fights, sled rides and even a sport called colf, which combines elements of golf and hockey. This exhibition is organized by the National Gallery

Mrs. Edward Speelman

Why see it: Ice and snow may be

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RIGHT: Banyan Leaves

and Autumn Cicadas (detail; 1923; ink and color on paper, 35½x141⁄6) by Qi Baishi (1864–1957)

Pan Tianshou Memorial Museum

Zhejiang Provincial Museum

exhibitions

FAR RIGHT: This Land So

Beautiful (1959; ink and colors on paper, 281⁄3x114⁄5) by Pan Tianshou (1897– 1971)

Tracing the Past, Drawing the Future: Master Ink Painters in 20th-Century China Through July 4 Cantor Arts Center at Stanford University Standford, California, 650/723-4177 museum.stanford.edu

Why see it: From 20th-century China emerged four artists—Wu Changshuo, Qi Baishi, Huang

Binhong and Pan Tianshou—credited in their homeland as being the Four Great Masters of Ink Painting. While sorting through influences from the West, these four artists with their creative invention brought new life to traditional ink painting. What you’ll see: Presented in two

rotations are 110 works by the four Chinese masters.

Shepard Fairey: Supply and Demand Through August 22 Contemporary Arts Center Cincinnati, Ohio, 513/345-8400 www.contemporaryartscenter.org LEFT: Mujer Fatal (2008; mixed media stencil collage on paper, 44x30) by Shepard Fairey

Why see it: Street artist, graphic

designer, social and political activist, appropriation artist—however one chooses to describe the controversial figure Shepard Fairey, one can’t deny his influence on popular art and the growing recognition of his work among the general populace. He is perhaps best known for his Barack Obama "Hope" poster.

pieces spanning Fairey’s 20-year career, from his work with André the Giant images to the Obama "Hope" poster. Fairey has also created a largeformat mural for the Contemporary Arts Center lobby and other outdoor murals at sites throughout Greater Cincinnati. ■ 16

Collection of Tommy Love

What you’ll see: On view are 250

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DEADLINE TO ENTER: AUGUST 2, 2010 For additional guidelines and to enter online, visit artistsnetwork.com/watermediashowcase Questions? Just send us an email at [email protected]

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Send in your best work for a chance to get published and win great prizes! The competition is open to artists anywhere in the world. All works must be original. Mixed media entries are accepted, but the primary medium must be watermedia. There is no limit to the number of images you may submit.

3/23/10 11:24:49 AM

drawing board

BY JERRY N. WEISS

Rapid Landscape Drawing Focus on shapes and tonal relationships as you follow this logical approach to constructing a landscape.

Determine the Center of Interest One of the initial difficulties students experience en plein air is in determining a subject. Overwhelmed by the magnitude of a landscape, they’ll begin drawing a specific area in great detail with little thought to its context. For this reason alone, I suggest using small thumbnail sketches to try

out various ideas and to make decisions regarding composition. To determine the dimensions of a composition, I form a crude window with my hands, through which I view my subject; I can adjust the window to accommodate horizontal or vertical formats. Once I choose a format, I outline the four outside edges of the composition on paper, in effect framing the area in which the design will be drawn. Step-by-Step Process The approach I’ll demonstrate in this article relies on the accurate use of line and crisp handling of tones, and builds the image through a progression of values, from light to dark. I rendered the demo drawings, each 3¾x5 inches, with a ballpoint pen

Rembrandt’s Three Planes In Houses Under a Stormy Sky, (at right; ca 1641; pen and brown ink drawing, 71⁄6x9½) by Rembrandt (1606–1669), a variety of calligraphic lines and dramatic value contrasts create an image that’s both graphically powerful and spatially convincing. We see essentially three planes: the shaded foreground, the middle distance with alternating patterns of light and shadow, and the lowering sky. An impression of depth is achieved through overlapping diagonals and masterly use of contours—the darkest and thickest lines applied in the foreground; the lightest and thinnest pen strokes in the distance. To suggest the atmosphere of a cloudy sky, the pen was set aside altogether in favor of a sweeping series of tones applied with a brush.

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and a black Sharpie felt tip marker on acid-free paper. I usually draw in a 14x11-inch Daler-Rowney sketchbook, using either a pen or various grades of graphite pencil. 1. Map the Largest Shapes I began my drawing with a simplified linear structure—the essential half dozen or so lines that denote the most prominent planes and will record the overlapping shapes indicating the depth of field. This process of abstraction isn’t haphazard—all the ensuing elaboration depends upon the correct placement of these initial contours: a diagonal foreground plane, two horizontal lines indicating the distant ground plane and the tree line, and two prominent asymmetrical tree shapes. 2. Note the Secondary Shapes Next I drew the contours of the smaller, secondary shapes. The purpose of this step is to relate

Graphische Sammlung Albertina, Vienna, Austria; photo credit: Erich Lessing / Art Resource, NY

for a number of reasons: as a means of rapid notation in the study of nature, in preparation for a subsequent painting, or with the intent of completing an independent work of art. Whatever a draftsman’s motivation when venturing outdoors, there are approaches that are helpful in expressing a coherent visual interpretation of the landscape.

ARTISTS DRAW LANDSCAPES

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Photos of all Weiss drawings: Adrien Broom

drawing board

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2 masses in proper scale to each other; it’s a little like assembling the pieces of a puzzle. Set between the high horizon line and the relatively bare ground plane, the complexity of tree shapes assures that this will be the focal area of the design. Later I’ll need to prioritize the most important secondary shapes; to overdefine these at this point would be superfluous, as some areas will soon be unified by a common value. 3. Unify the Shadow Planes I began adding value, designing flat shapes before describing form, intentionally polarizing the value structure. The legibility of a flat and posterlike application of tone in a

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drawing board

3

4 Drawing for Reference

Photo: Anne Kubitsky

The graphic silhouettes of bare trees, their growth patterns and peculiarities, fascinate me. In my drawing Hamburg Cove (below, left; ink, 6½x10), as sometimes happens, the composition expanded beyond its original borders as I became more interested in the trees’ upper branches. Soon afterward I returned to the site to paint Hamburg Cove (below; oil, 24x36), based on my drawing of the composition.

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particular shape depends upon its relation to adjacent shapes. Rapidly crosshatching with a ballpoint pen, I unified all the shadow planes with a similar midtone. The backlighting of the trees indicates that we’re looking toward the sun. 4. Darken the Shadows Using a felt tip pen, I added deeper shadows, further polarizing values and more dramatically emphasizing the sunlight. I kept the direction of hatched strokes mostly consistent. This practice, as much as the attempt to maintain a simple tonal structure, helps to keep the composition unified. The sole area of vertical hatching denotes the reflection of trees in water. 5. Refine the Drawing The final stage of a compositional drawing may require further elaboration of shapes and tones. I created some tonal variation with fine lines in both the foreground plane and sky, still preserving them as light-drenched areas. I darkened the far hillside, but not so much as the vegetation in the middle distance, owing to the effects of atmospheric perspective on more distant shapes. To suggest the halo effect of backlighting, I left the foliage contours as a midtone, while also indicating

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drawing board

5 specific tree shapes and creating multiple levels of spatial depth. The lightest area in the middle distance represents the glare of sunlight reflected on algae. In retrospect, I’m not thrilled with the use of the felt tip pen; the heavy lines do bring the focus to the middle distance, but they’re a bit unsubtle. The Rembrandt drawing (page 18) convinces me that an ink wash would have been far preferable. The process I’ve described here isn’t the only way to draw from the landscape, but it does refer to basic touchstones of compositional construction: breadth of design, careful study in the drawing of shapes, and clarity of tonal relationships. You may take your drawings to a greater or lesser degree of elaboration than those shown here. A drawing of great specificity will be desired as reference for a painting, while one of extreme brevity can be sufficient to capture a transient impression. Models such as the demonstration in this article are helpful but serve merely as guideposts for further exploration. ■

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To see two other rapid drawings by Weiss, go to www. artistsnetwork. com/article/rapidlandscape-drawings.

Contributing editor JERRY N. WEISS teaches studio art at the Lyme Academy College of Fine Arts. To see his paintings, visit www. jerrynweiss.com.

June 2010

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Working with sequences of dark and light, Steven J. Levin creates compelling focal points.

L

from a movie reel, full of suggested movement, shadow and light, Steven J. Levin’s figurative paintings freeze moments in time. His brush halts a rushing businessman in mid-stride, stills a bartender’s hand as he burnishes a glass and renders immortal the weak smile of a woman kept waiting. Thoughtful tableaux of everyday human interaction—or inaction—are enhanced by the richness of the public settings of the artist’s choosing, from the grandeur of the galleries of the Metropolitan Museum of Art and the marbled halls of Grand Central Station, to dimly lit city bars or smoky pool halls. Painted LIKE SINGLE FRAMES

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light

ABOVE: “In the Museum (oil, 16x20) is the first painting

I did of a museum interior,” says Levin, “and it has since been a theme that I’ve returned to many times. I enjoy the visual pun of doing paintings within a painting. This is a view inside the Minneapolis Institute of Arts.”

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Private collection

June 2010

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Learning His Craft Levin’s interest in art developed early, as he spent long hours drawing alongside his father, a commercial artist, who recognized his son’s talent and encouraged him. As a teenager, Levin was particularly interested in the work of the great American illustrators, and when he enrolled at the Minneapolis College of Art and Design, he hoped that his courses would hone his skills for drawing and painting from life. He soon realized that the courses offered would not prepare him for a career as a realist, and so he enrolled in the newly opened Atelier LeSueur (which closed its doors in 1996) in Minnesota, and his decision set him on his true and distinctive course. (See Classical Art Training, page 27.) Levin flourished in this atelier’s stimulating and demanding environment and studied there for five years. In the time-honored tradition of the classically trained painter, he completed his studies with an extended stay

Private collection

BELOW: “A motif I’ve returned to many times in my work,” says Levin, “is that of a figure viewed from the back. I like the mystery and anonymity this view lends to a piece. The All-Nighter (oil, 29x36) depicts three friends returning home after an all-night party. I relied on the gestures of the figures to tell the story.”

in a classical style that he says “borrows a bit from Impressionism,” Levin’s work combines strong draftsmanship and understanding of form with sensitivity to color and tone, marrying the rich darkness of a Rembrandt with the penetrating light of a Degas. For his complex scenarios, Levin shuns natural light, preferring the moodiness, subtleties, contrast and drama of artificial light, whether from a splendid chandelier or a single light bulb. (Only his still life pieces are painted in natural light, with the composition set up directly under the studio skylight.) He also chooses to paint night, dusk, dawn and other times of low light, which challenge him to capture the volume of a space, confined or infinite, by the blending of darkness and light. “I consider what the light is doing—what it highlights, what it masks,” explains Levin. “Lights and darks, shadow and shading pare a scene down to its essentials and direct the eye to the focal point.”

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Classical Art Training Atelier LeSueur, like several other atelier schools, was a direct offspring of the Boston School, recognized as originally comprising a group of highly influential painters, including William M. Paxton, Frank Weston Benson and Edmund Charles Tarbell, who worked in and around Boston at the end of the 19th century. Trained in the ateliers of 19th-century Paris, these painters’ artistic visions and working methods were influenced by the advent of French Impressionism. In the next century, these artists and their students would open ateliers of their own,

thereby passing on their training methods and vision. It was at the newly opened Atelier LeSueur (which closed its doors in 1996) that Levin received the classical training he craved. Taught by professional painters who believed that the highest standards of craft were essential for the creation of great art, students drew and painted directly from life—-all day, five days a week. Rigorous, disciplined and rich in tradition, the atelier’s program led its students through instruction in cast drawing in charcoal to still life, portrait and figurative work.

Courtesy of Tree’s Place Gallery, Cape Cod, Massachusetts

LEFT: “Waiting (oil, 14x11) is a study in light,” says Levin. “I love the kind of low light effects one gets in a bar, and especially this kind of double-light effect where you see both the yellow lamplight and the soft green glow on the figure’s face.”

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MATERIALS PAINTS: Winsor & Newton Artists’ Oil Colours, except for Weber Permalba mixed white BRUSHES: Silver Brush hog bristle brushes, both rounds and filberts; any brand of small sables for only the most detailed aspects CANVAS: Claessens No. 13 linen and Fredrix double-primed Kent linen MEDIUM: M. Graham walnut/ alkyd medium SHELLAC: shellac flakes dissolved in Everclear grain alcohol

in England, where he copied famous works in London’s National Gallery. He then joined the faculty of Atelier LeSueur as a valued instructor for seven years. Though trained in the Boston School tradition, Levin brings a distinct perspective to his work, citing Jan Vermeer and Edward Hopper as among his strongest influences.

RIGHT: “When doing museum interiors, as in 4 O’clock

at the Met Museum (oil, 29x38), I always work hard to make the figures’ gestures believable and interesting,” explains Levin, “to give the work just enough action and flow to keep the eye moving through the design. Also, I enjoy the spatial depth you can create in a museum setting, which allows the eye to travel deep into the painting.”

Conceptualizing and Composing from the outset, the artist uses photo referWith diverse interests, the artist varies his ences for the background—the exterior of a choice of subject matter considerably, paintbuilding, the interior of a room. Like a stage ing portraits, still lifes, landscapes and figures. director, he then poses and photographs mod“The best subject is generally one for which the els in his studio as he wants them to appear in idea comes quickly and completely and makes the scene. a definite impact,” says Levin. “It tends to be the kind of composition that leads to a good Using Pencil and White Chalk work of art, something that both the artist and Levin works in oil except for preparatory the viewer can connect with on some level, via drawings, which are rendered in pencil or a memory or emotion.” charcoal. “Oil paint is versatile,” says Levin, The composition of each piece is para“and the slower-drying aspect is best for my mount (see A Considered Composition, below). approach because I’ll often spend an entire “I work entirely from life when I’m doing a still day on one small section of a painting.” When life,” says Levin. “As for the rest of my subjects, starting a new work, Levin first creates small they’re painted only partially from life, with thumbnail drawings in pencil on toned paper, a fair amount of photo reference.” Knowing highlighted with white chalk. He then does a exactly the composition of a proposed painting small (approximately 4x5 inches) oil sketch of

A Considered Composition BY STEVEN J. LEVIN I’ve developed a general process over the years for working up my figure painting concepts. Often I’ll start out with the merest of scribbles (on paper) and gradually work through many alterations and refinements. Putting the idea down on paper, however rough, helps me begin to get a sense of its impact and mood. Sometimes an idea goes through numerous changes, each one affecting the interaction of the figures and feeling of the painting. I’ve developed a habit of filling sheets of paper with one compositional idea after another, many of which I’ll never paint, but I like the process as it keeps my mind sharp.

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1. As part of that searching out process, I do several thumbnails. These small compositional drawings are only about one to four inches wide. In this case, I was thinking first of doing three figures at a bar and working out how they might relate to each other, always keeping in mind that one of the three would be the center of interest and the other two would take supporting roles. I decided to make them all waiters with different gestures and expressions.

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2. Satisfied with this basic idea, I started working out the lighting, choosing a dramatic stage lighting from below. For this step in the design work, I photographed myself in costume in the various poses to begin to get an idea of how things would actually look. Using myself as a model saves time so that when I bring in the actual models, I have a clearer idea of what I want them to do. These initial photos gave me enough reference material to work up a small color sketch in oil. These sketches I do on colored drawing or pastel paper that I’ve sealed first with shellac (I dissolve shellac flakes in Everclear grain alcohol) and then toned with paint. The oil sketch helps me tremendously in visualizing the entire design in paint and in color. Often if the first oil sketch isn’t successful, I can make changes at this stage or simply do another sketch without wasting much time. Better to work out problems in this early stage than wait until I’m on the final canvas, only to discover some great flaw in the concept.

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Usually I block out the oil sketch in brown paint and let that dry a bit; then I apply the color over the top. The whole oil sketch usually takes an hour or two. 3. As you can see, I deviated only slightly from my oil study in the final painting, Three Waiters (above; oil, 24x35), though this isn’t always the case. Sometimes, even after all the preliminary steps—including the oil sketch—seeing the work full-size in progress on the canvas can make me aware of problems in the design that weren’t apparent before. When this happens, the best thing is to be an honest critic and try to fix whatever the problem is. June 2010

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EXTRA

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the entire concept on pastel or drawing paper sealed with shellac. These studies are his only alla prima works as the finished paintings are always completed in many stages. Stretching the Canvas Levin stretches his own canvases. “My paintings usually end up being odd sizes,” he explains, “because I’m so picky about their composition. A standard 20x24-inch canvas won’t work when the composition demands a 20x25.” He prefers to work on a smaller scale, with canvases approximately 16x20 and 20x24

“I consider what the light is doing— what it highlights, what it masks. Lights and darks, shadow and shading pare a scene down to its essentials and direct the eye to the focal point.” Steven J. Levin 30

his first choice. “These sizes suit the way I paint and the brushes I’m most comfortable using,” says Levin. “Bigger canvases can become overwhelming and take lots and lots of time to complete. I’m very careful about what I choose to paint on a larger scale because of the time factor. I’ll usually devote 10 to 12 days to a 16x20 painting. Blocking In To begin his painting process, Levin draws the design directly on the canvas in charcoal. This drawing is very basic—just a line drawing. Then, using a small, pointed synthetic brush, he retraces all the charcoal lines with very thin, very liquid brown oil paint. After this dries for 10 minutes or so, he wipes off all the excess charcoal. Next, using large brushes and somewhat thinner paint, he broadly lays in the entire painting. When this layer is dry, he repeats the previous step, but with much thicker paint, building up texture, refining the modeling and accurately stating the lights and darks. “The

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OPPOSITE: “I painted The Times Bar (oil, 9x12)

solely because of that wonderful green underlighting on the bar,” says Levin. “I’m always searching for interesting light effects to paint. Sadly, this bar no longer exists.”

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LEFT: “The city of Chicago is a treasure trove of great architecture. The revolving door in Coming and Going (oil, 21x17) caught my eye,” Levin says, “and I incorporated it into this painting. This near mirror-image effect is a slight foray into surrealism.”

blocking-in portion is my favorite part of the painting process,” says Levin. “You get to see the idea take shape rather quickly over the course of the day. It’s very rewarding to see your concept materialize full-size, in paint.” Refining and Fine-Tuning To finish, he chooses a small section of the painting to work on for the day and, using thinner paint and more medium, repaints the entire area, refining the modeling to attain more subtlety. He continues this refining process over the whole painting. “Something I think other painters might find interesting,” the artist says, “is that I tend to do almost no glazing for translucent effects, but finish entirely with relatively thick paint. For me, the finishing of a painting is the most difficult. Realizing the form as fully as possibly in paint is something I’m constantly trying to improve— and with which I’m rarely satisfied.” ■

Meet Steven J. Levin Steven J. Levin has won numerous awards and prizes in nationwide competitions, including those of the American Society of Portrait Painters, the Allied Artists of America, the Portrait Institute and the Oil Painters of America. “I believe one of my strong points is that my spotting of values is good,” he explains. “That’s an influence from my Boston School training—an emphasis on the beautiful placement of lights and darks over the canvas.” The artist produces work for a one-man show each year; John Pence Gallery hosts his next show this November and December. Last November Levin completed a large (54x46) painting for the upcoming traveling show and book conceived by film director George Lucas and based on his Star Wars movies. Living and working in Minneapolis, Minnesota, Levin is represented by the John Pence Gallery of San Francisco and Tree’s Place in Orleans, Massachusetts. Learn more on his website: stevenjlevin.com.

ROSEMARY BARRETT SEIDNER is a director of Miller Gallery in Cincinnati, Ohio, and a freelance writer.

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Throw a curve on regular perspective with this dynamic new approach.

h t f fi

the

e v i t c e p s r pe BY RUDOLF STUSSI

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that they would have liked to have become artists, but they can’t draw a straight line. I always smile. What’s drawing a straight line got to do with it? With that ability, you can maybe aspire to becoming a technical draftsman or assistant architect at best. Art eschews straight lines. My lines are almost never straight, which I can only consider an advantage. Okay, some people think I’m stupid, blind, drunk, mad or in dire need of a qualified optician. (My glasses are okay, but I can’t vouch for the rest.) I do believe, however, that I offer a new twist (or curve) on perspective. PEOPLE OFTEN TELL ME

Four Perspectives Plus One Perspective is, simply put, an attempt to depict the three-dimensional world on a twodimensional surface. That’s not as easy as it seems. It’s long been obvious that things somehow appear different with distance, but to the

ancient Egyptians and Persians, size indicated importance, not closeness. And for many centuries, artists of Europe, China and India were content to place distant elements higher in the picture plane, the highest indicating the farthest away. That worked. The principle is still applied today OPPOSITE: A diagonal y-axis runs in what we call isometric through the tower in Rathaus Basel perspective (see Building (oil, 52x36), and flying elements fall Perspective, A , page 35). away as whimsical variations. The Everything changed building itself weaves as if it were abruptly in the Italian made of gelatin rather than stone. There’s humor in this approach. Renaissance. Artists such as Masolino da Panicale and Filippo Brunelleschi discovered that, in the eyes of the observer, objects grew measurably smaller as they approached points on a horizon line. With the scientific zeal of the new age, artists expanded upon this discovery. Painters from Giovanni Bellini to Canaletto went wild with representations of the architectural

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BELOW: The tree and poles in Adelaide (watercolor, 19x26) represent the y-axis, but the billboard and the windows take aberrant tracks.

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wonders of Italy. First one, then two vanishing points were set upon the horizon line—the anchor of this vision—and one- and two-point perspectives were born. Convincing illusions of three-dimensionality revolutionized the visual arts (see Building Perspective, B and C; opposite page). Even that wasn’t enough. Objects didn’t diminish just from side to side horizontally; they also got smaller vertically—up into the clouds or down toward the valley floor. The designers went back to their drawing boards and came up with the vertical y-axis, upon which a third vanishing point could be affi xed either above the horizon line or below (but not both, alas). That was the third perspective (see Building Perspective, D). Regrettably none of these could explain how an object came to diminish both up and down at the same time! Straight lines wouldn’t allow that; they bent unnaturally at the horizon line. But there was a solution! Curvilinear perspective, otherwise known as four-point or the fourth perspective, was born (see Building Perspective, E). It saw the world as the wide-

angle lens on a camera does, and it tied in nicely with the spheres of the eyeball and the globe—which goes to show that nature herself doesn’t approve of straight lines. So that made four perspectives with credible scientific, drafting and structural foundations. Animation artists favor simple one-point perspective; classical painters are partial to two-point perspective; set painters and illustrators dabble in the third perspective; comic artists like the in-your-face fourth perspective. Architects, bless their souls, embrace that false mistress, the isometric perspective (which totally denies the whole distance/size axiom and, therefore, is not listed among the four perspectives). Perverse Alternative The problem for me and countless other artists is that all four perspectives are too geometric, too calculable, too sober, too boring! They don’t reflect the arbitrariness of life, the flux of history and destiny, seasons and other cycles— and, of particular significance, they don’t reflect modern life. They also don’t add anything Text continued on page 37

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A

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x x

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30° y VP3

Building Perspective Before you can put the fifth—or perverse—perspective into practice, you must understand the traditional perspectives, namely isometric perspective and one-, two-, three- and four-point perspectives. A Isometric perspective was the first one to be used in many cultures (India, China, Japan and Arabia), but it isn’t a true perspective because nothing D gets smaller with distance. Elements can, however, be measured, which makes this approach useful for architects. B In one-point perspective the horizontal lines are all parallel to the horizon (x). Vertical lines are parallel to each other. Lines indicating depth converge toward a vanishing point (VP). Flash animation and simple children’s book VP1 VP2 x x illustrations use this perspective. C Two-point perspective has two vanishing points (VP) on the horizon line (x), toward which lines indicating depth converge. The vertical lines remain y parallel. y D Three-point perspective has three vanishing points (VP), two on the horizon VP3 line (x) and one on the vertical or y-axis (y). The y-axis’s vanishing point can be either above or below the horizon but not in both places. The vertical E lines of the tower can now converge toward the vanishing point. E Four-point perspective (also called curvilinear, curved or fish-eye perspective) goes curvy—the only reasonable response to the phenomenon of things getting smaller both from side to side and above and below the horizon line. This perspective, favored by comic and graphic novel artists, corresponds well to the y curve of the earth and of our eyeballs. VP3 VP1 VP2 F In the fifth (perverse) perspective both x x the horizon line (x) and the y-axis (y) are curved to create the illusion of movement. Four vanishing F points (VP) still create diminution and believability, VP2 but the effect is poetic, x not photographic or geometric. Individual VP1 lines may stray from x the general moveVP4 ment, and objects SYMBOL SUMMARY y may expand away x: the horizon line; indicates width and is associated with the x-axis from the horizon line or the y-axis— y: a line indicating the vertical or height, associated with the y-axis or even have their VP: vanishing point separate sets of vanishing points. VP4 y June 2010

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Step by Step Toward the Perverse 1. First I take photographs in case I need to refer to them later. The above photo collage allows me to confirm details for Wall Street.

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2. I then create a good sketch on location, even at this point trying to work out the distortion in my head. First I establish the basic movement (the swaying vertical axis and the destabilized horizon line) so that there are no parallels to the sides of the rectangular picture. This step vastly increases the abstract dynamics of the subject, the goal being anything but order and quietude. To emphasize the focus, I leave out unnecessary detail. Other aberrations may be lines that cross through and change all shapes in their path—mostly in one direction—or the arbitrary reduction or enlargement of a surface, or the continuation of an element far beyond its natural borders. I take a long time with this drawing stage because I don’t want to have to concern myself too much with form later. 3. Next I fill in the large areas, working from the lightest to the darkest and ignoring finer detail (although, if I’m working in watercolor, I must respect some light details because I won’t be able to get them back later). It’s important to fill in all areas so I have a true sense of the whole picture. I work fast, and I make the areas vary subtly in color and tone to give life to the surfaces. At this stage I can adjust the shapes, color and movement on a simple scale. I think more about abstract principles, such as tonal balance and color harmony, rather than about what the areas represent in the real world. The goal is to paint the whole work on a basic, visceral level. 4. Now I bring in the larger details, such as the flowing building surface. Here again I respect the bent y-axis and horizon line, but I can also add nonconforming elements, such as the windows of the Stock Exchange. These are like the variations in a jazz riff. I check the light source and make sure I’ve applied the shadows consistently. 5. At last the finer details get their moment as I add the stars floating from the flag, people and architectural detailing. But I don’t overdo or add them simply because they exist in the original. Rather, I put them in because they add to the entire painting or to the focal area. The painting isn’t about detail or accuracy but about feeling—about impression and expression.

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6. In the final stage I check large movements throughout the picture and make adjustments where necessary in tonality, intensity and hue. This is a good moment to create or expand on fault lines (lines along which the image shifts). I may also discover aspects I didn’t consider before. Being flexible and open to new ideas is important. I tighten up on gaps, edges and missteps. Finally, I declare Wall Street (oil, 32x44) finished.

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Text continued from page 34 to the dynamics of a picture. By and large, they don’t strike a blow against what I call the tyranny of the rectangle—that straight-line geometry. The alternative is what I call the fi fth—or perverse—perspective. The fundamental idea behind the fifth perspective is that there’s movement through the image. This movement is reflected in the vertical or y-axis—only she ain’t vertical! No, sirree. She bends and bobs through the subject matter like a fishing line in a swell. The horizon line, too, becomes part of this craziness, though it’s neither horizontal nor straight. The other lines in the picture that would normally run parallel to the vertical axis or the horizon still vaguely follow the twists and turns of those axes, but are not parallel. The lines deviate, run afoul and lose themselves but, in the large scale of things, they follow the main movement (See Building Perspective, F, page 35, and Focus!, page 38).

ABOVE: In Angelic

(acrylic, 28x40) the y-axis splits the figure in several places from a vanishing point below the angel’s feet.

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Focus! When working with the fifth perspective, you must invariably emphasize the focus of the work. Of course, to do this you must be conscious of what the focus—the most important element—is. It can be such things as an interesting detail, a play of light, a color, an expression or a shape. Everything else in the work is secondary. You must leave out unnecessary detail. In Al Prado, Havana (oil, 36x48) the figure at the red table in the upper window is the focus. As you can see in the diagram, the lines lead to and bulge around this focus, and color and tonal contrasts support it.

y VP4

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Perverse Advantages What effect does the fifth perspective have? • For starters, it’s anything but boring. You can’t calculate it; it surprises—and leads people to a new way of looking at things. • The fifth perspective radiates dynamics because it breaks out of the framework. Nothing within the rectangle of the picture lines up parallel to that rectangle’s sides. • It has a philosophical dimension. It expresses the fluidity and arbitrariness of life, not to mention the instability of the modern age. • It’s surprisingly believable. The perspective is recognizable—objects grow smaller with distance—and yet the effect is anything but realistic. Realism is, in my opinion, a curse on art. After all, photography relieves art from the burden of realism, from the need to record. • The fifth perspective imbues objects with personality. The objects, be they buildings, people, flowers, mountains or whatever, take on a marked singularity. This singularity comes from the fantasy, the experiences and the knowledge of the artist. The picture becomes, perforce, subjective. Depicting the objects is the launching pad of this art, not its destination. For an example of how I incorporate the fifth perspective into a painting, see Step by Step Toward the Perverse (page 36). Perverse Connection Art is a subjective practice—not about reflecting the world, but rather restructuring the world through the experience and knowledge as well as the fantasy of the creator. Art is an effort to garner new insights and, most importantly, to transmit them. Not to mince words, art is communication, a process of inspiring others to take a new look at things they thought they knew. Therefore, on some levels, art must be accessible to others. Because my pictures have recognizable subject matter, viewers find a connection, which then carries them through the more unfamiliar and bizarre aspects of the painting and leads them to new understanding or, perhaps even better, new mystification! In this unique way, the fifth perspective combines the power of observation with the freedom of the imagination. ■

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ABOVE: In Flurries (watercolor, 19x26), the road and roofs

lead the eye toward the area left of center behind the foreground buildings, where the snowstorm is approaching. The vertical buildings sway as if blasted by arctic wind. RIGHT: In Piano Diva at the Palais (acrylic/oil, 36x52), The pianist’s size follows the Egyptian perspective, in which size indicates importance, not distance. Lines indicating depth and the y-axis lead to her figure, and the undulating keyboard is a variation suggesting music.

Meet Rudolf Stussi Born in Zurich, Switzerland, Rudolf Stussi was reared there and in the United States and now resides both in Canada and Switzerland. His cosmopolitan background is also reflected in his education. He earned a bachelor of arts degree in literature and a bachelor of journalism degree from Carleton University in Ontario, Canada, and a fine arts diploma from the Ontario College of Art. He has also studied art in Florence, Mexico and at St. Martin’s School of Art in London. From 1988 to 1991 he was president of the Canadian Society of Painters in Water Colour. Besides his work in fine art, he has also been involved with animation for American and European films and has illustrated two children’s books. He currently teaches at the Fine Arts Studio at Centennial College in Toronto. Stussi is represented by galleries in Germany, Switzerland and Austria, as well as by the Blue Dot Gallery and David Kaye Gallery in Toronto. For more information, visit his website at www.rudolfstussi.com.

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EXTRA

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Antique Sewing House with Game Board (oil on wood, 34x32)

Master realist Daniel E. Greene leaves nothing to chance.

design

the is in the

details

INTERVIEW BY MAUREEN BLOOMFIELD

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Gladys E. Cook Award for Painting from the National Academy Museum (2007), the Gold Medal from the Portrait Society of America (2001) and the American Society of Portrait Artists’ John Singer Sargent Award (1996), Daniel E. Greene is a master of all genres. When I talked to him at the end of January, he was getting works together for a show at Cavalier Galleries (www.cavaliergalleries.com) in Greenwich, Connecticut, that will open May 20 and run through June 14.

THE WINNER OF THE

MB You’ve been working concurrently on series that place figures in settings of the subway station, the auction house and the carnival; you’re also painting still lifes that incorporate game boards and sewing paraphernalia. The universe you’re creating is rich with symbols. The sewing house series, for example, reminds me that William Butler Yeats described the art of poetry as “stitching and unstitching.” What led you to the sewing machine? DEG Many years—it must be 35—ago, I acquired a small sewing machine. I did a number of pastels, and one of them had, as its basic theme, things found in an attic; the composition combined the sewing machine with a Monopoly board and a Charlie McCarthy doll. The thought occurred to me that this beautiful old sewing machine that I’d very much enjoyed painting could be utilized in combination with the other game boards I’d been working June 2010

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PEOPLE, PLACES & THINGS CHARLIE MCCARTHY: a ventriloquist’s dummy operated by comedian Edgar Bergen (1903–1978) WILLIAM BAILEY: (1930– ) American realist painter famous for monochromatic, linear still lifes ART STUDENTS LEAGUE: founded in 1875, by artists, for artists; located on 57th Street in New York City, it offers training for artists at all levels ROBERT BRACKMAN: (1898–1980) born in the Ukraine; taught at the National Academy and the Art Students League; known for his portraits of statesmen and celebrities

with. Both elements, the game boards and the antique sewing machine, have a nostalgic quality but, from my point of view, it was entirely a question of the shapes and the decorative elements in combination. I tried setting up the sewing machine in front of a game board. I borrowed from my mother-in-law spools of thread and various other elements relevant to sewing. At one point I took these materials out of my studio and into the house where my wife, Wende, and I have a beautiful, antique French country table that has an interesting patina. I arranged the lighting in the dining room so that it was coming from one direction. Carrying the objects from the studio to the dining room afforded me the opportunity to see what the spools of thread and the sewing machine looked like reflected on a polished surface, which produced long verticals and interesting horizontals (see Antique Sewing House with Game Board, page 40). I began to move around the various elements. When frontally faced, the tops of the spools had different configurations; one was like the spokes of a wheel; another had a circle with a hole in it; another had a crisscross pattern. There were thus opportunities for variations—in the designs of the tops of the spools, the way the spools were arranged and, of course, in the spools’ placement in relation to the distribution of color—the point being that none of this is spontaneous. It’s all arranged in order to elicit a response from me in terms of a design that I’d find interesting to paint. In Sewing Machine with Scissors (opposite page), the machine is in a halo or a spotlight, as if it were on stage.

I wanted a different kind of design by disguising, to a certain extent, that this setup was on a tabletop. When rendering spools of thread, one normally has to deal with drawing ellipses if one is looking down or up. Occasionally an artist, William Bailey for example, will do still lifes at eye level so that one doesn’t have to deal with ellipses. Several of these sewing houses are done exactly at eye level so that one doesn’t really see the tabletop or, if so, it’s only a sliver. That results in all the spools of thread having horizontal rather than elliptical appearances. With Antique Sewing Machine with Scissors, there’s also a spool of thread seen through a kind of arch in the middle of the machine. I decided to do 42

everything within a circular format, and to design spaces above and below the sewing machine in asymmetrical ways. The two reproductions of sewing patterns I carefully researched, finding those that had interesting abstract shapes that were not evenly divided or evenly sized. The old pair of scissors I tried setting up in numerous ways. I wanted to incorporate the notches on the blades and the interesting shapes on the handle. (The scissors themselves would make a sole subject for what I think would be an interesting painting.) The circle has a wavering quality, and it reminds me a little of Kenneth Noland’s Targets.

My intention was to juxtapose gray, black and white values and to introduce a handful of warm colors. I wanted a somewhat blurred effect in order to steer a bit further from any attempt or seeming attempt at photorealist painting. None of these paintings has the slightest thing to do with photorealism. They are all set up in my studio, and they’re all painted in north light. The handle of that sewing machine, the wheel that one turns, is a design element. It could be high or low; in the front or in the back. The sewing machine has a mostly faded, entirely delicate, decorative floral design, and I find the wooden base also to be quite beautiful,

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but it’s a bit complicated to depict in perspective, so I had to take both the left and the right to several vanishing points at eye level. When one paints impressionistically, one can suggest perspective, but if one is painting realistically, it has to be perfect or it doesn’t look right.

layer). When they become larger than 30x36, a carpenter puts cradles on the backs so they won’t warp. The quality about gessoed panels I particularly like for still lifes is that the paint builds up in thickness quickly. Nothing interferes with the detail that I may wish to impart.

These pictures are in a square format; is that to reinforce the formal repetition implied by the series and to echo the game boards’ shape?

These matters of craft resolve themselves in pictures that are iconic, such as a lone figure on a platform or stage—at a literal crossroads in To North Moore Street (see page 44). You concentrate on the composition, and it turns out that’s an effective way to convey emotion.

Indeed, game boards are usually square, so that has dictated some of the designs and sizes and shapes. I switch back and forth between painting on wood and on linen canvas. The wood is untempered fiberboard (Masonite). I prepare dozens of the gessoed panels (six coats of gesso, applied with a wide brush, both vertically and horizontally, sanded lightly between each

ABOVE: Antique

Sewing Machine with Scissors (oil on wood, 30x30½) OPPOSITE: Union Square (oil on wood, 60x40)

I don’t paint on an intuitive basis. It’s all figured out and articulated. There are a lot of very, very deliberate choices, but the end product is to create a feeling of a moment in time or a particular place or an attitude. June 2010

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Painting To North Moore Street BY DANIEL E. GREENE In North Salem, New York, it’s not nearly as easy to find professional models as it was when I lived in New York City. I have recently been fortunate to find some excellent models like Elin. I decided to utilize the benefit of Elin’s being able to pose and to use a background that I’ve used in a couple of paintings, Franklin Street Station in New York City. I did a number of thumbnail sketches to figure out where to place Elin in relation to the background elements. I often operate on the premise of utilizing contrast to solve a lot of problems. In this case, there’s a contrast in what I call opposite thrusts—Elin’s facing left and the arrow’s pointing right—which create strong directional opposition. There’s also a great deal of perspective involved in the receding lines of the tiles and the mosaics, and at eye level, where the tiles are perfectly horizontal and go right through her forehead. Everything has to go to a vanishing point way in the distance. That everything is seen from eye level is an important component. One of the most difficult parts was to manage to get the light on her face to be slightly lighter than the light tile behind her. I made the tile as dark as I could without turning it into something other than light tile. And I made the skin on the front of her face appropriately light so there’s some bas-relief or visual depth between the background and the foreground. When a

picture has a very light background, what stands out are the dark parts of the subject. In this case I wanted to emphasize a little bit more of the light and not be as strong with the darks against the light background. One way to achieve this is to establish the value of the background and then contrast the darks of the figure to the background; the middle tones to the background, and the light tones to the background, which is not the same thing as darkening the background to get the lights to come out or lightening the background to get the darks to stand out, as many, many artists do. Another aspect of the design has to do with variations in texture. At the bottom right, there’s a bit of marble; then there’s the orange-colored tile, and a single blue tile. Another challenge was the position of Elin’s fingers behind her back— designing that area in such a way that the silhouette of the fingers and thumb was against that little bit of light blue that symmetrically would be in that spot. I needed something light back there, and I was just barely able to catch part of the blue tile. I changed the position of her hands a number of times until we got just the right shapes to the fingers; otherwise they looked like a bunch of noodles! As one moves up to the mosaics in the middle, with “To North Moore St.” and the arrow, there are more contrasts; after the strong blue, as you continue up, the variety and color of mosaics change again to another shade of blue and orange, complementary colors. Elin is fundamentally in gray, so she’s not related to those colors except for the fact that her suit is a yellow-gray as opposed to a blue-gray. Warm gray relates to the slightly yellowish and orange colors of the tiles. Finally, Elin’s hair incorporates small, thin filaments of light that one can not really see in a reproduction. I painted individual hairs that have an almost decorative quality.

ABOVE AND RIGHT: To North Moore Street (oil on linen, 58x58) and a photo of the artist at

work

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I consider that I have sufficient technical skill to be able to paint what I intend to paint, but the important thing is the conception, and in that I deliberately want to be my own person. That’s part of the originality of these paintings. They’re all done for my edification. Each painting is such a compelling universe. It must be sad to let a picture go.

More than occasionally, I do miss some of the pictures, but I’m reminded that’s how I make my living. However, I did a portrait of my wife, 51st Street, which I exhibited, and during the opening our daughter came up to me and said, ‘Dad, you’re going to sell Mom?!’ So we now have it back, and our daughter’s glad about that. You’ve evoked New York City’s subway stations, but you grew up in Cincinnati; has that city found its way into your work?

My family would take a riverboat ride down the Ohio to Coney Island, an amusement park, which had a fantasy-land quality. I was

smitten with the booths and the games of chance. Many years later when I was trying to find subjects to paint, I naturally considered the things that were meaningful to me from my childhood. The settings of the carnival and amusement park had made a great impression on me. I discovered a traveling carnival that comes to Danbury, Connecticut. I’ve gone to other carnivals on occasion, as well, to rekindle memories from my childhood and elicit possible ideas for painting. Carnivals are suggestive; they’re replete with possibilities. One of the first things I noticed was the isolated ticket booth and the woman sitting within. Her head seemed to be disconnected from her body because of the exterior design of the booth. The bright, decorative façade appealed to me; the color combinations were alluring. The carnival was there for three weeks. I made some color studies and drawings. I used a model I’d painted before; I arranged the pose, lighting and composition to reconnect with the feelings I’d had when I’d

Antique Dish and Rug (oil on linen, 44x46)

MATERIALS PAINTS: Signature oil paints from Jack Richeson BRUSHES: Renaissance filberts and cat’s tongue brushes from Silver Brush Limited

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first seen this isolated figure. The decoration on the outside of the booth is designed to direct people to enter the carnival, a happy zone, but from the point of view of the person inside, it’s no doubt a boring scene. The subject of The Ticket Taker (opposite page) is in an internal world. Another character who seems lost in an internal world is the auction worker in Antique Dish and Rug (page 45).

WHAT IS IMARI?

Imari is Japanese porcelain characterized by a blue coloring on a white background.

I find the auction house an extremely dramatic venue, with works of art changing hands, the excitement of people bidding against one another—the whole atmosphere of tension. Years ago at one of the auctions, there was a young man holding up a silver platter, and I remembered the pose and decided to have this young model, Alek, pose with one of the Imari (Japanese porcelain) dishes we have against our North Persian runner from Azerbaijan. Alek posed in the studio, in north light. I positioned the rug so there was one large fold that’s slightly

in shadow so I could bring out the light on his face. Of course, the least complicated way to depict the rug would have been to paint it absolutely flat. On the other hand, the rug has such a busy design that the model’s head wouldn’t stand out very well unless the elements next to it were more in contrast and more in light. I moved Alek around to get some light elements against the dark side of his figure. Because the design of the Imari dish is also so busy, it’s difficult to determine if the drawing and the symmetry are right. In order to check that, I turned the picture in all four directions and looked at in a mirror— inspecting the outside and inside shapes of the dish. Symmetry is a big part of this picture;

Meet Daniel E. Greene Greene is represented by Gallery Henoch in New York City; Miller Gallery in Cincinnati; Wendt Gallery in Laguna Beach, California; Nedra Matteucci Gallery in Santa Fe, New Mexico; and Cavalier Galleries in Greenwich, Connecticut. Cavalier Galleries will exhibit his newest paintings in a show opening May 20. Greene will teach workshops in North Salem, New York, July 11–16, July 18–23 and July 25–30. To find out more, visit his website at www. danielegreeneartist.com.

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the design on the rug goes from one big block or diamond on the left with the same design going on the right, and these designs are kind of in reverse. To re-create that pattern, I made stencils for a few of the large designs so I could turn them over and make sure they were the right size and in the right position. I had to look at the background in terms of big shapes, and then I had to see it broken down into smaller shapes, a process that was compounded in complexity by the fact that the shapes are symmetrical.

extol the fleeting nature of youth and desire. For the most part, the elements in your still lifes and the characters in your figurative work are beautiful because of, not in spite of, their age.

So much contemporary art has a smooth surface. I react to stains, to cracks. I’m very attracted to distressed surfaces, precisely because I paint primitive designs and weathered antiques. I’m interested in icons that are chipped and cracked. I love the patina of old things, the evidence of time. ■ MAUREEN BLOOMFIELD is the editor in chief of The

The convention of still life is to portray the moment before the flowers or fruits succumb to decay. The convention of love poetry is to

Artist’s Magazine.

LEFT: Antique

Black and Red Checkerboard with Orchids (pastel on wood, 24x24) BELOW: The Ticket Taker (oil on wood, 48x34)

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Cathy Woo coaxes a dialogue between organized structure and organic disarray in adventurous, acrylic abstractions.

between chaos & serenıty BY RUTH K. MEYER

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almost daily, along the shores of Puget Sound in Seattle give Cathy Woo the inspiration that she takes home to the studio. Her paintings on panel are rich in sensations and glimpsed moments of order in a disorderly natural environment. “Most of my subject matter explores visual patterns,” says Woo, “created with juxtaposed color and shape. While not overt, there’s an underlying theme of nature that reveals itself because of my love of the outdoors.” MEDITATIVE WALKS,

Intuitive Abstraction Arising from methods born of years in the studio, Woo’s paintings glow with convincing authority, as can be seen in a sequence of images from her recent body of work, the Flying Colors Series. Prominent scaffolds of lines emerge. These lines are usually squirted on, but are also occasionally implied by fragments of edges. Within this scaffold, Woo has scattered dots and dabs of paint in a random but confident way. The sophistication and intuition of her craft

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ABOVE: Edgartown Regatta (acrylic, 36x36) LEFT: Acorn Hunt (acrylic, 36x36) OPPOSITE: Looking Glass (acrylic, 36x36)

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MATERIALS SUPPORT: 1⁄8-inch Philippine mahogany plywood in 4x8-foot, cut-to-size sheets from a lumber store, sealed with a commercial sealer and covered with at least two layers of gesso, usually colored SEALER: commercial (hardware store) sealer, such as a primer made by Zinsser GESSO: colored gessoes by Holbein (available through Cheap Joe’s) and by Daniel Smith

lie in the manner in which she manipulates color and plays with the sequence and size of shapes. Finally, she might add a hint in the title that there could be a recognizable subject to which she is very gently alluding. Two recent paintings, Edgartown Regatta (page 49) and Hummingbird Frolic (page 51), retain notes of a boat and a bird—but these could be overlooked within the total impression of the paintings. More significant is the celebration of the joyful “accidents” that these works embody. Nonobjective Art Woo describes her nonobjective abstract paintings as “physical, energetic, intuitive, adventurous, emotional and methodical.” Consider the words of Paul Klee (1879– 1940), a painter of abstract landscapes,

Intuitive Abstraction Step by Step

ABOVE: This photo shows some of the

materials I used for my demo painting. The yellow board in the background is the wood painting support that has been prepped with sealer and yellow gesso from Holbein. A piece of shiny plastic wrap hangs on the board. (See Materials, above and on page 52, for a comprehensive list of art materials Woo customarily uses.)

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explaining nonrepresentational art: “Formerly, artists depicted things that were to be seen on earth, things people like to see or would like to have seen. Now ... things appear enlarged and multiplied and often seem to contradict the rational experience of yesterday. An effort is made to give concrete form to the accidental.” (See 20th-Century Abstraction, page 53). Klee also explained the essence of the artist’s communication with nature: “The artist is human; himself nature; part of nature within natural space.” Advocating instead a parallel path with nature, Woo’s strategy is to create a conversation between organized structure and organic dissociation. “I observe every day how the universe consists of an ongoing interplay,” she says, “between things coming together and things falling apart, and then things coming together

1

2

1. Painting the Grid

3. Adding the Scaffolding

I began my piece by drawing a grid with Caran d’Ache red watercolor crayon and then painted over it with a wash of zinc white thinned with acrylic gloss medium. Although most of my grids eventually disappear during the process, they serve as my organizing layer for future random organic layers and remind me that my painting process will naturally fall into alternating rhythms of structure and accident.

I added some black “bones,” which began to divide the space and create some larger shapes. I did this by squirting black fluid acrylic paint directly out of the bottle onto the surface of the painting. Then I squished and flattened the lines into random marks using plastic wrap.

2. Animating the Grid At this point I’ve jumped in and begun to animate the grid with dots of paint of varying sizes, values, colors and densities. Because slightly mixed color is more interesting to me than an homogenized hue, I mix the pigments directly on the surface of the painting.

4. Adding the Red To keep the eye engaged, the red color layer I added in this step is actually a combination of hues: cadmium red light and dark, cadmium orange and alizarin crimson, quinacridone crimson and magenta. At this point, passages begin to flip back and forth between positive and negative shapes, and the painting begins to take on its identity, rather than being just a bunch of dots.

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again. My paintings are a natural and unavoidable product of those forces—reflected in composition, materials and techniques.” (To see specific pairings of Woo’s photos and paintings from another of her series, go to www. alkiweb.com, click “enter studio,” scroll down to “Painting Images” and click on “Tangles 1, 2, 3 and 4.”) Solving Visual Puzzles Usually the artist begins a painting by creating either a grid or a pattern of dots on her wood panel, which is always laid flat to work on. Initially, there’s a lot of improvisation. “Depending on my mood,” Woo says, “I’ll try a combination of painting elements, such

RIGHT: Hummingbird Frolic (acrylic, 36x36)

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4

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5. Letting It Sit The painting reached a point where it could be considered finished, but I wasn’t excited by it. Because I wasn’t yet sure what to do with it, I let it sit for a few days and waited for it to “talk” to me and let me know what it needed.

6. Listening to My Muse When the muse finally spoke, my painting process resumed, pushed along by intuition and instinct. I decided to make the grid more subtle; painting out much of the black line gave way to more gradual passages of color and shape. The final white “moon” appeared out of nowhere and connected Rose Hip Moon Over Alki (at right; acrylic, 36x36) to my inspiration in nature.

6 June 2010

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MATERIALS (CONTINUED) ACRYLIC PAINTS: Golden, Liquitex and Daniel Smith MEDIUMS AND GELS: Golden and Daniel Smith acrylic gloss gels and mediums (which dry clear) during most of the process for color intensity, and a semigloss medium for a matte surface at the end; if Woo leans toward a more glossy surface, she uses Golden’s SelfLeveling Clear Gel

as colors or shapes or patterns, and see what happens. Since my work is mostly intuitive, what I get down isn’t as important as getting something down to work with.” She says this trial-and-error stage always leads into a more defined direction for the composition. (See Intuitive Abstraction Step by Step, page 50.) Viewing her approach to painting as setting up visual puzzles, throughout the remaining painting process, Woo tries to solve these puzzles using generally applied painting principles, as well as her artistic experience and intuition. “Some of my painting layers tighten up and organize the composition,” she explains, “while alternating layers carry the image out into dissonance again.” Usually not until the end of the process does she start pulling out the larger, major shapes that will establish the foundational structure for the painting’s final composition. “I often take the painting to an extreme,” she says, “and then pull it back.”

A Multidimensional Grid Woo works on a number of panels simultaneously and layers paints, mediums and gels over a period of several days, a drawn-out, repetitive process that leads to a question—When is a painting finished? Woo says she has “a multidimensional grid” in her head, consisting of painting elements, principles, techniques and media. “Every painting I do arrives at a point,” she says, “within an invisible framework. Each one attains its own state of balance along a continuum between wildness and serenity. When the painting starts to take on a character of its own, I try to discover that character and then enhance it. My job isn’t to impose my will on a painting,” she says, “but to let its essence emerge naturally.” ■ RUTH K. MEYER is an art historian and art consultant who lives on the banks of the Ohio River.

WATERCOLORS: many brands and colors, including Cheap Joe’s American Journey, Daniel Smith, Holbein, Winsor & Newton and Da Vinci CRAYONS: Caran d’Ache watersoluble and regular crayons COLORED PENCILS: Caran d’Ache water-soluble colored pencils BRUSHES: natural bristle brushes— mostly fine art brushes, but also those from the hardware store (Woo says she’s really hard on brushes and also applies paint with squirt bottles.) COLLAGE ELEMENTS: Japanese rice papers

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© 2010 Artists Rights Society (ARS), New York, NY / VG Bild-Kunst, Bonn; photo: Scala / Art Resource, NY

BELOW: Crosses and Columns (1931; watercolor on paper mounted on card, 15x21) by Paul Klee

Meet Cathy M. Woo Award-winning artist Cathy M. Woo has been painting for more than 25 years. A large part of her life and her painting revolves around her time spent in nature— from the backroads of New England to the California beaches to the forest and shores of Puget Sound near Seattle, her current home. “Usually I take my camera on my walks,” she says, “in order to catch the unexpected images I always discover ... I have a direct, sensuous connection with the natural world that has always pulled me into the outdoors.” To see how Woo’s work has evolved over the years, visit her website, www.alkiweb.com.

20th-Century Abstraction

ABOVE: Cat’s-Eyes (acrylic, 36x36) LEFT: Carry a Tune (acrylic, 36x36)

A century ago creating totally nonobjective, abstract art became the goal of European artists trying to throw off the grip of the academic styles of the 19th century. The period from 1905 to 1914 has frequently been called “heroic” because of the quantity of innovative art produced in Paris, Berlin and other art centers. Fauvism, Cubism, Futurism and Expressionism are just a few of the movements associated with the period. At a time of scientific ferment stirred by discoveries in mathematics and physics, artists were eager to proclaim that they, too, were experimenting no less profoundly with the arrival of a new multidimensional reality. The traditional genre of landscape painting benefited tremendously from the avant-garde artists’ experiments with new representations. Paul Klee (1879–1940) stands as a spiritual mentor to contemporary abstract painters like Cathy Woo, not only from the examples of his paintings, but also from his considerable body of written theories published during his lifetime and particularly while he was a teacher at the Bauhaus in Germany. Along with Russian painter Wassily Kandinsky (1866–1944), Klee was responsible for developing courses to teach nonobjective, abstract painting when it was still a revolutionary practice. He refined his art theories in a practice that stressed the interdependence of all the formal means: line, color, shape and design.

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Choose the best frame to present and protect your artwork.

the fine art of

framing BY ROSEMARY BARRETT SEIDNER

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for a diamond, the frame around a work of art is the finishing touch, the element that completes and elevates a painting, presenting it to the viewer in its best possible light. Framing, however, is an art in and of itself, and just as a good frame choice can greatly enhance the appearance of a work, a poor frame choice can drastically diminish a work. LIKE THE SETTING

To Frame or Not To Frame I’ll let you in on a secret: Not every work of art needs to be framed. For contemporary

gallery-wrapped paintings, framing is completely optional. The term gallery wrap refers to canvas wrapped around thick stretcher bars and secured to the back rather than the sides of those bars. This mounting leaves the sides of the canvas smooth, neat and free of visible staples or tacks. Artists using this type of canvas mount often continue the painting around the sides or simply paint the sides a complementary neutral (See No-Frame Options, A; page 56). When a painting on canvas is not gallerywrapped, the stretchers are thinner and the staples are visible along the sides. The obvious intent of the artist is that the piece will be framed, and the frame needs to have sufficient depth to accommodate the thickness of the canvas and stretchers. Paintings on board or panel usually require the structure of framing for display, as do most paintings on paper. However, box mounting these works for sleek effect renders framing optional (See No-Frame Options, B; page 56). Which Frame? There are several schools of thought with regard to frame selection—but no hard and fast rules. The preferred thinking is that the work of art, and nothing else, should direct the selection of the frame. Here are some guidelines: A painting’s style should suggest the frame style. For example, a period painting or one of classical subject matter is well suited to a timeless, traditional, elegant gold-leafed frame or a handsome walnut or mahogany wood frame. Lighter, ethereal, or more abstract paintings may look best in sleek, less fussy frames. And for paintings that are in-between, there are transitional frames—those that blend elements

This corner of Miller Gallery, in Cincinnati, Ohio, shows that each work of art, with or without a frame, is a universe unto itself. Feel free to mix styles of artwork and frames within a grouping. For image credits, see the bottom of page 58.

DEFINITIONS

GALLERY WRAP: the result of stretching a canvas around the sides of stretcher bars and then securing the canvas to the back of the stretchers BOX MOUNT: a display method in which a piece of artwork is either mounted within a flat box or becomes a face of that flat box PROFILE: the curve and design of a molding, often described in terms of height, width and rabbet RABBET: the channel on a frame’s underside into which the artwork, glass, mat and any other framing materials must fit

Photos by Al Parish; photos taken at Miller Gallery in Cincinnati, Ohio

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No-Frame Options

A DEFINITIONS

MOLDING: the visible, decorative part of a frame; also spelled moulding FLOATER FRAME: a frame with a back to which the artwork is attached so the molding need not touch the edge of the work, resulting in the illusion of the artwork floating within the frame LINEN LINER: an inner frame, often used with oil paintings, that’s covered with white or neutral fabric FILLET: A small piece of decorative molding that fits inside a larger frame or underneath a mat. MOUNTING: attaching artwork to a surface that provides support for framing; can also refer to the means of attaching the artwork to that support

Paintings on gallery-wrapped canvas (A) and box-mounted works (B) don’t need frames.

B of the traditional and the contemporary. Be aware that each frame has a specific profi le, clearly seen when viewing the diagonal cut on a frame sample. Each work of art is its own universe. When the frame is selected to be of the greatest benefit to the art, the framed piece can be hung anywhere. A contemporary painting hanging in a traditional room doesn’t need to have a traditional frame; nor does a traditional painting in a contemporary room need a contemporary frame. And don’t fall into the trap of choosing a frame to match others you already have; some of the most stunning groupings of paintings feature pieces in a wide variety of frame styles, sizes and finishes. Larger paintings usually look best with wider moldings and, therefore, larger frames. If, however, going big won’t work for you and your space, a floater frame may help. Floater frames usually add only 1 to 4 inches to the height and width of a large painting, whereas a regular frame of an appropriate size for a large work may add as much as 7 to 12 inches to the overall dimensions (See Conserve Wall Space, page 57). Depending on the style of the painting, your framer may recommend a multilayered frame composition—one or more frame moldings used together to achieve a unique look, with or without linen liner, plus fillet (E, at right). A frame and its linen liner should never be the same width. There are no rules stating which should be wider—although it’s often the frame. Choose a frame finish that doesn’t compete with the art in color or texture. For example, don’t choose a fussy frame with a

mottled finish to go with a busy image. Always remember that framing has no hard and fast rules. Feel free to experiment! A nontraditional painting can look like a million dollars framed in a hefty, ornate and traditional molding, and a very small painting can take on new importance and become a special gem when placed in an oversized frame (F, page 57). Here’s where the advice of a professional framer is especially helpful. Pointers for Works on Paper Works on paper—watercolors, pastels, charcoal drawings and so forth—entail a special set of considerations because of the perishable quality of their surfaces. Prior to framing, the work must be mounted on a support. Conservation mounting

E

RIGHT: Linen liners create visual breathing room between an oil painting and its frame. A gold fillet adds a subdued decorative element.

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Conserve Wall Space A picture in a floater frame (C) takes less space than the same size picture in a traditional frame (D).

is strongly recommended. Th is means that at any time in the future you would be able to remove your artwork from the framing structure without causing any damage. Also, there would be no telltale signs that the work had ever been framed before. Conservation mounting is imperative for works of value or anticipated future value. Acid-free corner pockets and acid-free adhesives are two good methods of securing artwork to its support. As for the support itself, archival foam board creates a sturdy structure for a framed piece on paper and helps protect artwork from pollutants that might find their way through the back of a framed piece. In addition, most works on paper require matting and framing under glass for protection (see Glass Options, at right). The matboard,

F

C What Do Frames Do? The primary purpose of a frame on an oil or acrylic painting is to focus your attention on the work of art—to create a unified whole that stands alone, separate, and invites undisturbed contemplation. The primary purpose of a frame on a work on paper is to provide structure for the protection and presentation of the piece as well as to enhance its appearance.

D Glass Options First and foremost, glass protects works on paper from dust and other pollutants, but it can also serve other important functions: • Regular glass is the type most commonly used. It’s scratch-resistant but breaks easily in transportation and only filters out about half of the damaging ultraviolet (UV) light rays. • Nonglare glass works well on pieces placed directly in front of a window. The drawback is that this glass tends to soften the image and give a slightly fuzzy appearance to the work. It also gives low UV protection. • Conservation glazing is a coating applied to glass that offers 97 percent UV protection. • Museum Glass is the ultimate—so clear and glare-free that you can’t see it at all when you stand in front of a painting. It also provides the best UV protection. This glass is expensive, but worth the price. • Acrylic glazing, also known by the trade name Plexiglas, is much lighter than glass, which makes it a good alternative for large works of art. It’s virtually shatter proof, although it scratches easily. Available in regular and nonglare forms, acrylic provides about 60 percent UV protection. Regular glass cleaners may leave the surface looking foggy.

LEFT: Placing the work A Perfect 10 (acrylic, 3x3¾)

by Robert Anderson in an ornate, oversize frame goes against convention, but the striking result suggests a jewel in an antiqued gold setting.

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G

Matting Aesthetics

ABOVE: Double matting is one way of introducing a

thin strip of color.

H DEFINITIONS

CORNER POCKETS: clear, corner-shaped pockets that adhere to the support; corners of a work on paper slip into the pockets, which hold the work in place. MAT: also called matte, matboard or matting; a paper board or sheet with a cutout window that separates the artwork from the framing glass and also serves as a border around the artwork SPACER: an element placed in the rabbet to keep artwork from coming in contact with the frame or glass

• Neutral-colored matboards are far more sophisticated and au courant than any of the many colors available. • It’s best to avoid snow-white matting, which tends to be dazzling and, thus, distracting. • If you want to introduce color, consider double matting. The colored mat should be placed beneath the neutral mat, and the windows of the two mats should be cut so only about ¼ inch of color is revealed (G). • A delicate wood fillet is an attractive alternative to a double mat. The fillet, which fits inside the opening of the mat board, between the board and the artwork, can match or complement the color of the frame (H). • The mat and frame should not be of equal widths. Preferably, the matting should be wider than the frame (H). If frame and mat are the same size (and this applies to the frame and linen liner of an oil painting as well), the eye tends to visualize stripes around the work. • Generally, weighted matting is preferred. This means that the bottom of the mat is deeper than the sides and top. Weighting, even when it’s subtle, provides visual balance when the framed piece is hung on a wall (H). LEFT: For good visual balance, the mat (or linen liner) and frame should be different widths, and the mat should be weighted. The weighting can be subtle, as it is for Look of Promise (acrylic, 20x24) by Ober-Rae Starr Livingstone. In this case the mat width measures 3¼ inches on the top and sides and 4 inches on the bottom. The gold fillet adds a thin strip of color.

with a cutout window, is laid over the painting and prevents the glass from touching the surface of the artwork. A spacer can be used in place of a mat. Matting also contributes to the presentation of the artwork (see Matting Aesthetics, above). It‘s essential that all materials used be 100 percent acid-free. You may look back at pieces framed many years ago and see that the matting has discolored, as has the paper of the actual artwork where it came in contact with the matboard. This discoloration (acid burn), is caused by acid in cardboard backing, nonacid-free matting, acidic masking or Scotch tape. Many a fine work has been devalued in this way. All good framers now use acid-free or archival materials. For Best Results Many collectors and artists have an eye for selecting the right frame and can make sound

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decisions with little guidance from a professional. Quality framing, however, can be an expensive endeavor, so for most people the experienced advice of a professional is invaluable. In either case, don’t underestimate the importance of framing your artwork in the most suitable and visually attractive way. Take the time to make the right selections, and your artwork will bring pleasure for generations. ■ ROSEMARY BARRETT SEIDNER is a director of Miller Gallery in Cincinnati, Ohio, and a freelance writer. Image credits for pages 54–55 (clockwise from left): Summer Sizzler (oil, 24x36) by Hilary Eddy; Golden Eagle (oil, 40x30) by K. Henderson; Pienza Promenade (oil, 20x30) by John Michael Carter; Desert (mixed media, 72x48) by Bruce Riley; Pastel Sky (oil, 12x16) by Stephen Bach; Dark Valley (oil, 10x10) by Stephen Smalzel; Moroccan Citrus (oil, 20x24) by Melissa Hefferlin; Starry Night (oil, 16x20) by Tom Bluemlein; Noble Reinforcements (oil, 23x15) by Allison Leigh Smith; Look of Promise (acrylic, 20x24) by Ober-Rae Starr Livingstone

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BY STAN MILLER

Portraits With Universal Appeal Try these tips for attracting a wide audience (and interested buyers) for your portraits. STUDENTS CONTINUALLY ask me how I can sell noncommissioned portraits. Why would people want to buy portraits of individuals they don’t know? I tell them that I don’t try to paint a specific person, but rather to capture an emotion expressed by my subject. When I paint the same model many times, which I often do, I bring out a particular emotion or mood with each depiction. Joy, sorrow, indecision, thoughtfulness, nostalgia, conviction, intensity—we all experience these feelings and recognize them in others. When we look at a portrait and immediately wonder who the person is, chances are the emotional connection has become secondary to the identity, gender, race or other physical quality of the subject. But when we see the emotion before we see the identity of the subject, the painting becomes universal. So how does one go about portraying people in a way that brings out universal qualities as opposed to unique identities? Your choice of model, lighting, design, color and painting style all play a part.

RIGHT: The subject of Heather’s Repose (watercolor, 14x7) has a universal quality because no single feature calls attention to itself. Entering into her emotions is easy. Careful posing and lighting, plus a mood-inducing arrangement, also contribute to a universal portrait. The painting won an award, and I sold it right away.

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1. Choose a Universal Model Marketing experts and commercial photographers choose models who look familiar—in other words, who look like an average man or woman. These models have no individual facial feature or combination of features that stand out as being highly unusual or unique. The second thing to keep in mind is that we’re more comfortable with someone who represents an idealized version of the general public or who has an iconic look for a certain type—such as youthful energy or midlife wisdom. Charles, a friend of mine, is a good example of someone who I think looks familiar. I’ll insert here that a famous painter needn’t worry so much about a model’s distracting facial features undermining the sale of a portrait. One of Andrew Wyeth’s models, Christina, had a prominent, noticeable nose. For the average painter, though, that unusual look would be hard to sell. Once you’ve chosen your model, take many photos. Have the model look up, down, away and so forth. Ask questions that bring to mind memories that trigger a variety of emotions. The more photos you shoot, the more likely you’ll capture that perfect mood. Rarely do you want to use a flash. Try to get your model outside or use natural light indoors.

I took 60 to 80 photos of Charles inside my house, using natural light, no flash. As I photographed him, I gave prompts: “Look up as if you’re looking at God;” “Look down and think of something sad that happened in Michigan;” “Try to look as if you’re attempting to see something a long way off.” 2. Choose and Edit Your Photo Later I looked at all my photos of Charles and asked myself several questions. What do I want to say? What kind of emotion do I want to express through Charles? What emotion and what look would speak to most people? Once I settled on a photo with the emotional expression and head angle that I liked, I began to edit out details that made the image too

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RIGHT: The Spirit of Charles (watercolor, 16x12) FAR RIGHT:

Terry’s Model (watercolor, 14x12)

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Transforming Tony The one thing that appealed to me about Tony’s look was his spiritual demeanor, so I photographed Tony outdoors without a flash (below, left). Because his bald head seemed too distracting, too specific, I painted in a hood to give him the look of a monk. I also changed the color and lighting with the intent of suggesting a person who’d been through great struggles but had maintained his humanity and compassion. For The Mystic (below, right), I wanted not only a universal look but also a universal message within a unified and well-designed painting.

ABOVE: Reference photo for The

Mystic

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ABOVE: The Mystic (egg tempera, 26x27½)

specific. One way to do this was to zoom in on the face. By combining Charles’s universal, familiar look and zooming in on his face—a face expressing an emotion to which almost everyone can relate—I had the basis for a painting that would be meaningful to a large audience. 3. Edit as You Paint Once you start painting, you can continue to edit. Choose a painting style that isn’t totally photographic. By fading out as I moved away from the center of Charles’s face and removing the details that aren’t critical to capturing his mood, I moved toward a more universal message. Note that in the finished work, The Spirit of Charles, the scarf and shirt collar are missing and the background is altered to support my model’s expression. The viewer’s eye can move freely through the expressive area around the subject’s face, taking in the statement it presents about our common emotions and humanity. 4. Exception The subject of Terry’s Model isn’t someone I feel possesses a universal, idealized look, yet I sold this portrait to someone who saw it in a juried competition. I believe the appeal of the work lies in its loose style.

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Once a portrait becomes more about color, shapes and patterns than it does about a realistic depiction, you can more easily sell the work. The big qualifications for success with this approach are that the painting still has to have a powerful mood—and it has to be wonderfully designed. These qualities in themselves lend universality to the work, hence diminishing the need to follow my earlier guideline about painting a model who has a universal look. ■ STAN MILLER, a signature member of the American Watercolor Society, has won numerous awards throughout the United States and has conducted workshops in Europe for Plein Air Painters of America. He continues to hold workshops around the United States. For more information visit www.stanmiller.net.

Specific vs. Universal Berit’s Grandson (above; watercolor, 9x15) is a commissioned work based on a photo taken with a flash, the subject looking directly into the camera. My client liked the painting very much, but I can’t imagine others wanting to buy it unless they know and care about this particular child. For purposes of general salability, the subject is too specific and the flash takes away any sense of atmosphere or universality. Before painting Brenda (above, right; watercolor, 16x8), a noncommissioned work, I shot many photos in natural light. From those photos I found the perfect mood and lighting, not to mention a much more natural pose than the one seen in Berit’s Grandson. Not long after I painted this portrait, I was able to sell it to someone who responded to its universal quality. ■

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ask the experts

BY ANTHONY WAICHULIS

Graphite & Charcoal Together Q. Is the use of graphite and charcoal in the same artwork possible? I tried doing this once, and the graphite was too slick and shiny for the charcoal to stick. Was I doing something wrong? A. Graphite and charcoal can

absolutely be used within the same artwork (See Portait Study, below). The contrasting characteristics of the differing media can lead to interesting, useful and attractive combinations; however, the manner in which they’re applied or combined is where difficulties may arise. Softer materials (like charcoal) need a drawing surface with a rougher tooth (surface texture) that allows the medium to adhere. Harder materials (like graphite) will adhere to a much smoother surface. These harder materials can quickly fill, flatten or compress a paper’s tooth. As a result, the application of softer materials over harder materials is problematic. For example, charcoal added over heavily applied graphite probably won’t give the intended result because

the tooth that the charcoal requires will no longer be available. In general, if one material burnishes the tooth that’s required for the effective application of another material, that secondary material will not adhere effectively. Understanding this basic dynamic between varying materials and surfaces will help you to plan a good strategy for mixing any media. A salvo of successful combinations awaits! And remember,

using differing media within any given work doesn’t necessarily mean that the materials need to be layered; using those materials in different areas of a single piece may eliminate a potential adhesion problem altogether. SKIN TONES IN GRAPHITE

Q. I’m struggling with creating the right skin tones when working with graphite. I want to depict skin that’s slightly tan, but my results seem too dark. Do you have any advice?

web

EXTRA

Got art questions? Log on to our Ask the Experts forum at forum.artistsnetwork.com. Or mail or e-mail us your legal or technical art questions (see instructions on page 7).

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In Portrait Study (graphite and charcoal, 9x6½), Justin Balliet gave his graphite drawing charcoal touches, as seen on the pupil and top of the iris of the model’s right eye, as well as in the nostril and in the darkest shadows of the mouth. Most of the charcoal was added over thinly applied graphite that hadn’t flattened or filled in the paper’s tooth. The darkest charcoal accents have no underlying graphite.

A. The answer to this

question lies in looking at a few variables. First, I would recommend that you try to observe your subject as objectively as you can. I find that many people struggle with making objective observations due to the influence of what I’ll call conceptual contamination. The value that you believe corresponds to the subject’s tan may be much lighter (or darker) than what you observe in person. As a result, you may be applying a value that is based more on a subjective concept than an objective observation. To counteract conceptual contamination, look at a few easily determined values within your subject that can act as anchors for comparison. Darkest darks and lightest lights are usually the easiest to determine.

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EXTRA

Then look at the tan skin tones you’re trying to capture. How much lighter or darker are these areas when compared to some key anchor values? When you take objective steps to confirm your decisions or challenge conceptual assumptions, you may find you’ve drifted from accuracy to license. Second, remember that all value is relative. Any value can be easily influenced by its surrounding lights and darks. Perhaps the skin tones look too dark because of some influential value in the surrounding area. I’ve seen many artists labor over a particular value for quite some time, only to realize that the problem lies not in the area that they are focused on, but with some surrounding values. Third, I would recommend considering the nature of a tan. Is the tan even over all the areas you’re trying to capture? Often I notice that certain areas of the face and body receive more sun than others, creating varying gradations of the tan. Be alert to where the tan is most noticeable and how fast the darker areas fade to less tanned areas. This exercise revisits my first point: Objective observation plays a key role in successfully depicting skin tones. TRANSFER METHODS

Q. What’s the best way to transfer a drawing onto a painting surface? A. Most often, the best method is

the one that best meets your specific needs. Are you resizing from the original drawing? Are there changes to be made, or do you just need a faithful outline? Here are two efficient ways to get that drawing onto your painting surface. Each method addresses different needs:

Confused about drawing materials? Check out the downloadable PDF “Graphite, Charcoal and Conté Crayons,” from the May 2009 Mediapedia column, available at www.northlightshop.com/product/mediapediagraphite-charcoal-conte-crayons-digital-download.

If you need to resize the transfer paper at most art stores. Use drawing to fit your surface or you this graphite-coated paper as you want a little increased freedom to would use carbon paper: Just place alter the drawing during the transfer the transfer paper between your process, then the grid system might drawing and your painting surface be the way to go. All you need to (with the graphite coating against the do is draw a grid on your source (the drawing) and a With any transfer method, corresponding grid on your you must avoid pressing too destination (the painting surface). You can draw your hard, or you may incise or source grid right onto your original drawing if you wish, indent your painting surface. or to preserve your drawing, you can place a piece of clear acetate painting surface). Secure the drawover your drawing and draw the grid ing and the transfer paper in place, with a pen or marker. and trace over your initial drawing. The source grid can be any size When you lift away the drawing and you wish, depending on how much transfer paper, the image will be on guidance you desire. The smaller the your canvas. squares, the more guidance you’ll You can make your own transhave; the larger the squares, the less fer paper by coating a clean sheet guidance. of drawing paper with graphite (the So let’s say you have an 8x10softest graphite you have will work inch drawing that you want to scale best)—or you can just coat the back up to 16x20 inches—double the of your drawing. dimensions of your original drawWith any transfer method, you ing. To do this, you place a grid of must avoid pressing too hard, or you 1x1-inch squares on the original and may incise or indent your painting a grid of 2x2-inch squares on the surface. Apply just enough pressure painting surface (usually in graphite to transfer your mark. Also take care or charcoal). You’ll now have the as you secure your drawing to the same number of squares on both the painting surface because distortions drawing and the surface. Draw your will occur if the original shifts at all image onto the canvas, maintaining during the transfer process. ■ as much fidelity within the squares as ANTHONY WAICHULIS won the 2006 certificayou wish. tion as a “living master” by the Art Renewal Take great care to ensure that Center and has established a national repuyour grids are as perfect as you can tation for his trompe l’oeil paintings. An art make them. A flawed, uneven grid instructor at his own atelier, the Waichulis yields greatly distorted results! Grid system:

Transfer paper: If the sizes of your drawing and painting surfaces are identical and you just want a quick and faithful duplicate of your drawing, then a simple transfer method may be ideal. You can find graphite

Studio in Mountain Top, Pennsylvania, he’s represented by John Pence Gallery in San Francisco. Visit www.thewaichulisstudio.net to learn more.

June 2010

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Seeking supplies: If you’re a manufacturer with a new product to share, e-mail [email protected] or mail a sample to Supply Cabinet, The Artist’s Magazine, 4700 E. Galbraith Road, Cincinnati OH 45236.

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3/19/10 3:54:08 PM

art clinic

BY GREG ALBERT

Glimpse of History A WORK OF ART OFTEN reveals the artist’s thoughts and passions. Gary Kutscher demonstrates this principle with September 22, 1862—The Will of God Prevails. This richly detailed, historically accurate painting commemorates Abraham Lincoln and the Emancipation Proclamation.

Strengths Kutscher’s work is powerful on several levels. First, the technical virtuosity is impressive. The image is convincing but doesn’t look like a hand-painted copy of a photograph. In other words, it’s realistic but not photographic. When I see a painting that looks as if the artist has slavishly made a facsimile of a photograph, I think, Why bother? Why not just present the photograph? This painting, on the other hand, is a carefully rendered picture that captures the detail exquisitely but hasn’t had the emotion sucked out of it. The viewer can detect the artist’s hand (and heart) in the work. Second, the subject of the painting addresses both a momentous event in American history as well as the personality of, arguably, America’s

greatest president. The publication of the Emancipation Proclamation was a pivotal event in the course of the American Civil War, but what we see in the painting are the quiet details behind this event: the handwritten draft of the Emancipation Proclamation (on the desk), Lincoln’s famous stovepipe hat, Robert E. Lee’s intercepted orders (in the hat), Lincoln’s spectacles, a soldier doll that belonged to Lincoln’s children and so

September 22, 1862—The Will of God Prevails (oil, 40x30) depicts President Abraham Lincoln’s desk after the writing of the Emancipation Proclamation. See more of Kutscher’s work at www.kutscherfineart.com.

on. We see the private humanity of Lincoln, not the public figure who led America back to peace and unity. Suggestions This picture succeeds because it combines technical skill with inspiring subject matter. My one concern about this work is the importance of knowing some historical details to appreciate fully what is being depicted. I read Kutscher’s fascinating notes about his painting (see Web Extra, at bottom, left). If I hadn’t, would I know the significance of the elements? I could make the connection with Lincoln because of the more obvious clues, but without the artist telling me the significance of the objects in the hat, I doubt I would have recognized the soldier doll as a toy Lincoln’s children played with or have identified Robert E. Lee’s orders. For viewers really to “get it,” both the image and the explanation must be seen and read. Without the words, does the painting work? Without a label do we fully understand the contents? If the answer is no, then the artist has to consider how the whole package—the picture and the words—can be delivered together. ■

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EXTRA

Read Gary Kutscher’s explanation of the significance of elements in his painting at www.artistsnetwork.com/ article/kutscher. Submit artwork for Art Clinic at bit.ly/artclinic.

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GREG ALBERT, the author of The Simple Secret to Better Painting (North Light Books, 2003, www.northlightshop. com), lives in Cincinnati, Ohio. See Albert’s seminar at www. northlightshop.com/product/ online-seminar-the-simplesecret-to-better-painting.

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ART CLASSES Long Pose Drawing/Painting in studio with exquisite north light. Through process, learn structure, light effects on the human form, observing from nature. Linda Dulaney teaches methods learned from Tony Ryder, author of Complete Guide to Figure Drawing, Watson-Guptill and Ted Seth Jacobs, author of Light for the Artist, Drawing With an Open Mind, Watson-Guptill and The Dictionary of Human Form.

WORKSHOPS & PROGRAMS, 2010  2011 Dennis Cheaney • Figure Painting May 3 - 21 Douglas Flynt • Portrait Painting June 7 - 18 Sadie Valeri • Still Life Painting June 28 - July 2 Michael Grimaldi • Head & Figure Aug 23 - Sept 3 Jon deMartin • Figure Drawing Sept 20 - 24 Dan Thompson • Portrait & Figure Oct 18 - 29 Ted Seth Jacobs • Restructured Realism Jan - Mar 2011 Darren Kingsley Spring 2011

ZZZDFDGLDZRUNVKRSFHQWHUFRP Publisher seeks artist for the 2010-2011 edition of New Art International. For entry form go to www.bookart.com Or, send SASE to: Book Art Press, PO Box 57, Woodstock, NY 12498

Robert Burridge Loosen Up Workshops

™

Flying Colors Art Workshops 2010

THE BEST INSTRUCTORS IN THE BEST PLACES

Free Monthly Online Newsletter Sign up for your FREE newsletter Studio Tips · Photos · More www.RobertBurridge.com

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Brittany FR - Frank Webb ............................................................................ June17-27, 2010 Lauterbrunnen, SWITZ - Mel Stabin ......................................................July 18-29, 2010 Venice, IT - Don Andrews ............................................................................. Sept 1-11, 2010 Lucca, IT - Judy Morris and Carla O’Connor..........................................Sept 14-24, 2010 Puerto Vallarta, MX - Mel Stabin.............................................................Feb. 12-18, 2011 San Miguel de Allende, MX - Eric Wiegardt - Mar. 6-12, 2011, Judy Morris - Mar. 13-19, 2011, Bob Burridge - Mar. 20-26, 2011 Carrie Burns Brown - Mar. 27-Apr. 2, 2011 320 South Gaylord St., Denver CO 80209 • 1.858.518.0949 • [email protected] • FlyingColorsArt.com

www.artistsmagazine.com

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Wimberley

CHARLES GRUPPE Painting Workshops

Spain

ONLY $2300!!

ARTIST WORKSHOPS

Barcelona, Biarritz, San Sebastian 8 days, Air, 4 Star Hotel, Charter Buses Contact Charles Gruppe 207-832-5338

www.charlesgruppe.com

September 5, 2010

Open A ir Italy

Small Plein Air Workshops with World Class Instruction Italy 2010 Calvin Liang, OPAM, AISM Painter’s Retreat - Uninstructed Switzerland 2010 Kenn Backhaus, PAPA, OPAM

May 15-22 Nov. 6-13

Tuscany Tuscany

(Olive Harvest)

July 16-23 Switzerland’s Lauterbrunnen Valley

www.openairitaly.com [email protected] 1-321-777-3964

Ann Lindsay Watercolor Workshops

Joseph Bohler Dave Wade Garland Weeks Nancy Boren Julie T. Chapman Kim English

June 14-18 June 21-25 July 12-16 July 26-30 November 1-5 November 9-12

To Register: 512-722-6032 or 281-804-4816 or [email protected]

Drawing New York, NY- Plein Air Sketching, May 27 & 28 Grafton, NY- Drawing on the Right Side of the Brain, June 1-4

Book & Complete 2010 Workshop Schedule: www.annlindsay.org [email protected] 518-658-2960

Watercolor Workshops

Paul Jackson

Classes June-Oct.

207-244-9742 503-435-1316 503-861-0718 219-874-4688 217-544-2787 219-874-4688

Sheila Parsons Maine July 5-9 Louisiana Oct 11-15 Arkansas Oct 31-Nov 6

POB 845 Camden, ME 04843 • 207-594-4813

Paint Venice

Eleven days in Venice, italy, Sept 15-25, 2010 Walk in the steps of Turner and Sargent and Monet. Paint, sketch, follow your dreams. See www.lesleyrich.com for Venice and U.S. classes and for Venice brochure. Phone: (650) 856-6897 email: [email protected]

Watercolors Plein Air and Studio Visit www.sparsons.com 501-327-1750 for more information

THREE & FIVE DAY WORKSHOPS

With

in scenic Bucks County, Pennsylvania NATIONAL & BUCKS COUNTY ARTISTS

aws, nws

Go to our website for instructors & schedule of workshops........

www.paintpalclub.com Paint Pal Club is a monthly, on-line, painting instructional video series that comes to members own computer in a step-by-step, paint-a-long format .

www. buckscountyartworkshops .com

Absolutely the BEST way to learn to paint with watercolors!

AWS, SFCA, CSPWC, MCWA, CIPA

jean pederson

www.jeanpederson.com

Acadia N.P., ME McMinnville, OR Gearhart, OR Newport, OR Springfield, IL Lake Geneva, WI

[email protected]

go to:

inspiration

June 21-25 July 28-29 July 31-Aug1 Aug. 3-6 Aug. 30-Sept. 1 Sept. 13-16

www.CoastalMaineArtWorkshops.com

w w w. p a u l j a c k s o n a r t . c o m

WORKSHOPS VIDEO BOOK

www.artshow.com/kutch

11555 W. Earl Rd, Michigan City, IN 46360 • [email protected]

Watercolor Lenox MA –May 9-14 Grafton, NY- June, July, August, September Rhinebeck, NY- August New York, NY- November

Kristy Kutch

Colored Pencil Workshops • 219-874-4688

InView Center for the Arts At the Landgrove Inn, Landgrove, VT

Brand-new, 50’x30’ Post & Beam Workspace Idyllic Green Mountains setting Country chic lodging • Nationally-known Instructors

For info on classes call: (800) 669-8466 or (802) 824-6673

Graduate Degree: Concentration in Transformative Visual Arts Accredited distance learning Transformative Visual Art Program (Non-Credit Certificate Program also available) Contact:

Atlantic University Office of Admissions, 215 67th St. Virginia Beach, VA 23451 (757) 631-8101 or Toll Free (800) 428-1512

www.landgroveinn.com 132 Landgrove Rd., Landgrove VT 05148

www.atlanticuniv.edu

[email protected]

June 2010

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classifieds

JOE JOHNSON [email protected] 513/531-2690 ext. 11380

2010 WORKSHOP IN SPAIN by

Huihan Liu Contact: Jean Chin

Indianapolis: Call for Entries. Midwest National Abstract Art Exhibition VI. October 2 - November 14, 2010. Garfield Park Arts Center. $2,000 in cash awards. Prospectus: SASE to Southside Art League, 299 E. Broadway, Greenwood, IN 46143. Entry fee $35 member, $45 non-member. www.southsideartleague.org.

Traveling Palette Art Workshops ITALY

DEADLINES: MARCH 10, MAY 13, JULY 14, AND NOVEMBER 8, 2010

October 11-25, 2010 Maggie Price April 5 - 9 Jack Sorenson May 19 -22 Guido Frick June 2 -4 Mike Mahon June 9 -12 Ann Templeton August 4 - 7 Ruth Bryant Sept 7 - 9 & 14 - 15 CeCe Turner Nov 3 - 5 Rich Nichols TBA Lincoln Fox TBA

1-806-354-8802 amarilloartinstitute.org

ph: 713-344-1245 e-mail: [email protected] www.huihanweizhenart.com e-mail: [email protected]

SAM D’AMBRUOSO Amalfi June 23 to 30 Portraiture in Tuscany October 3 to 9 Landscape Painting Tuscany October 13 to 20 67 Richardson Drive, Middlebury, CT 06762 • 203-758-9660

ALLYSON’S Title Plates

Art Workshop Retreats Ann Arbor, MI Don Andrews, Elaine Hahn, Jim Markle Mark Mehaffey, Dianna Soisson Donna Zagotta, Kerr Grabowski and more... Acrylic, Oil, Watercolor, Encaustic, Mixed Media, Fiber Art, Pastel, Color Pencil, Photography, etc.

THE NOTEBOOK

CALL FOR ENTRIES

Buy 6 Title Plates and get 1 FREE also receive FREE brass brads and screws. • 5 type styles • 9 different plates to chose from

Send for FREE brochure to: Allyson’s, 21A Cote Dr. Epping, NH 03042 www.titleplates.com

Karen r Martin Sampson p Figure Painting, oil or pastel

workshop, Aug.. 28 - 30th

north Vancouv V er Isle studio,, at Mt.H'Kusam ocean,, forest,, mountains - great vacation area

www.kar w enmartinarts.ca 1-250-282-0134

www.buddingartideas.com

organic vegetarian lunches included

2010 Richeson 75 International Competitions Juried exhibitions held at Richeson School of Art & Gallery. Each competition: $3,000 cash Best in Show. 3–1st prizes $1000 merchandise certificates; 3–2nd prizes $500 merchandise certificates. “Still Life & Floral” entry deadline: 3/10/10. Exhibit June 6–July 19. “Figure/Portrait” entry deadline: 5/13/10. Exhibit August 6–October 19. “Landscape” entry deadline: 7/14/10. Exhibit October 8–December 6. “Pastels” entry deadline: 11/8/10. Exhibit January 14–March 14, 2011.

DEADLINE: MAY 16, 2010 San Diego, CA: 30th Annual San Diego Watercolor Society International Exhibition, October 1 - 31, 2010. Approx $15,000 in awards. On-line entry. Pat Dews, juror. Prospectus and entry at www.sdws.org.

DEADLINE: MAY 28, 2010 The Pastel Society of America 38th Annual Open Juried Exhibition at the National Arts Club, New York City, September 7-October 2, 2010. Open to soft pastel painters only. Over $20,000 in awards. Postmarked deadline for slides and digital entries May 28, 2010. Prospectus - SASE (#10) to: The Pastel Society of America, 15 Gramercy Park South, New York City, NY 10003 or www.pastelsocietyofamerica.org. Info: 212533-6931 or [email protected].

DEADLINE: MAY 31, 2010

ANN TEMPLETON OIL & PASTEL PAINTING WORKSHOPS

Gainsville, GA Georgetown, TX Ciger Mt, GA Odessa, TX Bucks County, PA Ruidoso Downs, NM

Mar 8-12 May 19-21 May 31-Jun 4 Jun 21-25 Aug 16-21 Sept 6-10 & Sept 13-17 Northern New Mexico Sept 20-24 Ghost, NM Oct 3-9 Ashville, NC Oct 12-17 Salado, TX Oct 25-29 Denver, CO Nov 15-19 www.anntempleton.com

DEADLINE: JUNE 1, 2010 Books & Instructional Videos available. 512.722.3186 249 Moss Rose Lane Driftwood, TX 78619 email: anntart@ austin.rr.com

ADVERTISER INDEX Acadia Workshop Center ...........................70 Allyson’s Title Plates ......................................72 Amarillo Art Institute ...................................72 Ann Lindsay Studio.......................................71 Ann Templeton Workshops ......................72 Art In The Mountains ...................................69 Artspan.com ....................................................15 Atlantic University .........................................71 Bay Area Classical Artist Atelier ...............70 Best Brella..........................................................71 Birgit O’Connor ...............................................70 Blick Art Materials................................... IFC, 1 Book Art Press .................................................70 Budding Art Ideas .........................................72 Charles Gruppe....................................... 70, 71 Cheap Joe’s Art Stuff ....................................15 Clear Bags..........................................................69 Coastal Maine Art Workshops..................71 Conrad Machine.............................................69 D’Ambruoso Studios, LLC ..........................72 Daler-Rowney/Robert Simmons ............63 Daniel Greene .................................................75 Delaplain Visual Arts ....................................71

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Dillmans Creative Arts .................................69 Edgmon Art........................................................ 7 Fine Art House Ad ...........17, 22, 23, 59 IBC Fishback/Gruen ..............................................13 Flying Colors Art Workshop ......................70 Hartford Fine Art & Framing .....................61 Hudson River Valley......................................69 Huihan Liu.........................................................72 Idyllwild Arts ....................................................70 Jack Richeson & Co Inc................................19 JCB Advertising ..............................................70 Jean Pederson.................................................71 Jerry’s Artarama.................................... 8, 9, 21 John C Campbell Folk School ..................69 Kalish Brushes .................................................69 Karen Martin Sampson ...............................72 Kristy Kutch ......................................................71 Landgrove Inn.................................................71 Laromita School Of Art ...............................69 Lesley Rich ........................................................71 Mel Stabin .........................................................70 Paintpal Club ...................................................71 Paul Jackson.....................................................71

Call for Entries: 35th National Watermedia Oklahoma. Show August 29-October 8, 2010. Over $5000 in cash and merchandise awards. CD entries/$30 entry fee. Watermedia on paper or canvas. Juror: Louise Cadillac. Contact Regina Murphy at (405) 848-0037 or [email protected].

Picture Frame Products ..............................70 RJ Palmer ...........................................................63 Robert Burridge Studio...............................70 Royal Brush Mfg Inc ..................................... BC School Of Light & Color ..............................70 Sheila Parsons’ Art Ventures......................71 Stan Miller .........................................................77 Starlight Ranch ...............................................69 Stone Ridge Farm B&B ................................71 Stu-Art ................................................................61 Susan K Black Foundation .........................21 Susan Truitt.......................................................71 Tony Couch.......................................................70 Tony Van Hasselt ............................................70 Triple D Game Farm......................................72 U.S. Mint ............................................................... 5 Valdes Art Workshops..................................69 Video Learning Library................................70 Vistra Framing ................................................... 5 Wholesale Frame Company LLC.............70 Wimberley Artists Workshops .................71 Your Brush with Nature...............................77

Call for Artists: Skokie Art Guild’s 49th Annual Art Fair. July 10-11, 2010. Fine Art. Prizes and awards. $150 booth fee. 75 exhibitors. Village Green, Skokie, IL. Apply now! [email protected]; www.skokieartguild.org; Tel. 847-677-8163.

DEADLINE: JUNE 1, 2010 Watercolor Wyoming 25th Annual National Exhibition: The Watercolor Wyoming Exhibition is open to all artists age 18 or over working in water soluble media on paper or YUPO and unvarnished. Limit of 3 slides per artist. Any or all entries may be accepted. Include the non-refundable fee of $7.50 per slide for Wyoming Watercolor Society membership and $15 per slide for non-members. A watercolor workshop will be held August 18-21, 2010. The exhibit runs August 1-31, 2010 in Sheridan, Wyoming. A prospectus can be found at www.artinsheridan.com.

DEADLINE: JUNE 4, 2010 Alaska, Anchorage. 36th Annual Alaska Watercolor Society Juried Exhibition, opening Sept. 26, 2010 at Anchorage Museum at Rasmuson Center. Prizes to exceed $4,500 in cash and merchandise, $1000 top cash award. Juror: Linda Doll. Entry/Slide deadline: June 4, 2010. $25 entry fee for 2 entries/slides maximum. Prospectus: www.akws.org.

DEADLINE: JUNE 14, 2010 Roswell, New Mexico. Roswell Fine Arts League/New Mexico Miniature Arts Society 27th Annual Juried Art

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JOE JOHNSON [email protected] 513/531-2690 ext. 11380 Show and Exhibition, August 12-22 at the Roswell Museum and Art Center. Entry deadline: June 14. 4/$40. Open to artists from all 50 states and to all RFAL members. Standard/miniature. 2-D and 3-D. All mediums. For prospectus and entry form, send SASE to RFAL/NMMAS, Box 2928, Roswell, NM 88202, call 575-622-4985, go to www.rfal.org or email: [email protected].

DEADLINE: JUNE 26, 2010 National Watercolor Society 90th Annual Exhibition. Slide/Digital deadline June 26, 2010. Show opens October 30, 2010. Original watermedia on paper. $25,000 in awards. Free Catalog for entering artists. For prospectus, download at www.nationalwatercolor society.org or send SASE to: NWS, 915 S. Pacific Ave, San Pedro, CA 90731.

DEADLINE: JUNE 30, 2010 Watercolor West Call for Entries. Deadline June 30, 2010. City of Brea Art Gallery, Brea, CA. Exhibition dates: October 9-December 19, 2010. Approximately $12,000 in cash, merchandise and purchase awards. First Award $1500. Juror: Frank Francese. Digital or slide entries. See prospectus for details. $35 for 1-2 digital entries. $45 for slides. Prospectus at www.watercolorwest.org or SASE to: Francesca Brayton, 3961 Toland Circle, Los Alamitos, CA 90720.

DEADLINE: JULY 1, 2010 New York, NY: Catherine Lorillard Wolfe Art Club, Inc. 114th Annual Open Juried Exhibition at the National Arts Club, NY. October 5-29, 2010. Open to women artists. Media: Oil, Acrylic, Watercolor, Pastel, Graphics, and Sculpture. Over $9,000 in awards. Entry fee: $30/ Members and Associates, $35/Non-Members. Juried by CD’s or slides. Deadline for entry is July 1, 2010. For prospectus, send SASE to Okki Wang, 431 Woodbury Road, Cold Spring Harbor, NY 11724 or download prospectus at www.clwac.org.

DEADLINE JULY 3, 2010 25th Annual National Fine Art Show. Louisville, Colorado. September 4 - September 9, 2010. All media except photography. $30/3images. $3,000 cash awards. For prospectus, download at www.louisvilleart. org, or send #10 SASE to Fine Art Show, 860 W. Oak Court, Louisville, CO 80027.

DEADLINE JULY 3, 2010 TEXAS, BRECKENRIDGE. 19th Annual Juried Art Competition. 2-Dimensional, no photography. Juror: Nancy Bush. $5,400 awards. $25 per slide or digital entry - deadline July 3. For Prospectus: SASE Breckenridge Fine Arts Center, PO Box 549, Breckenridge, TX 76424, [email protected], www.breckenridgefineart.org.

call for entries

DEADLINE: JULY 29, 2010

ALABAMA

Casper, WY: The Casper Artists’ Guild/West Wind Gallery announces the 16th Annual International Miniature Art Exhibit and Competition August 3-31. For prospectus, send #10 SASE to West Wind Gallery, 1040 W 15th St, Casper WY 82604.

Stan Miller

DEADLINE: JULY 31, 2010 Annual Buda Fine Arts Festival, October 1-3, (512.663.7795), Contact Sara Grizzle or see application at www.budafineartsfestival.com deadline is July 31,2010.

DEADLINE: AUGUST 2, 2010 The KWS National Watercolor Exhibition 2010. The Wichita Center for the Arts, November 19, 2010 – January 2, 2011. $30,000 in cash and purchase awards anticipated. Juror: Janet Walsh, AWS President Emeritus. $30 for 3 entries. Postmarked deadline: August 2, 2010. Prospectus available at www.wcfta.com, 316-634-2787, [email protected].

DEADLINE: AUGUST 3, 2010 “CALL FOR ARTISTS; Fiesta Juried Art Competition. October 1-2, 2010. Entry by CD deadline August 3. John Pototschnik, Juror. Prospectus: sase Sherrell Hazlewood PO Box 376, Coleman, TX 76834 or slh@ Texasbluebunny.us FineArtsLeagueColemanTx.com, Marian Johnson [email protected].

DEADLINE: JULY 17, 2010 AUDUBON ARTISTS Inc. 68th Annual ALL JURIED Exhibition: Entry forms & Digital CD Postmark Deadline July 17, 2010; Exhibition Sept. 13 to Oct. 1 at the historic Salmagundi Art Club, NYC. Non members $40/ one image only. Over $20,000 in Awards. Open to all living U.S. Artists in Aquamedia, Mixed Media, Graphics, Oils & Acrylics, Pastels & Sculpture. Jurors of Awards: (To Be Announced. Online Prospect us at www. audubonartists.org or SASE to Raymond Olivere, Audubon Artists, 1435 Lexington Ave., Apt# 11D ,NYC, NY 10128 (information contact: Vincent Nardone, President: [email protected]; or 732-903-7468).

ARIZONA

Sedona Arts Center Workshops and Field Expeditions Spring 2010. All levels unless noted otherwise. William Scott Jennings: Advanced-Intermediate Plein Air Painting, 5/3-5/7, oils Peggy Sands: Drawing Without Fear, 5/10-5/14, mixed media Christine Debrosky: Landscape to Studio, 5/10-5/14, Pastels David Haskell: Grand Canyon Plein Air Painting, 5/13-5/21, oils Robert Burridge: Loosen Up! 5/24-5/28, mixed media Kath Macaulay: Pochade Pocket Sketching, 6/12-6/14, watercolor Libby Caldwell: Artistic Journaling, 6/10-6/11, mixed media Gretchen Lopez: The Portrait, 6/21-6/25, waterbased/oils Brian Davis: Luminous Oils, 6/21-6/25, oils, floral Contact Vince Fazio, 888-954-4442; www.SedonaArtsCenter.com.

Robert Burridge Studio DEADLINE: AUGUST 5, 2010 Huntsville, Texas. The Wynne Home Arts Center National Juried Pastel Competition. September 11 – 30. Maggie Price, Juror. Digital Entries. $2,000+ in cash awards. Request prospectus from Patsy Ann Reed: [email protected].

Loosen Up with Aquamedia Painting: 5/24-5/28. Sedona Arts Center. Contact 888-954-4442; www. sedonaartscenter.com; www.robertburridge.com.

Susan Ogilvie 11/1-11/5, Sedona. Sedona Arts Center, www. sedonaartscenter.com; www.susanogilvie.com.

DEADLINE: AUGUST 7, 2010

ARKANSAS

Degas Pastel Society Thirteenth Biennial, National Exhibition. Hammond Regional Arts Center in Hammond, LA. October 8 - November 5, 2010. Joror: Susan Ogilvie, PSA. Soft Pastels Only. Over $5000 in Awards. Digital entries only, Deadline August 7. Prospectus: SASE to Degas Pastel Society, C/O Glinda Schafer, 813 Heritage Ave., Terrytown, LA 70056. 504-392-5222 or download from degaspastelsociety.org.

Birgit O’Connor Watercolor Workshops

DEADLINE: AUGUST 14, 2010 New York. American Artists Professional League, 82nd Grand National Exhibition, at Salmagundi Club, NYC. November 2 - November 12. Open to all artists, representational or traditional realism only, approximately $16,000 in awards, cash and medals. Slides or digital accepted, submission deadline: August 14, accepted work received October 30. For prospectus, send SASE to AAPL, Dept. AM, 47 Fifth Avenue, New York, NY 10003, or visit our website: www.americanartistsprofessionalleague.org

DEADLINE: JULY 7, 2010 Stockton: The 56th Juried Exhibition at The Haggin Museum sponsored by Stockton Art League. September 2-October 31. Cash awards over $5000. Open to all US artists. No photography or computer art. CD deadline July 7, 2010. Juror: Margot Schulzke. Prospectus: #10 SASE to Teresa Hickey, 1031 Elmwood Ave., Stockton, CA 95204 or www.hagginmuseum.org; www.stocktonartleague.org. Inquiries: [email protected].

6/21-6/25, Huntsville. Contact 509-535-5257; stan@ stanmiller.net; www.stanmiller.net.

DEADLINE: AUGUST 31, 2010 42nd Annual Juried ViewPoint 2010, $5,000 cash and prizes. November 5-21. Limit 3 digital images, jpg on CD. $35 first image, $20 second, $10 third. Traditional 2D media plus sculpture; must be for sale. No photography, crafts, fiber, jewelry or computer generated. Deadline August 31, 2010. For prospectus send #10 SASE to ViewPoint2010, Deb Ward, 1165 Chapelow Ridge, W. Harrison, IN 47060, or download from http://www.cincinnatiartclub.com.

HELP WANTED $400 WEEKLY ASSEMBLING PRODUCTS from home. For free information, send SASE: Home Assembly-AM, P.O. Box 450, New Britain, CT 06050-0450.

WORKSHOPS Jeanne Dobie, AWS, NWS “Making Color Sing” DVD Workshop. Take a workshop at home, All levels, 7 Lesson Set $198+ $5 Shipping, Info: jeannedobie.com or Jeanne Dobie, 60 Brick Church Rd, Pipersville, PA 18947-9313.

October 2011, Little Rock. Contact: 800-749-4786; www.birgitoconnor.com.

Edgmon Art Studio Susan Edgmon: Watercolor and Pastel, 5/16-5/19. Award winning artist, Susan Edgmon will be teaching her technique of creating visually exciting Floral paintings. We will be painting flowers from her garden. She will demonstrate watercolor under-paintings for pastel. She will do daily demonstrations in pastel or watercolor. In addition, she will offer assistance on student paintings along with critiques. Albert Handell: Pastel and Oil, 10/10-10/15. Albert Handell will share his vast knowledge in a combination Plein Air and Studio Workshop. We will be painting at select locations here in beautiful Northwest Arkansas. He will do some demonstrations as well as offer advice to students on their paintings. Contact: 479-787-5098; [email protected]; www.susanedgmon.com.

Robert Burridge Studio Loosen Up with Aquamedia Painting: 5/3-5/7. Hot Springs Gallery. Contact Vanessa Seagraves, 239-2508339; [email protected]; www.hotsprings gallery.com; www.robertburridge.com.

Sheila Parsons’ Art Ventures 10/31-11/6, Eureka Springs: 28th Annual Ozark Adventure in Watercolor. Contact 501-327-1750; [email protected]; www.sparsons.com.

Susan Ogilvie 6/7-6/11, Little Rock. Arkansas Pastel Society, www.arkpastel.com; www.susanogilvie.com.

CALIFORNIA

Art in the Mountains Alvaro Castagnet: Passionate Watercolor, plein air. Intermediate to Advanced students. 8/30-9/3, San Francisco. Mary Whyte: Watercolor Figures & Landscapes - Studio & Plein Air. Beginning to Advanced. 8/30-9/3, San Francisco.

June 2010

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workshops Charles Reid: Studio Still Life, Landscape and Figures. Intermediate to Advanced. 11/1-11/5, Santa Barbara. Contact: Tracy Culbertson, Art in the Mountains, 503930-4572; [email protected]; www.artinthemountains.com.

Birgit O’Connor Watercolor Workshops Point Reyes National Seashore: 5/1-5/2, 6/26-6/27, 8/28-8/29 Contact: 800-749-4786; www.birgitoconnor.com.

Cunningham’s Art Studio Instruction by Master Painter, Susan Cunningham and Staff, (760) 373 - 0914. Saturday Oct. 4th Boron, CA. Acrylic Med. 6 hour split session $225.00 Beginner-Intermediate-Advanced. Landscape - Flowers - Portraits. In the Grand California Mojave Desert. Enjoy the Experience.

Ming Franz

Lower Fairfield. Cost $300. For details or to register, contact Marla Jackson, [email protected].

Tony van Hasselt, AWS Watercolor on Location: 6/7-6/12, Windsor Locks. Watercolor, Intermediate-Advanced. Contact Sherry Cross, 800-248-6449; www.tonyvanhasselt.com.

Marc Chatov: Portrait Alla Prima, 6/14-6/18 Carol Marine: A Painting A Day, 10/22-10/24 Qiang Huang: Still Life Oil Painting, 9/17-9/19 Michael Dudash: Thinking Outside the Box, 11/8-11/12 Kerry Vosler: Portrait Painting, 12/4-12/6 Contact: 877-386-8205; www.CorseGalleryAtelier.com.

Portraits in Watercolor: 6/24-6/27, Baton Rouge. Crowne Plaza. Cost $400. For details or to register, contact Marla Jackson, [email protected].

Yosemite Valley: 10/31-11/5. D. Laitinen, B.D. Stroud, R. O’Brien, D. Cole, G. James. www.patricia aallen.com; [email protected]

Ann Templeton

Painting Wildlife in Watercolor: 6/11-6/13, Pensacola. Framing By Design. Cost: $300. For details or to register, contact Marla Jackson, [email protected]. Dramatic Landscape in Watercolor: 10/15-10/17, Orlando. Cost $300. For details or register, contact Marla Jackson, [email protected].

Oil and Pastel Painting: 5/31-6/4, Ciger Mt. Contact 512-722-3186; [email protected]; www.anntempleton.com.

Dramatic Landscape In Watercolor: 7/16-7/18, Long Beach. For details or to register, contact Debbie [email protected].

Stan Miller

Robert Burridge Studio

Tony Couch, Fine Art

Stan Miller 9/13-9/16, San Diego. Contact 509-535-5257; [email protected]; www.stanmiller.net.

COLORADO

7/12-7/15, Atlanta. Contact 509-535-5257; [email protected]; www.stanmiller.net. Watercolor: 5/3-5/7, St Simons Island. Contact (800) 491-7870; [email protected]; www.tonycouch.com.

HAWAII

Art in the Mountains Lian Zhen: Watercolor Kauai, Plein Air. Beginning to Advanced. 10/4-10/8, Kapa’a, Kauai. Contact: Tracy Culbertson, Art in the Mountains, 503930-4572; [email protected]; www.artinthemountains.com.

Paul Jackson, AWS, NWS Hawaiian Art Journey: 12/4-12/11, Kahuwai Bay. For details or to register, contact Marla Jackson, [email protected].

Ann Templeton

ILLINOIS

Oil and Pastel Painting: 11-15-11/19, Denver. Contact 512-722-3186; [email protected]; www.anntempleton.com.

Kristy Kutch

Stan Miller 10/18-10/22, Denver. Contact 509-535-5257; stan@ stanmiller.net; www.stanmiller.net.

Tony Couch, Fine Art Watercolor: 5/17-5/21, Parker. Contact (800) 491-7870; [email protected]; www.tonycouch.com.

CONNECTICUT

D’Ambruoso Studios LLC Landscape Painting in Old Lyme. August 16 to 20, 2010. Old Lyme, CT. Instructor: Sam D’Ambruoso, $550 artists, all levels, tuition. ALL WORKSHOPS SPONSORED BY: Traveling Palette Art Workshops, D’Ambruoso Studios LLC, 67 Richardson Drive, Middlebury, CT 06762, 203-758-9660, [email protected], www.DAmbruosoStudios.com.

Mel Stabin Watercolor: Simple, Fast, and Focused. 10/1110/14/10 in Old Lyme. Sponsored by Lyme Art Association. All levels. Contact: Krissa Ressler, 860/434-7802; [email protected]; www.lymeartassociation.org.

Paul Jackson, AWS, NWS Dramatic Landscape in Watercolor: 9/17-9/19,

Figure/Abstract Design, all mediums, all levels, June 21-25, Valparaiso, to reserve call Art Barn Workshops, (210) 462 9009 or email [email protected].

LOUISIANA

GEORGIA

Susan Sarback: Color Intensive, 7/31-8/4, Fair Oaks; Plein Air Landscape, 5/22-5/24, Fair Oaks and 6/216/24, Napa. Contact 916-966-7517; [email protected]; www.lightandcolor.com.

Lesley Rich

Paul Jackson, AWS, NWS

Paint Yosemite 2010

School of Light and Color

6/2-6/4. Contact: 800-749-4786; www.birgitoconnor.com.

FLORIDA

Paul Jackson, AWS, NWS

Loosen Up with Aquamedia Painting: 5/17-5/21. Art Box Studio. Contact Sylvia Megerdichian, 909-9814508; [email protected]; www.artbox workshops.com. www.robertburridge.com

Birgit O’Connor Watercolor Workshops

Corse Gallery & Atelier

Mexican Riviera Cruise Ship Workshop with Ming Franz - Splash Ink with Watercolor, Royal Caribbean, March 6th - 13th, 2011. Visit Cabo San Lucas, Mazatlan, Puerto Vallarta. Departure and arrival from Los Angeles. “For workshop information check the event page at www.mingfranzstudio.com” or contact Betty at 928-541-1449.

Paul Jackson, AWS, NWS

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JOE JOHNSON [email protected] 513/531-2690 ext. 11380

“Pick Up a Pencil and Paint!” 8/30-9/1, at Prairie Art Alliance, 420 S. 6th Street, Springfield, IL 62701, www. prairieart.org. Call Jane Johnson, 217-544-2787, email [email protected].

Northbrook Arts Commission/ Village Green Center Sarah Webber: Animal Painting in Oil, 5/15-5/16 Contact 847-921-5239; [email protected]; www.northbrookarts.org.

Your Brush With Nature Heiner Hertling teaches most of his classes in his home studio. Students complete a painting each day. All levels are welcome. You can contact us at 248-535-8334 or on the web at [email protected]. You may also visit the website at yourbrushwithnature.com 10/2 and 10/3 in Grafton.

INDIANA

Art Barn School of Art Michael Chesley Johnson: Oil/Pastel Plein aire, 5/3-5/5 Frank Webb: Watercolor, 6/7-6/11 Lesley Rich: All Media, 6/21-6/25 Pat Weaver: Watercolor, 7/19-7/23 Steve Rogers: Watercolor, 8/2-8/6 Ken Hosmer: Watercolor/Oil, 9/13-9/17 Contact: 219-462-9009; www.artbarnin.com.

Sheila Parsons’ Art Ventures 10/11-10/15, Covington: The Rivers Retreat Center. Contact Irene Surran, 985-871-9100; info@ theriversretreat.com; www.sparsons.com.

Susan Ogilvie 10/4-10/8, New Orleans. Contact Degas Pastel Society, www.degaspastelsociety.org; www.susanogilvie. com.

MAINE

Acadia Workshop Center Don Getz: Watercolor Journaling, 5/24-5/28. All levels. Susan Abbott: Color in the Maine Landscape, 5/316/4. All Media. Some experience required. Peter Spataro: Painting the Colors of the Wind, 6/14-6/18. Watercolor, Acrylic, Oil. All levels with some experience. Kristy Kutch: Coastal Colored Pencil, 6/21-6/25. All levels. Sheila Parsons: Watercolor Plein Air, 7/5-7/9. Beginner - Intermediate. Tom Jones: Creating Atmosphere in Watercolor Landscapes, 7/12-7/16. Beginner - Intermediate. Katherine Cartwright: Concept Development: How to create unique and meaningful art, 7/19-7/23. All mediums and levels. Shelli Robbiner-Ardizzone: Perfectly Plein Air in Coastal Maine, 7/26-7/30. All Media. All levels with some experience. Christine LaFuente: Oil - On Location in Maine, 8/28/6. Experience required. Lee Boynton: August Light: Painting the Impressionist Landscape, 8/9-8/13. Oil. All levels. Armand Cabrera: Painting the Maine Landscape, 8/16-8/20. Oil, Acrylic. All levels Elin Pendleton: Color Bootcamp, 8/29-9/3. Acrylic, Oil, Intermediate - Advanced. Bob Rohm: The Maine Landscape, 9/20-9/24. Oil, Pastel. All levels. Michael Chesley Johnson: The Maine Landscape in Pastel or Oil, 9/27-10/1. All levels. Lois Griffel: Painting the Impressionist Landscape, 10/4-10/8. Oil. All levels. Contact: Gail Ribas, 207-244-9742; awcmaine@gmail. com; www.acadiaworkshopcenter.com.

Coastal Maine Art Workshops We now have a second Rockland Studio site a few blocks away at the Lincoln Street Center, and will base some concurrent classes there; however, most of our classes will be held at the Trade Winds Studio. Classes are for all levels unless otherwise noted. PA: Plein Air ST: Studio W: Watercolor; A: Acrylics; O: Oils; P: Pastels July 13-16. Gail Sauter; Understanding Color Harmony; ST/All Media; $425 July 19-23. Morgan Samuel Price; Plein Air; PA/WC/ O/A; $600 July 26-30. Alvaro Castagnet AWS; Bold, Vibrant Watercolors; PA/ Int/Adv; $575 July 26-30. Douglas Smith; Direct Painting in Oils; PA/ST/Beg/Int; $500 Aug 9-12. Susan Webb Tregay NWS; Quick Travel Masterpieces; PA/WC; $425 Aug 16-20. Donna Zagotta AWS/NWS; Developing Ideas for Creative Paintings; ST/All Media; $500 Aug 17-20. Charlotte Wharton; Nature’s Rhythms-The Coast in Oils & Pastels; PA/$425

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Aug 23-27. Tony van Hasselt AWS; Watercolor Workshop; PA/Int/Adv; $575 Aug 23-27. Bill Teitsworth NWS; The Maine Coast in Watermedia; PA/Int/Adv; $500 Aug 30-Sept 2. Renee Emanuel; Art Start; ST/PA; All Media/Beg/refresher; $425 Sept 6-10. John Salminen AWS/NWS; Realism through Design; ST/PA/WC/Int/Adv; $700 Sept 13-17. Colin Page; Mid Coast in Oils; PA/Int/Adv; $500 Sept 13-17. Paul George NWS; Painting the Maine Coast; PA/WC/Int/Adv; $500 Sept 20-24. Janet Rogers AWS; Portraits/Florals in Watercolor; ST $500 Sept 20-24. Steve Rogers AWS/NWS; Painting Light and Color; PA/WC; $500 Sept 27-Oct 1. Wilson Ong; Portraits; ST/O/A/P; $500 + $60 model fee Oct 4-8. Eric Wiegardt AWS/NWS; Secrets of Painting Loose; PA/WC; $575 Oct 4-8. Dennis Poirier; Painting Maine in Oils and Acrylic; PA; $500 Oct 11-15. Eric Hopkins; Vision: Insight: Drawing and Painting; ST/All Media; Int/Adv $600. We are also offering ** a 1 ½ hr evening lecture (with coffee and dessert) on the Business of Art, with Kathy Cartwright NEWS, plus a Saturday 6 hour class on Developing a Personal Concept for your work and creating from that, a series.. Available with most classes! Contact: 207/5944813; [email protected]; www. CoastalMaineArtWork shops.com.

Kristy Kutch “Coastal Colored Pencil”, 6/21-6/25. Acadia Workshop Center, 7 Bernard Rd., Bernard, ME 04612, www.acadia workshopcenter.com. Call 207-244-9742 or email Gail Ribas, [email protected].

Lois Griffel Painting the Impressionist Landscape: 10/4-10/8, Southwest Harbor. Contact Gail Ribas, 207-244-9742; [email protected]; www.acadiaworkshopcenter. com; www.loisgriffel.com.

Maine College of Art Weeklong classes and workshops on the coast of Maine. Workshop prices range from $430-$1,100. Contact the Continuing Studies Department, 207-7753052; [email protected]; www.meca.edu/cs

Paul Jackson, AWS, NWS Dramatic Landscape in Watercolor: 9/24-9/26, Portland. Cost $300. For details or to register, contact Marla Jackson, [email protected].

Sheila Parsons’ Art Ventures 7/5-7/9, Acadia National Park: Contact Gail Ribas, 207460-4119; [email protected]; www.acadiaworkshopcenter.com; www.sparsons.com.

Tony van Hasselt, AWS Watercolor, Intermediate-Advanced. Maine’s Coastal Treasures: 6/21-6/25, Boothbay Harbor. On Location in Maine: 8/23-8/27, Rockland. Contact Sherry Cross, 800-248-6449; www.tonyvanhasselt.com.

MARYLAND

Easton Studio & School Ken Auster: 6/11-6/14 Leslie Frontz: 6/26-6/27 Jill Carver: 7/12-7/16 Camille Przewodek: 7/26-7/30 Tom Lynch: 8/6-8/9 Nancy Tankersley: 8/14-8/16 Carolyn Anderson: 8/27-8/30 Gavin Brooks: 9/17-9/20 Peggi Kroll-Roberts: 10/8-10/11 Diane DuBois Mullaly: 10/16-10/17 Maggie Siner: 11/5-11/8 Tim Bell: 11/12-11/14 www.eastonstudioandschool.com

Delaplaine Visual Arts The Delaplaine Visual Arts Education Center, Frederick. 301-698-0656. www.delaplaine.org.

Tara Grim Painting Abstractly with Paint and Collage. 6/10-6/12/10. Focus on the journey of exploring and expressing your unique vision with multiple layers of acrylic paint and collage. $270. Look for our ad in the next issue about our Rag Rug workshop scheduled for the Fall! (see www.Delaplaine.org for information) Mary Ann Beckwith, The “Brush and Beyond”. 8/16–8/20/10. This workshop will provide an exploration of creative methods of water media application including texturing and building layers of paint. Learn to better express your vision and ideas through painting. $520. Look for our ad in the next issue about our Rag Rug workshop scheduled for the Fall! (see www. Delaplaine.org for information)

MASSACHUSETTS

July 12-15, Don Andrews – Watercolor Painting, Dianna Soisson – Color Pencil July 26-29, Jim Markel – Pastel, Elaine Hahn – Oil Painting Aug 24-26, Mark Mehaffey – Water Media Painting, Leslie Sobel – Encaustic Sept 20-23, Kerr Grabowski – Deconstructed Screen Printing Sept 27-30, Jill Love – Photography Oct 5-8, Susan Shie – Painted Diary Art Quilts Nov 1-4, Donna Zagotta – Watercolor Painting Please visit the website for details. We are always adding new classes. Come and refresh, revitalize, and renew that creative spirit!

Kristy Kutch

Watercolor: A New Beginning 5/9-5/14 (Foundation Course) Kripalu Yoga Center Stockbridge, 800-741-7353.

“Amazing Colored Pencil Potential”, 9/29-10/1 sponsored by Battle Creek Society of Artists, Battle Creek, MI. Contact Susan Peet, 269-963-0602, email [email protected].

Creative Arts Center

Lois Griffel

Libby Kyer: 6/7-6/9 Paul Leveille: 6/11-6/13 Mel Stabin: 6/14-6/18 Don Dembers: 6/28-6/30 Rosalie Nadeau: 7/17-7/19 Ted Minchin: 8/5-8/7 7 David Curtis: 9/10-9/12 Tom Lynch: 9/13-9/16 Joseph Paquet: 9/20-9/22 William Davis: 9/25-9/26 Mary Whyte: 9/27-10/1 Ed Carson: 11/13-11/14 Contact: 508-945-3583; www.capecodcreativearts.org.

Painting the Impressionist Landscape: 8/8-8/13, Mackinac Island. Contact [email protected] or 800462-2546 for hotel reservations; www.loisgriffel.com.

Ann Lindsay Art Workshops

D’Ambruoso Studios LLC Land and Seascape Painting. May 17 to 21, 2010. Cape Cod, MA. Instructor: Sam D’Ambruoso, $550, all levels, tuition. ALL WORKSHOPS SPONSORED BY: Traveling Palette Art Workshops, D’Ambruoso Studios LLC, 67 Richardson Drive, Middlebury, CT 06762, 203758-9660, [email protected], www.DAmbruosoStudios.com.

Ox-Bow School of Art and Artists’ Residency 1-week courses $535; room/board (optional) $535. 2week courses $1230; room/board (optional) $1070. Andrew Winship: Etching, 6/6-6/12. $50 Lab Fee Karl Wirsum: Imagination/Observation, 6/6-6/12 Michael Bonesteel & Nicole Hollander: History and Practice of the Confessional Comic, 6/6-6/19 Isak Applin and Amos Kennedy, Visiting Faculty: Image and Word – Woodcut and Letterpress Printing Techniques, 6/20-6/26 Jason Karolak and James Kao: Multilevel Painting: Outside/Inside, 6/20-7/3

Lois Griffel Painting the Impressionist Landscape: 9/19-9/24, Falmouth. Contact Jill Tompkins, 508-540-3304; www.falmouthart.com; www.lois griffel.com.

Mel Stabin Watercolor: Simple, Fast, and Focused. 6/14-6/18/10 in Cape Cod. Sponsored by Creative Arts Center. All levels. Contact: Sally Lamson, 508/945-3583; [email protected]; www.capecodcreativearts.org. Watercolor: Simple, Fast, and Focused. 8/6-8/8/10 in Stockbridge. Sponsored by IS183, Art School of the Berkshires. All levels. Contact: Amy Butterworth, 413/298-5252; [email protected]; www.is183.org. Watercolor: Simple, Fast, and Focused. 9/13-9/17/10 in Martha’s Vineyard. Sponsored by Mel Stabin Watercolor Workshops. All levels. Contact: Nesa, 201/746-0376; [email protected]; www.melstabin.com.

Tony van Hasselt, AWS Watercolor on Cape Cod: 7/7-7/9, Eastham Watercolor, Intermediate-Advanced. Contact Sherry Cross, 800-248-6449 www.tonyvanhasselt.com

MICHIGAN

Birgit O’Connor Watercolor Workshops June date TBA. Contact: 800-749-4786; www.birgitoconnor.com.

Budding Art Ideas Art Workshop Retreats 2010, www.buddingartideas. com. Held at the Beautiful Botanical Gardens, Ann Arbor, Michigan. Award Winning Instructors, Small Class Sizes, and Personal Attention! May 17-20, Sue Holdaway-Heys – Landscape Art Quilts, Laura Cater-Woods – Surface Design June 7-10, Terry Jarrard-Dimond – Contemporary Art Quilts, Susan Moran – Shibori Dyeing

June 2010

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workshops Oli Watt and Peter Powers: Screenprinting: Mark. Stencils, and Exposures, 7/4-7/17. $100 Lab Fee Mark Pascale: Lithography, 7/18-7/24. $50 lab fee Jose Lerma and Mark Schubert: Expanded Painting/Expanded Sculpture, 7/18-7/31 Jeanine Coupe-Ryding: Blockprint to Book, 7/25-7/31. $50 Lab Fee Martin Basher: The Borderless Print, 8/1-8/14 Kevin Appel: From Surface to Space: Reading the Context of Paint, 8/1-8/14 Holly Greenberg: Alternative Printmaking: The Collograph Plate, 8/15-8/21 Mark Caughey: Listening/Talking To Nature, 8/15-8/21 Tony Phillips and Judith Raphael: Watercolor, Gouache and Pastel, 8/16-8/21 Rebecca Ringquist: Written/Drawn/Stitched Narratives, 6/20-6/26. $50 Lab Fee Contact 800-318-3019, Saugatuck; www.ox-bow.org

Your Brush With Nature Heiner Hertling teaches most of his classes in his home studio. Students complete a painting each day. All levels are welcome. You can contact us at 248-535-8334 or on the web at [email protected]. You may also visit the website at yourbrushwithnature.com 4/17 & 4/18, 5/1 & 5/2, 6/5 & 6/6, 7/10 & 7/11, 8/7 & 8/8, 10/9 & 10/10, 11/6 & 11/7, 12/4 & 12/5 Milford.

JOE JOHNSON [email protected] 513/531-2690 ext. 11380 2010, “Wildlife Workshop” Chris Navarro September 10-13, 2010, “Sculpting Workshop” Greg Beecham November 1-4, 2010, “Sculpting with Paint” Sandra Blair November 11-14, 2010, “Wildlife & Watercolor” Julie T Chapman February 3-6, 2011, “Expressing the Essence” All artist workshops include photography and sketching our wildlife. See all we have to offer at the Triple D for your photography and artist workshop needs. 28 species of North American & exotic animals available in natural settings for photography. Contact: Triple D Game Farm at 1406-755-9653, email: [email protected] or visit the website at www.tripledgamefarm.com

Your Brush With Nature Heiner Hertling teaches most of his classes in his home studio. Students complete a painting each day. All levels are welcome. You can contact us at 248-535-8334 or on the web at [email protected]. You may also visit the website at yourbrushwithnature.com 8/30-9/4 Glacier Natn’l Park.

NEW HAMPSHIRE

MINNESOTA

Tony van Hasselt, AWS

Kristy Kutch

Fall Foliage in New Hampshire: 10/13-10/17, East Madison. Watercolor, Intermediate-Advanced. Contact Sherry Cross, 800-248-6449; www.tonyvanhasselt.com.

“Amazing Colored Pencil Potential”, 6/7-6/9. Grand Marais Art Colony, P.O. Box 626, Grand Marais, MN 55604, www.grandmaraisartcolony.org. Call 218-3872737 or email Amy Demmer, [email protected].

NEW JERSEY

Mel Stabin

Watercolor: 10/25-10/29, Bloomington. Contact (800) 491-7870; [email protected]; www.tonycouch.com.

Watercolor: Simple, Fast, and Focused. 5/17-5/20/10 in Island Heights. Sponsored by Ocean County Artists Guild. All levels. Contact: Leona Lavone, 732/914-9941; [email protected]; www.ocartistsguild.org.

MISSISSIPPI

NEW MEXICO

Paul Jackson, AWS, NWS

Ann Templeton

Tony Couch, Fine Art

Dramatic Landscape in Watercolor: 6/18-6/20, Gulfport. Cost $300. For Details or to register, contact Marla Jackson, [email protected].

MISSOURI

Paul Jackson, AWS, NWS Dramatic Landscape in Watercolor: 5/14-5/16, Kansas City. “Dramatic Landscape in Watercolor” Cost: $300. For details or to register, contact Marla Jackson [email protected]. Glass and Still Life in Watercolor: 5/17-5/18 Springfield. For details or to register, contact Sharon: [email protected]. Portraits in Watercolor: 5/20-5/23, Columbia. Holiday Inn Executive Center. Cost: $400. For details or to register, contact Marla Jackson, marlamjackson1@ aol.com.

MONTANA

Triple D Game Farm

Oil and Pastel Painting: 9/6-9/10 and 9/13-9/17, Ruidoso Downs; 9/20-9/24 Northern New Mexico; 10/3-10/9, Ghost. Contact 512-722-3186; [email protected]; www.anntempleton.com.

Jeanne Hyland Strategies for Brilliant Watercolors Workshop: 7/16–7/18. Exciting, Colorful, Watercolor Portraits Workshop: Part I: 7/30–8/1; Part II: 8/3–8/4. Santa Fe. Private Groups, Classes, Commissions. Check website/Call for additional dates & locations. Contact: 505-466-1782; www.jeannehyland.com

New Mexico Art League Ming Franz: Splash Ink Painting, Four 2-Day Workshops in 2010, $120. Chinese Flower Painting, Four 2-Day Workshops in 2010, $120. Cynthia Rowland: Painting Flowers in the Still-Life, 8/9-8/13, $375. Painting Portraits in Oil, 5/17-5/21, 10-4/10-8. $375+ model fee. Painting the Figure in Oil, 11/1-11/5, $375+ model fee.

John & Suzie Seerey-Lester August 28-September 1,

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Wendy Higgins: Color and Light in the Still-Life , 7/127/16, 11/8-11/12. $375. Nance McManus: Pastel Camp, 5/15-5/16. $125. Ming Franz & Alicia De Lima: Dancing with Acrylic, 10/23-10/24. $140. Contact: 505-293-5034; www.NewMexicoArtLeague.org.

Starlight Ranch David Schwindt: 5/18-5/20, Michael Wilcox School of Color. 5/22-5/24, 9/24-9/26, Landscapes in Oil. Charles “Bud” Edmondson: 6/11-6/13, Watercolor Landscapes. Fred Miller: 6/24-6/27, Portraits in Oil or Pastel Carolyn Lindsey: 8/27-8/29, Landscapes & Figures. Lee McVey, PSA: 10/1-10/3, Plein Air Landscape in Pastel. Contact Deb, 505-281-6839; www.StarlightRanchNM.com.

Valdes Art Workshops Laura Robb: Still Life in Oil, 7/7-7/9 Ron Rencher: Plein Air Oil, 6/21-6/25 Ted Nuttall: Figurative Watercolor from Photographs, 6/28-7/2 Roberta Remy: Portrait Drawing, 7/12-7/16 John Poon: Plein Air Oil, 7/19-7/23. Plein Air II, 8/30-9/3 Joan Potter: Still Life in Oil, 7/28-7/30 Darlene McElroy: Mixed Media/Collage, 8/2-8/6 Lorenzo Chavez: Pastel Landscapes, 8/9-8/13 Nancy Reyner: Mastering Acrylic, 8/23-8/27 Ron Ranson: Watercolor, 9/13-9/17 Contact 505-982-0017, Santa Fe; www.valdesartworkshops.com.

NEW YORK

Ann Lindsay Art Workshops Sketch in the City: New York, 5/27-5/28, The Cloisters, Central Park Ann Lindsay Studio, New York 518-6582960. Drawing on the Right Side of the Brain 6/1-6/4, (4 full days) Ann Lindsay Studio, Grafton, 518-658-2960. Drawing & Painting Flowers in Watercolor, 6/216/25, (all levels) Ann Lindsay Studio, Grafton, 518-6582960. Watercolor: A Wild Week-end Adventure, Omega Institute, 7/30-8/1, Rhinebeck, NY 800-944-1001. Watercolor: A New Beginning 8/2–8/6, (Foundation Course) Omega Institute, Rhinebeck, 800-944-1001. Beginning Portraits in Watercolor 8/23-8/27, (Beginners) Ann Lindsay Studio, Grafton, 518-658-2960. Painting the Sea & Tropical Landscape 9/20-9/24, (all levels) Ann Lindsay Studio, Grafton, 518-658-2960. Winter Landscape/Holiday Cards 11/21-11/22, (Week-end) Ann Lindsay Studio*, Berlin, 518-658-2960

Hudson River Valley Art Workshops Alvaro Castagnet: 5/2-5/8 Jim McFarlane: 5/13-5/16 John Salminen: 5/16-5/22 Mary Alice Braukman: 5/23-5/29 Elizabeth Apgar-Smith: 6/3-6/6 Lorenzo Chavez: 6/10-6/13 David Daniels: 6/13-6/19 David Dunlop: 6/20-6/26 Lew Lehrman: 7/22-7/28 Carol Marine: 7/29-8/1 Betty Carr: 8/1-8/7 Mel Stabin: August 2010 Mark Mehaffey: 9/9-9/12 Judi Betts: 9/12-9/18 Pat Dews: 9/19-9/25 Kenn Backhaus: 9/26-10/2 Skip Lawrence: 10/3-10/9 Mary Whyte: 10/24-10/30 Contact: (888) 665-0044; info@artwork shops.com; www.artworkshops.com.

Mel Stabin Watercolor: Simple, Fast, and Focused. 8/9-8/13/10 in Greenville. Sponsored by Hudson River Valley Art Workshops. All levels. Contact: Kim LaPolla, 888/665-0044; [email protected]; www.artworkshops.com.

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Studio Hill Farm Intermediate Beginner to Professional levels. A $350.00 non-refundable deposit is required. Daniel Greene Summer Workshop: 7/11-7/16, 7/187/23, 7/25-7/30. $1250/each week. Wende Caporale Summer Workshop: 8/1-8/6, $950. Contact: Karen Keeler, Assistant - Studio Hill Farm, Salem, Toll Free 888-890-9887, Outside US 914-669-5653; [email protected], [email protected]; www. danielgreeneartist.com; www.wendecaporale.com.

Susan Ogilvie 5/3-5/7, Old Forge. The Arts Center Old Forge, www.artscenteroldforge.org; www.susanogilvie.com.

NORTH CAROLINA

Ann Templeton Oil and Pastel Painting: 10/12-10/17, Asheville. Contact 512-722-3186; [email protected]; www.anntempleton.com.

Cheap Joe’s Art Stuff All levels unless otherwise noted. Cheng-Khee Chee: 5/3-5/7. Watercolor: Synthesizing East and West. $595 Mark Mehaffey: 5/10-5/14. WC: Explore Your World: Traditional to Experimental. $450 Eric Wiegardt: 5/17-5/21. WC: Secrets of Painting Loose. $595 Kristy Kutch: 5/24-5/28. Vibrant Painting in Colored Pencil. $395 Ted Nuttall: 5/31-6/4. Painting the Portrait in Watercolor from Photographs. $495 Sue Archer: 6/7-6/11. Commanding Color in Watercolor. $495 Sean Dye: 6/21-6/25. The Oil Color Experience. $495 Anne Abgott: 6/28-7/2. WC: Daring Color. $495 Joseph Fettingis: 7/12-7/16. WC: Color, Color, Color! $495 Cathy Taylor: 7/19-7/23. All Mixed Up! Media. $450 Frank Francese: 7/26-7/30. Watercolor. $395 Tony van Hasselt: 8/2-8/6. WC: Plein Air Fun in the Blue Ridge. $595 Alexis Lavine: 8/9-8/13. WC: Anything but ColdPressed! $395 Janet Rogers: 8/16-8/20. Watercolor Rhythms with Flowers and Portraits/Figures. $495 Steve Rogers: 8/23-8/27. Painting Color and Light in Watercolor. $495 Karlyn Holman: 9/6-9/10. WC/Mixed: Watercolor Fun and Free. $395 Linda Kemp: 9/13-9/17. WC: Negative Painting—Positive Results! $495 James Sulkowski: 9/20-9/24. Classical Still Life and Floral Painting. $495 Linda Baker: 9/27-10/1. WC: Sun, Shade and Shadows. $495 Jan Sitts: 10/4-10/8. WC: Texture, Color, Feeling. $450 Betty Carr: 10/11-10/15. Oil: Painting the Effects of Light in Oil. $575 Charles Harrington: 10/18-10/22. Painting With Acrylics. $395 Frederick Graff: 10/25-10/29. Watercolor: Design and the Creative Process. $550 Contact: 800/227-2788 ext 1123; edwina@cheap joes.com; www.cheapjoes.com.

John C Campbell Folk School June-July 2010 Folk School Painting Classes Kathy Chastain: Journaling in Watercolor (May 30-June 5, 2010), John C. Campbell Folk School, Brasstown, NC, Beginner, Tuition: $527, 800-FOLK-SCH, www.folkschool.org. John Mac Kah: Oil in Plein Air: The Painter’s Craft (June 6-12, 2010), John C. Campbell Folk School, Brasstown, NC, Intermediate to Advanced, Tuition: $527, 800-FOLK-SCH, www.folkschool.org. Kathie Roig: Warp It! Paint It! Weave It! (June 6-12, 2010), John C. Campbell Folk School, Brasstown, NC, All levels welcome, Tuition: $527, 800-FOLK-SCH, www.folkschool.org. Margaret Estes: A Workshop for Teachers (June 27July 3, 2010), John C. Campbell Folk School, Brasstown,

NC, All levels welcome, Tuition: $527, 800-FOLK-SCH, www.folkschool.org. Molly Lithgo: Colored Pencil Painting (July 4-9, 2010), John C. Campbell Folk School, Brasstown, NC, Beginner to Intermediate, Tuition: $474, 800-FOLK-SCH, www.folkschool.org. Oscar Rayneri: Controlling Watercolors and Landscapes (July 18-24, 2010 - Intergenerational Week), John C. Campbell Folk School, Brasstown, NC, All Levels Welcome, Tuition: $527, 800-FOLK-SCH, www.folkschool.org. Alfredo Escobar: Mural Painting (April 9-11, 2010), John C. Campbell Folk School, Brasstown, NC, All levels welcome, Tuition: $299, 800-FOLK-SCH, www.folkschool.org. Suzanne DesLauriers: Mountain Landscapes in Watercolor (July 25-31, 2010), John C. Campbell Folk School, Brasstown, NC, All Levels Welcome, Tuition: $527, 800-FOLK-SCH, www.folkschool.org.

Kristy Kutch 5/24-5/28, Boone. Contact 800-227-2788; [email protected]; www.artshow.com/kutch.

School of Light and Color Susan Sarback: Light and Color Landscape, 9/27-10/1, Cary. Contact 919-303-7887; [email protected]; www.lightandcolor.com.

Tony van Hasselt, AWS Plein Air Fun in the Blue Ridge. 8/2-8/6, Boone. Watercolor, Intermediate-Advanced. Contact Sherry Cross, 800-248-6449 www.tonyvanhasselt.com

Your Brush With Nature Heiner Hertling teaches most of his classes in his home studio. Students complete a painting each day. All levels are welcome. You can contact us at 248-5358334 or on the web at yourbrushwithnature@comcast. net. You may also visit the website at www.yourbrushwithnature.com 4/9-4/11, 10/22-10/24 at Germanton Gallery.

OHIO

Middletown Arts Center, the Learning Place Doug Dawson, Master Pastelist PSA Pastel Landscape Workshop, 8/23-8/27/10 Tom Bluemlein, Oil Painting Workshop, 11/811/12/2010. Contact Patt or Kim (513)424-2417 or middletownartscenter.com.

OREGON

Watch Emmy nominee

Heiner Hertling

Art in the Mountains Karen Rosasco: Experimental Watermedia and Collage, Studio. Beginning to Advanced. 6/14-6/18. Laurie Humble: Creating a Sense of Depth, watercolor studio. Beginning to Advanced. 6/21-6/25. John Seerey-Lester: Wildlife in Oil or Acrylic, studio to plein air. Intermediate to Advanced. 6/28-7/2. Suzie Seerey-Lester: My Painting is Done, Now What Do I Do, Art Marketing Workshop, 6/28-6/29. Name that Workshop, oil or acrylic studio, Intermediate to Advanced, 6/30-7/2. Cathy Taylor: Mixed Media and Collage Adventure, Studio. Beginning to Advanced. 7/5-7/9. Frank Francese: Brilliant Scenes, en Plein Air. Watercolor - Beginning to Advanced. 7/5-7/9. Cindy Agan: Watercolor Portraits, studio. Beginning to Advanced. 7/12-7/16. J.R. Baldini: Contemporary Landscapes in Oil, Plein Air. Beginning to Advanced. 7/12-7/16. Jane Freeman: Dramatic, Powerful Paintings, Watercolor Studio. Intermediate to Advanced. 7/19-7/23. Stanley Maltzman: Drawing and Pastel in Plein Air. Beginning to Advanced. 7/19-7/23. Judy Morris: Italy in the Studio! - Watercolor. Beginning to Advanced. 7/26-7/30. Frank LaLumia: Authentic Expressions in Watercolor, (open to oil). Beginning to Advanced Plein Air. 7/267/30. Lian Zhen: Inspiring Watercolor and Chinese Painting, studio. Beginning to Advanced. 8/2-8/6.

Plein air painting in

Your Brush with Nature on PBS or Create TV. Classes are taught at Heiner’s home studio. Register now, classes fill quickly.

248-684-4371 www.yourbrushwithnature.com June 2010

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workshops Ned Mueller: The Art of Seeing, Open medium - plein air. Beginning to Advanced. 8/2-8/6. Luana Luconi Winner: Great Faces, open medium, Studio. Beginning to Advanced. 8/9-8/13. Eydi Lampasona: Abstract Painting/Mixed Media: A Fearless Approach. Beginning to Advanced. 8/16-8/20. David Taylor: Leap to Freedom and Freshness, studio to plein air. Intermediate to Advanced. 9/13-9/17, Newport. Kim English: Paint Instinctively with Immediacy, studio & plein air. Beginning to Advanced. 9/13-9/17. Contact: Tracy Culbertson, Art in the Mountains, Bend Oregon, 503-930-4572; [email protected]; www.artinthemountains.com.

Kitty Wallis Color Intensives Learn about seeing color, finding attributes of color, using color for impact, to create light and depth. Understand the uses of color in your work. Study your pastel palette, its strengths and weaknesses. Basic Color Intensive: 11/5-11/7. 3 days of color study and painting. Take home at least 30 custom mixed pastel sticks. $220. Plein Air Waterscape Intensive: 7/9-7/11. 3 day class studying color and the techniques of painting water $220. Contact: [email protected].

Kristy Kutch “Luminous, Lustrous Colored Pencil”, 7/28-7/29. Currents Gallery, 532 NE Third Street, McMinnville, OR 97128, www.currentsgallery.com. Call 503-435-1316 or email Kathleen Buck, [email protected]. “Draw, Brush, Flow, and Spatter with Colored Pencils”, 7/31-8/1. Trails End Art Association, Gearhart (near Astoria), OR, www.trailsendart.org. Call Ellen Zimet, 503-861-0718, email [email protected]. “Lush and Lively Colored Pencil”, 8/3-8/6. held at Visual Arts Center, Newport, OR. Sponsored by Kristy Kutch Colored Pencil Workshops, 11555 West Earl Road, Michigan City, IN 46360, www.artshow.com/kutch. Call 219-874-4688 or email Kristy Kutch, kakutch@earthlink. net. Tuition ($250) includes welcome lunch.

Paul Jackson, AWS, NWS Dramatic Landscape in Watercolor: 8/6 - 8/8, Portland. Cost $300. For details or to register, contact Marla Jackson, [email protected].

Sam Collett Drawing and Painting Vacations at Beautiful Wallowa Lake, Oregon: 4 day figure painting workshop from life; morning /afternoon sessions. Cost $400 plus $50 models fees. Date June 2-5 2010. Contact Sam Collett, 541-432-7110; www.samcollettfineart.com.

Paul Leveille: 6/4-6/6, Portrait, Alla Prima, Oil, Pastel, Watercolor Ron Sanders: 6/11-6/13, Plein Air Oil, Acrylic, Watercolor Kevin Beck: 9/10-9/12, Plein Air, Oil and Pastel Katherine Cartwright: 9/24-9/26, Watercolor Studio, Concept Development, All Mediums OIL AND PASTEL (Bucks County Artist Series) www.buckscountyartworkshops.com.

Mel Stabin Watercolor: Simple, Fast, and Focused. 5/29-5/31/10 in Chadds Ford. Sponsored by Mel Stabin Watercolor Workshops. All levels. Contact: Nesa, 201/746-0376; [email protected]; www.melstabin.com.

RHODE ISLAND

Tony Couch, Fine Art Watercolor: 6/21-6/25, Newport. Contact (800) 4917870; [email protected]; www.tonycouch.com.

SOUTH CAROLINA

Your Brush With Nature Heiner Hertling teaches most of his classes in his home studio. Students complete a painting each day. All levels are welcome. You can contact us at 248-535-8334 or on the web at [email protected]. You may also visit the website at yourbrushwithnature.com 5/10 & 5/11 Summerville.

TENNESSEE

Susan Ogilvie 8/2-8/6, Gatlinburg. Arrowmont School of Arts and Crafts, www.arrowmont.org; www.susanogilvie.com.

TEXAS

Ann Templeton Oil and Pastel Painting: 5/19-5/21, Georgetown; 6/216/25, Odessa; 10/25-10/29, Salado. Contact 512-722-3186; [email protected]; www.anntempleton.com.

Kitty Wallis Color Intensives Learn about seeing color, finding attributes of color, using color for impact, to create light and depth. Understand the uses of color in your work. Study your pastel palette, its strengths and weaknesses. Basic Color Intensive: 6/4-6/6, Texarkana. 3 days of color study and painting. Take home at least 30 custom mixed pastel sticks. Contact Cindy Holmes 903-8316727.

Lesley Rich

May 3-7, 2010: Maggie Price, Color and Value in Pastels May 13-16, 2010: Dawn Emerson, The Dance of Drawing with Pastels May 21-24, 2010: Larry Calkins, Eclectic Experimental Encaustic Lab June 3-7, 2010: Christopher Schink, Finding a Personal Direction in Watercolor June 11-14, 2010: Diane Townsend, Going into Abstraction in Pastels June 21-25, 2010: Robert Burridge, Loosen up with Aquamedia Painting July 10-18, 2010: Richard McKinley, Pastel Plein Air Boot Camp July 19-23, 2010: Peggy Zehring, Experimental Painting/Dimensional in Acrylics July 23-25, 2010: Richard McKinley, Plein Air Oils July 26-30, 2010: Peggy Zehring, Experimental Painting/Dimensional in Acrylics July 30-Aug.2, 2010: Robert Gamblin /Catherine Kumlin, Expressive Colors-Oil Plein Air Aug. 6-9, 2010: Teresa Saia, Moody Weather in Pastels Aug 13-16, 2010: Larry Calkins, Eclectic Experimental Encaustic Lab Aug 23-27, 2010: Mel Stabin, Plein Air WatercolorSimple, Fast & Focused Sept. 10-13, 2010: Elizabeth Mowry, Plein Air Painting & Mentoring in Pastel Sept. 17-19, 2010: Elizabeth Mowry, Plein Air Painting & Mentoring in Pastel Sept. 23-27, 2010: Lorenzo Chavez, Plein Air Pastels and Oils

Mel Stabin Watercolor: Simple, Fast, and Focused. 8/23-8/27/10 in Mt. Vernon. Sponsored by La Conner Art Workshops. All levels. Contact: Robyn Williamson, 888/345-0067; [email protected]; www.laconnerartworkshops.com.

Paul Jackson, AWS, NWS Painting Glass and Other Shiny Stuff in Watercolor: 7/30-8/1, Seattle. Cost $300. For details or to register, contact Marla Jackson, [email protected].

Robert Burridge Studio Loosen Up with Aquamedia Painting: 6/21-6/25. LaConner Art Workshops, Mt Vernon. Contact Robyn Williamson, 888-345-0067 x5; [email protected]; www.laconnerartworkshops.com; www.robertburridge.com.

Tony Couch, Fine Art Watercolor: 7/19-7/23, Gig Harbor. Contact (800) 4917870; [email protected]; www.tonycouch.com.

PENNSYLVANIA

Figure/Abstract Design, May 10-14, Houston, all levels, all mediums, to reserve email Marty Hatcher Artist Retreats, [email protected]

Ann Templeton

VERMONT

WISCONSIN

Mel Stabin

Baumgaertner Atelier

Oil and Pastel Painting: 8/16-2/21, Bucks County. Contact 512-722-3186; [email protected]; www.anntempleton.com.

Bucks County Art Workshops Bucks County has long been a magnet for artists. It is the home of the New Hope Impressionists. WEEKLONG WORKSHOPS, WATERCOLOR & PASTEL Betty Carr: 5/10-5/14, Landscape and Still Life, Watercolor Richard McKinley: 5/17-5/21, Full/waitlist only. Pastel, Plein Air Mary Whyte: 6/21-6/25, Watercolor/Portrait, Still Life, Plein Air Mike Killelea: 6/28-7/2, Watercolor, Studio and Plein Air Joseph Alleman: 7/12-7/16, Watercolor and Oil, Plein Air OIL AND ACRYLIC: Heidi Moran: 8/2-8/6, Studio, Oil, Floral Peter Fiore: 8/9-8/13, Studio, Oil, Landscape Ann Templeton: 8/16-8/20, Studio and Plein Air, Oil Carolyn Lewis: 10/4-10/10, Oil, Plein Air; 10/18-10/22, Plein Air, Oil or Acrylic Eric Wiegardt: 10/25-10/29, Watercolor, Studio THREE-DAY WORKSHOPS / MIXED MEDIA, WATERCOLOR, OIL, PASTEL, ACRYLICS

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JOE JOHNSON [email protected] 513/531-2690 ext. 11380

Watercolor: Simple, Fast, and Focused. 9/2710/1/10 in Landgrove. Sponsored by Vermont Watercolor Society. All levels. Contact: Annelein Beukenkamp, 802/864-3840; [email protected]; www.vermontwatercolorsociety.com.

Sean Dye Studio Sean Dye Workshops 2010, Oil, Pastel and Mixed media, 681 Willow Brook Lane, St. George, VT 05495, 802-482-6421, [email protected], www.seandystudio.com. Plein Air Class July 19-23, Vermont, see website for Burlington, VT, Old Forge, NY, Boone, NC, Haverhill, NH, Pasadena, CA, and Raleigh, NC.

Tony van Hasselt, AWS On Location in Vermont: 7/12-7/16 Landgrove. Watercolor, Intermediate-Advanced. Contact Sherry Cross, 800-248-6449 www.tonyvanhasselt.com

WASHINGTON

Dakota Art’s La Conner Art Workshops 2010 Contact: Robyn Williamson 888-345-0067 ext 5. Mt Vernon WA, www.laconnerartworkshops.com

Margaret Carter Baumgaertner Mentoring Workshop: 6/1-6/4, 7/27-7/30, $600/each Oil Portrait: 6/6-6/13 ($625), 6/26-7/9 ($900) Plein Air Portrait: 6/15-6/19, $500 Charcoal Portrait: 6/21-6/24, $375 Portrait Sculpture: 6/27-7/8, with Mike Martino. $200 Advanced Portrait: 7/11-7/24, $900 The Baumgaertner Portrait Atelier: 6/21-7/24, $1,900 Contact: 608-788-6465; [email protected]; www.portraitclasses.com; www.baumportrait.com.

Dillman’s Creative Arts James Stiles: 5/16-5/21, Digital Photography & Adobe PhotoShop, $375 Thomas Owen: 5/16-5/22, Watercolor: Your Partner to Success, $475 Rhonda Nass: 5/24-5/28, Spring Escape with Colored Pencil, $285 Carol Spohn: 5/24-5/28, Watercolor: Let the Water do the Work, Mixed Media, $310 Ellen Roles: 5/30-6/4, Watercolor: Design and Color Choices, $400 Jeanne Ruchti: 5/30-6/4, Fun with Watercolor Portrails / Colorful Characters, $400 Teri Sweeney: 5/30-6/4, Rocks, Trees and Water in Watercolor, $460

www.artistsmagazine.com

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Lois Griffel: 6/6-6/12, Painting the Impressionist Landscape - Oil / Pastel, $525 Cecile Baird: 6/6-6/12, Capture Light in Colored Pencil, $475 Brenda Mattson: 6/6-6/12, Paint Sunset and Water in Oil / Pastel, $485 Carrie Burns Brown: 6/13-6/19, Color Emphasis in Acrylic / Collage, $450 Peggy Grinvalsky: 6/13-6/19, Exploritas: Sketching in the Northwoods, $347 Susan Louise Moyer: 6/13-6/19, DyeColour™ Painting on Silk Technique and Composition, Mixed Media, $540 Arleta Pech: 6/13-6/19, Luminous Oil Glazes, $420 Linda Brubaker: 6/20-6/25, Theorem Painting on Velvet, Oil/Decorative Arts, $500 Don Andrews: Landscape in Watercolor, 6/20-6/26, $530 John Salminen: Realism Through Design, 6/27-7/3, Watercolor, $520 Terry Isaac: Painting the Drama of Wildlife, Acrylic, 7/4-7/10, $530 Janet Rogers: Watercolor Rhythms with Flowers, Faces and Figures, 7/4-7/10, $450 Tom Lynch: Putting the “WOW” in Watercolor, 7/117/17, $495 Richard McDaniel: Landscapes on Location in Oil, 8/8-8/14, Oil/Pastel, $560 Bridget Austin: Fine Tune Your Watercolor, 8/22-8/27, $475 Robert and Kathryn Burridge: Contemporary Artist Retreat, 8/22-8/28, Acrylic/Collage, $590 David Taylor: Leaping Ahead in Watercolor, 8/29-9/4, $565 Alvara Castagnet: Vibrant Watercolors, 9/5-9/11, $475 Ron Ranson: Big Brush Watercolor, 10/3-10/9, $505 Contact: 715-588-3143; [email protected]; www.dillmans.com

Kristy Kutch “Colored Pencil: Delicate to Dynamic” 9/13-9/16 at Harbor Shores Best Western, Lake Geneva, WI. Sponsored by Kristy Kutch Colored Pencil Workshops, 11555 West Earl Road, Michigan City, IN 46360, www.artshow. com/kutch. Call Kristy Kutch at 219-874-4688 or email [email protected] . Tuition ($275) includes welcome dinner. “Colored Pencil/ Watercolor Pencil Traits, Techniques, and Tips”. 10/9 (wax-based colored pencils) and 10/10 (watersoluble colored pencils). Enrollment available for either or both days. Classes held at Artist and Display store, 9015 West Burleigh Street, Milwaukee, WI 53222, www.artistanddisplay.com. Call 800-722-7450 or 414-442-9100, email [email protected] .

Paul Jackson, AWS, NWS Dramatic Landscape in Watercolor: 8/20-8/22, Sheboygan. Cost $300. For details or to register, contact Marla Jackson, [email protected].

Peninsula School of Art Wisconsin 920-868-3455. E-mail Tori Daubner, Registrar, at info@ peninsulaartschool.com. Website: www.peninsula artschool.com. Workshops in all media and all levels with notable instructors. 40-year tradition of educational excellence. Plein air workshops in inspirational Door County settings.

WYOMING

Your Brush With Nature Heiner Hertling teaches most of his classes in his home studio. Students complete a painting each day. All levels are welcome. You can contact us at 248-535-8334 or on the web at [email protected]. You may also visit the website at yourbrushwithnature.com 9/15-9/20 SKB Workshop, Dubois.

INTERNATIONAL CANADA

Robert Burridge Studio Loosen Up with Aquamedia Painting: 6/1-6/4.

Leading Edge Art Workshops. Contact Louise Hall, 403-233-7389; [email protected]; www.greatartworkshops.com. Larger and Looser: The New Masters Program for the Postmodern Painter: 6/6-6/8. Alberta Artists. Contact Karin Richter, 403-272-1471; [email protected]. www.robertburridge.com

Karen Martin Sampson, upcoming workshops in Sayward Valley, north Vancouver island studio: August 28 - 30, Figure Painting, oil or pastel October 2 - 3, Working with Still Life, any media Limit, six students; lunches included www.karenmartinarts.ca 1-250-282-0134

FRANCE

Atelier St Luc Ian Roberts: Plein Air Painting in Provence, 6/16/10/10. Contact www.ianroberts.us

Flying Colors Art Workshops Frank Webb, AWS: 6/17-6/27, Brittany/Normandy. Contact Johanna Morrell, (858) 518-0949; [email protected]; www.flyingcolorsart.com – free color brochure.

GUATEMALA

Tony van Hasselt, AWS Antigua and Lake Atitlan: 10/29-11/8 Watercolor class tuition, hotels, private coach transportation, most meals. $2295. Contact Sherry Cross, 800-248-6449 www.tonyvanhasselt.com.

ITALY

Corse Gallery and Atelier Romel de la Torre: Outdoor Figure Painting, Tuscany, Italy, 5/29-6/5/10. Contact: 877-386-8205; www.CorseGalleryAtelier.com

D’Ambruoso Studios LLC Landscape Painting in Amalfi. June 23-30, 2010. Amalfi, Italy. Instructor: Sam D’Ambruoso, $2,975, reduced rates for guests, all levels, tuition, meals, accom., ground trans., activities. Portrait Painting in Tuscany October 3-9, 2010. Tuscany, Italy. Instructor: Laurel Stern Boecke, $2,975, reduced rates for guests, all levels, tuition, model fee, meals, accom., ground trans., activities. Land- and Seascape Painting in Sicily. Oct. 13-20, 2010. Tuscany, Italy. Instructor: Sam D’Ambruoso, $2,975, artists; reduced rate for guests, all levels, tuition, meals, accom., ground trans., activities. ALL WORKSHOPS SPONSORED BY: Traveling Palette Art Workshops, D’Ambruoso Studios LLC, 67 Richardson Drive, Middlebury, CT 06762, 203-758-9660, [email protected], www.DAmbruosoStudios.com.

Etruscan Places Open Air Fundamentals: Maddine Insalaco and Joe Vinson, 5/15-5/22, 9/11-9/18, 10/16-10/23, Buonconvento and Montalcino, Tuscany. All levels. $2,000$2,350 Advanced Open Air Seminar: Maddine Insalaco and Joe Vinson, 5/29-6/5, Murlo, Tuscany. Advanced painters only. $2,275- $2,600 Roman Campagna: Maddine Insalaco and Joe Vinson, 6/19-6/26, Civita Castellana. Advanced Painters only. $2,000-$2,350 Elements of Landscape: Maddine Insalaco and Joe Vinson, 10/2-10/9, Buonconvento, Tuscany. Intermediate and above. $2,000-$2,350 Contact www.landscapepainting.com.

Flying Colors Art Workshops Don Andrews, AWS, NWS: 9/1-9/10, Venice. Judy Morris, AWS, NWS and Carla O’Connor, AWS, NWS: 9/14-9/24, Lucca. Contact Johanna Morrell, (858) 518-0949; flying [email protected]; www.flyingcolorsart.com – free color brochure.

Kim Weiland Montalcino, 7/28-8/11: Join National Artist: www. KimWeiland.com and Dr. Gary Pavlis, Wine Expert Rutgers University for The Ultimate Tuscan cultural immersion experience. Paint, explore & sample wines of the Brunella Vineyards. 14 days, includes Air, D.O. Apartment & car @ Approx $3900pp. www.untours.com/arttours

LaRomita Benno Philippsen: 6/26-7/10 Grace Rankin and Kathleen Mattox: 7/13-7/27 Marian Dunn: 9/04-9/18 Fritz Kapraun and Bob Rankin: 9/21-10/05 Contact: 800-519-2297 access code 03; 202-337-3120; [email protected]; www.laromita.org.

Lesley Rich Plein Air, all mediums, Venice Sept 15-25, 2010, $1980 for art instruction, daily breakfast and accommodations, see [email protected] for additional information and brochure or call (650) 856 6897.

Sedona Arts Center Adele Earnshaw and Joe Garcia: Plein Air Painting in Tuscany, 9/4-9/11 Michael Schlicting: An Adventure of the Imagination in Tuscany, 9/11-9/18 Betsy Dillard Stroud: Memories of Tuscany, 9/22-10/1 Contact: Vince Fazio, 888-954-4442; www.Sedona ArtsCenter.com.

Susan Truitt Calvin Liang, OPAM, AISM: Tuscany Plein Air Landscape, May 15-22, 2010, $2650/single occupancy. Limited to 8 participants. Painter’s Retreat-Uninstructed: Tuscany (Olive Harvest), November 6-13, 2010, $1800/single occupancy. Limited to 10 participants. Brian Stewart, PAPA: Tuscany, Plein Air Landscape, April 8-15, 2011, $2650/single occupancy. Limited to 8 participants. Painter’s Retreat-Uninstructed: Tuscany (Olive Harvest), November 5-12, 2011, $1800/single occupancy. Limited to 10 participants. For more information please see www.openairitaly.com, email [email protected], or call Susan Truitt at 1-321-777-3964.

SPAIN

Charles Gruppe Barcelona, Biarritz, San Sebastian, 8-days (September 5). Includes air, 4-star hotel, charter buses. $2,300. Contact 772-569-0844; www.charlesgruppe.com.

SWITZERLAND

Mel Stabin Watercolor: Simple, Fast, and Focused. 7/18-7/29/10 in Lauterbrunnen. Sponsored by Flying Colors Art Workshops. All levels. Contact: Johanna Morrell, 858/518-0949; [email protected]; www.flyingcolorsart.com.

Flying Colors Art Workshops Mel Stabin, AWS, NWS: 7/18-7/29, Lauterbrunnen. Contact Johanna Morrell, (858) 518-0949; [email protected]; www.flyingcolorsart.com free color brochure.

Susan Truitt Kenn Backhaus, PAPA, OPAM: Switzerland’s Lauterbrunnen Valley, Plein Air Landscape, July 16-23, 2010, $2650/single occupancy. Limited to 8 participants. For more information please see www.openairitaly. com, email [email protected] , or call Susan Truitt at 1-321-777-3964.

TAHITI

Paul Jackson, AWS, NWS Paint in Paradise: 11/2-11/10, Tahiti/Bora Bora. For details or to register, contact Marla Jackson, [email protected].

June 2010

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competition spotlight

EDITED BY GRACE DOBUSH

web

EXTRA

Competition Spotlight artists are chosen from competition finalists. View winning entries from our 26th Annual Competition at www.artistsnetwork.com/article/2009winners.

Kathy Hirsh Beijing, China • www.kathyhirsh.com

I TRAVEL TO off-the-beaten-path locations to paint en plein air, so I need supplies that are simple: no solvents, no fixatives, nothing that could be confiscated in an airport. Wallis sanded paper, watercolors and pastels fit that bill. For five years I worked as a surgical illustrator in Kathmandu. I went back last fall to paint, setting up my easel across a gorge, overlooking a hillside covered with typical Nepali houses and gorgeous rice terraces. White wash and red mud brick, blue aluminum roofs, red soil, green stalks and yellow rice—it was habitation as 80

well as cultivation, bathed in beautiful fall light. To start a composition, I use a small viewfinder and my digital camera in black-and-white mode, and I do a couple of quick thumbnails in three values. Laying out the basic shapes with a Nupastel or a pastel pencil, I then do a very loose underpainting in watercolor, which pretty much obliterates the drawing. I like the underpainting to peek through, but, because I know much of it will be covered by pastel, I can be very free at this stage, letting the paint drip and pool.

Kathmandu Hillside (watercolor and pastel, 9x12) was a finalist in the landscape category of the 26th Annual Art Competition.

Here in Beijing I paint full time and teach painting and drawing classes. When painting, I get “in the zone”—I think it’s akin to being in a meditative state. Perhaps it’s the endorphins, maybe it’s the rightbrain activity—whatever it is, I like to be there, and I like to teach others how to access that state. ■

www.artistsmagazine.com

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