The Artist s Magazine September 2017

MASTER LESSON LESSON:: Stephen Cefalo on Drawing the Figure

 the  the GOLD LEAF TODAY p.10

magazine

LIVING NOW IN THE

 Jo  Joseph Raffa ffael in the South of France

NIGHT SCENES Plein Air in the Dark p.22

QUEER BRITISH ART 1861-1967 at the Tate Britain p.7

ONE ARTIST’S JOURNEY From Representation to Abstractio Abs traction n p.38

Margaret Bowland’s “Uncomfortable” “Uncomfortable” Pictures

Around the World City Scenes in Watercolor, Pen & Ink

PLUS Social Star: Vincent Giarrano From Biochemistry to Art

Radiant Heart  by  by

Fathers & Sons by Way of Japan

Joseph Raffael is part of his series focusing on the beauty of single single blossoms.

SEPTEMBER 2017 artistsmagazine.com

"Fruitscape" by Claudia Z Burton

"Fruitscape" by Claudia Z Burton

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 the magazine EDITOR

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Holly Davis

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Pivotal Moments ABOVE:

LIFE-CHANGING MOMENTS

Diva J, 2016  (oil

are rare, yet we all can identify points in our lives that altered our subsequent paths. Joseph Raffael’s series of small, single-flower paintings began when a blossom within a large work called out to be painted by itself (“ In the Now,” page 30). As a young student, Roger De Muth took on an assignment to “hop on a bus, get off anywhere and do a painting.” He’s been creating ink and watercolor paintings of architectural treasures ever since (“Artist on the Go,” page 54). In “Giving Voice to the Soul,” page 46, Margaret Bowland tells how she fled art school, s chool, where instruction centered on abstract art, to teach herself representation representational al painting. Emil Robinson reserved this order; having

on linen, 60x52) by Margaret Bowland

4  artistsmagazine.com

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established himself as a successful representational artist, he heeded an inner call to pursue abstract art (“ Going Abstract,” page 38). Perhaps this issue will direct you down a new path. Stephen Cefalo’s explanation of contrapposto ( Drawing Board, page 16) may be the ticket that takes your figure drawing to a higher level. Kent Lovelace’s oil and gold-leaf paintings (Brushing Up, page 10) may send you exploring a new technique. Pivotal moments—what a difference they make! My hope is that The Artist Magazine  will  will help bring you to some of the best and most rewarding of these moments in your pursuit of art-making. Holly Davis  SENIOR EDITOR

Curtis Circulation Co. 730 River Road, New Milford NJ 07646 Tel: 201/634-7400 Fax: 201/63 4-74 4-7499 99 ATTENTION RETAILERS

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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, 10151 10151 Car ver Road, Suite 2 00, Cincinnati OH 45242. Printed in the USA Copyright © 2017 by F+W Media, Inc. All rights reserved. The Artist’s Magazine  is  is a registered trademark of F+W. 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., 10151 Carver Road, Suite 200, Cincinnati OH 45242; tel: 386/246-3370. Subscription rates: one year $25. 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 34, No. 7. Periodicals postage paid at Cincinnati OH and additional mailing offices. Postmaste Postmaster: r: Send all address changes to The Artist’s Magazine , P.O. Box 421751, Palm Coast FL 32142-1751. F+W Media Inc. Back issues are available. For pricing information or to order, call 855/842-5267, 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, 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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PERSPECTIVE

THE ARTIST’S LIFE

8

BRUSHING UP

10

DRAWING BOARD

16

ASK THE EXPERTS

22

NEWS, INSTRUCTION, INSPIRATION

CURRENT EXHIBITION

QUEER BRITISH ART 1861-1967

ABOVE LEFT: The

Critics (1927; oil on board, 16x20) by Henry Scott Tuke WARWICK DISTRICT COUNCIL (LEAMINGTON SPA, UK)

ABOVE RIGHT: Self-  Portrait (1913; oil on canvas, 60x501 ⁄ 4) by Laura Knight NATIONAL PORTRAIT GALLERY (LONDON, UK)

BOTTOM FAR LEFT:

Sappho and Erinna in a Garden at Mytilene (1864; watercolor on paper, 13x15) by Simeon Solomon COURTESY OF TATE

TATE BRITAIN, in London, presents “Queer British Art” to commemorate the partial decriminalization of same-sex relations in England with the Sexual Offences Act of 1967. Ranging

from 1861 to 1967, “Queer British Art” explores the ways in which LGBTQ artists expressed themselves when society and government wanted them silenced. On display are deeply

personal and intimate works alongside pieces aimed at a wider audience in an effort to bring communities together at a time when the LGBTQ community was marginalized and persecuted.

“QUEER BRITISH ART” IS ON DISPLAY AT TATE BRITAIN UNTIL OCTOBER 1. LEARN MORE AT TATE.ORG.UK.

BOTTOM LEFT: Head of a Greek Sailor (1940; oil on board, 13x12) by John Craxton © ESTATE OF JOHN CRAXTON; ALL RIGHTS RESERVED, DACS 2016; PHOTO CREDIT: LONDON BOROUGH OF CAMDEN

SEPTEMBER 2017

7

THE ARTIST’S LIFE Edited by Michael Woodson

A Family Affair Animator Thomas Romain’s greatest inspiration for drawing is his sons’ imaginations. 6,000 MILES didn’t stop Parisian artist Thomas Romain from immersing himself in Japanese culture. “I grew up watching Japanese animation on television, and playing Japanese video games as a teenager,” says the artist. “I’ve always been influenced by Japanese culture and French comic books.” His first artistic goal was to b ecome a comic book artist, but after crossing paths with a 8  artistsmagazine.com 8

French animation producer, his dream evolved and put him on a career path one might call fateful. “I had the incredible opportunity to move to Tokyo and collaborate with a Japanese studio. I was co-director, character designer and art director of an animated TV series called -  O ban Star-Racers . I fell in love with Japan and decided to continue pursuing my career here.”

Romain channels a steampunk style to recreate his sons’ sketches of a war machine (top, middle) and a doctor (top, right). ABOVE:

The idea to collaborate with his children came from a birthday present a friend of his gave to his younger son, Itsuki. “It was a watercolor set, and as I showed him how to use it,” says the artist.

Two exciting new releases to sharpen your still lifes!

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Whether you’re interested in l andscapes, cityscapes, wildlife art or the figure, Vincent Giarrano’s got you covered. His Instagram account is overflowing with beautiful finished pieces, sketches, photos and tips, making him our must-follow artist of September.

ABOVE: Jade with

Graffiti (oil on panel, 11x14) by Vincent Giarrano

Find him at instagram.com/vgiarrano.

“I realized how fun it was.” He felt a pang of nostalgia for the days when he drew with watercolor and ink, and not digitally. This rediscovered interest made him want to incorporate drawing by hand back into his life, but in a way that didn’t feel like work. “At the time, my older son Ryunoske was drawing surprisingly interesting doodles,” he says. “I just felt an eagerness to draw them, too. I starting adapting one just for fun, and I did the same with one of Itsuki’s drawings. My sons loved my adaptations. I shared the illustrations with my followers on Twitter, and

You can follow Romain and see more work from him and his sons on Twitter and Instagram at @thomasintokyo.

the response was so overwhelming, I decided to add to the series once a week.” Romain and his sons hope to publish a book of their collaborations. “It would also be great if we could create a story and give life to some of the characters through animation or a comic book,” he says. “I intend to keep working in the animation industry, my dream being to direct a feature film.” ■

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9

BRUSHING UP By Kent Lovelace

Go for the Gold Create effects ranging from dazzling backgrounds to touches of shimmer with the application of gold leaf. “BREATHE EASY” Gold flakes and dust can be messy, but gold isn’t a health hazard in small doses. Dentists fill teeth with gold, and bakers use it to decorate cakes. As for the mess, stray flakes and dust are easily vacuumed.

a fairly simple craft, and  with practice and creativity, it can add a striking element to your artwork.

Choose Your Desired Effect

Annunciatory Angel  (1450–55; gold leaf and tempera on wood panel, 13x10 2 ⁄ 3) by Fra Angelico ABOVE:

DETROIT INSTITUTE OF ARTS, USA / BEQUEST OF ELEANOR CLAY FORD / BRIDGEMAN IMAGES

10  artistsmagazine.com

is perhaps best known historically for its use in Christian icons and paintings. Te early Italian Renaissance tempera paintings of Fra Angelico are magnificent examples. For the use of gold leaf closer to our time, look at the work of Gustav Klimt, who integrated gold leaf with oil paint. Contemporary artists are making the use of gold, silver and copper leaf in painting more common again. With products now available, leafing is GOLD LEAF

Over the past few years, I’ve experimented with  various approaches to applying gold or silver leaf to my paintings. In the manner of medieval icon artists, I may use the leaf to surround and contrast  with the subject (see Bird and Leaf, page 14). For a more subtle effect, I might lay gold leaf beneath a painted part of a landscape, such as the sky, to create a glowing effect.  Tis technique has proven particularly rewarding in paintings of deep dusk  when the land is dark but the sky still brilliant (see Cameret , page 12). Another approach is to combine leaf beneath the imagery with leaf over or around the surface of the painting. Gustav Klimt used this approach in his painting Te Kiss  as well as other works. Keep these different approaches in mind as you plan your own experiments.

The universal fineliner for children to professionals, STABILO point88 features non-smudging, water-based ink which is formulated to sustain us a n a long ong cap-off time. The long-wearing .4mm tipss are encased in metal allowing for hours of writing, drawing, awing, sketching, and use with rulers and stencils. ils. Find a variety of sets and colors at your local art supply store or online.

BRUSHING UP WHY PAINT ON COPPER? In Europe during the 1600s, artists tried various substrates for oil paints—a newly developing medium. Wood, canvas, linen and copper were all common. Rembrandt and many others painted on copper for some of their work. These works have endured with little aging compared to those painted on wood or canvas. The smooth rigidity of copper plates allows extremely controlled brushwork, and oils won’t sink into the ground on copper, so colors stay intensely saturated, even in thin layers. Copper also proves luminous under transparent oils. See my step-by-step demonstration at bit.ly/paint-on-copper.

LEFT: For Cameret (oil and gold on copper, 12x14), I applied gold leaf in the sky area near the horizon before painting the sky. This gives the sunset an especially luminous effect.

Prepare the Surface

Paint As You Usually Do

to finish the painting. Of course, you may use your usual manner of painting to create an image, perhaps blocking in your darks and layering lighter pigments above.

If you’re painting in oil on hardboard Paint an image as you normally panel, plywood, canvas or linen, pre-  would, but consider where you pare the surface with gesso as usual. intend to place the leaf. Although  A red oxide hue is the classic underit’s not necessary to leave an open color for gold leaf, so consider adding area for the leaf, I recommend iron oxide acrylic to your gesso to doing so for your first efforts, and Let the Paint Dry create a red tint. Use a large, soft this is the method I describe here. Be patient and allow your painting, brush and apply multiple coats, sand-  Alternatively, you may choose to  whether f ully or partially developed, ing between layers. A smooth surface paint an image partially, apply gold to dry thoroughly before adding is generally considered ideal; however, leaf and then finish the painting leaf. With my method of working the surface texture of gesso on coarse afterwards. the paint thinly with added Liquin, canvas or rough wood can prove visu Working quick ly, I create an I usually allow a minimum of one ally interesting. In this case, the leaf underpainted “key image” with Old  week in a warm studio. If you’re not may lie unevenly or not cover the sur- Holland neutral tint oil paint and using an alkyd medium or a drier face entirely but still prove attractive.  Winsor & Newton Liquin. Once in your oils, practice even more For most of my work, I paint in dry (usually in 24 hours or less), this patience. Leaf must be applied to a oil on copper plate (see Why Paint drawing will define the image. I completely dry surface. on Copper?, above right). To prepare choose to paint with transparent and copper, sand the surface and clean it translucent oils, which allow my cop- Apply Size  with denatured alcohol. If you apply per surface to permeate the image,  You’ll need to apply a small amount gesso to the copper, you’ll lose copadding both a unifying hue and lumi- of size on the areas where you intend per’s characteristic luminosity. nosity to the painting. I may leave to place the leaf. Traditionally, art Whatever surface you choose, the much of the underdrawing exposed ists used rabbit-skin glue, but we now leafing process is the same. or choose to glaze in multiple hues have synthetic sizes made specifically 12  artistsmagazine.com

for metal leafing. Water-based size works well over acrylic gesso but not over oil, lacquer, metal or other oil-based materials. Oilbased size works over everything. Oil-based size comes in quick- and slow-drying formulas.  Te quick-drying variety usually begins to set in about 20 to 30 minutes and remains workable for an hour or two. Slow-drying size will begin to set after an hour or longer, and it will then remain open for another eight to 10 hours.  Working slowly and carefully, use a medium-soft brush to apply a thin, even layer of size on the areas where you want the leaf. Repeatedly work the size into open areas. Size is transparent and can be difficult to see. Make ever y effort not to miss areas, but don’t leave puddles. Remember, you  want a thin, even layer.

Apply Leaf  When the sized areas are no longer  wet but slightly tacky, they’re ready for leaf. Size is tacky by nature, so even fast-drying size will stay open for an hour or more.  I suggest using patent gold leaf, which has a paper backing, for your first efforts (see ypes of Leaf, below). ake one sheet

TYPES OF LEAF Leaf comes in patent (also called “transfer”) and loose forms. Patent leaf is lightly adhered with wax to paper and won’t float away with the slightest breath, as loose leaf will. Loose leaf is very fragile and is also thinner than patent leaf. Gold leaf, whether loose or patent, comes in many colors, ranging from a true deep gold to red- or green-tinted golds to lighter yellows and “white” golds, depending on what other elements are added. The higher the karat, the purer is the gold, with the purest being 24 karat. Imitation gold leaf is usually a combination of copper and tin. These leaves are larger, less fragile and much less expensive than true gold. Leaf also comes in copper and aluminum.

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 the magazine

SEPTEMBER 2017

13

BRUSHING UP

DEMO

BIRD AND LEAF

1

2

1. UNDERPAINTING:  For

the most part, when you intend to add gold leaf to your oil painting, you can prepare your surface and paint your subject in your usual manner. I began with a light underpainting of a vermilion flycatcher on a prepared copper plate. I completed my painting and let the oils thoroughly dry before applying size around the bird and branch. When the size became tacky, I applied

2. ADDING LEAF:

3

white gold leaf. I needed several full and partial sheets of leaf to surround the bird and the branch. You can see the seams on the left where I haven’t completely worked the leaf into the size with a brush. In the lower left corner, you can also see a bubble in the leaf over an area of the painted branch, indicating the leaf had not adhered to this area. Because the paint was dry and hadn’t been sized, I was able to brush the gold leaf off the branch and bird.

3. LEAFING COMPLETED:

Having fully worked the leaf into the size (and brushed off the unwanted leaf), I considered Vermilion Flycatcher (Leucistic)  finished. Had I wished to do so, I could have painted over the leaf or added leaf over portions of the bird. ABOVE: Vermilion Flycatcher  (Leucistic)  (oil and white gold on copper, 8 x10)

and, with the gold side facing the  Allow the leaf and size to dry image, gently place the leaf onto the completely. At this point, your paintsized area. Carefully rub the paper ing may be finished, or you may wish to attach the leaf. Remove the paper. to continue painting. You may paint  Add another sheet and repeat until over the leaf, letting the light of the all sized areas have a loosely attached gold beneath show through, or you covering of leaf. Ten, with a soft may just paint up to the gold edges. brush, gently work the leaf into the  You may also glaze with transparent size. If your painting is dry, the leaf oils over the gold to soften and age  will adhere only to the sized areas. the appearance of the leaf. When (See step two of Bird and Leaf, above.)  you’ve finished the painting, and the 14  artistsmagazine.com

LEAFING MATERIALS SIZE: Oil-based LEAF: Giusto Manetti Battiloro transfer (patent) leaf BRUSH:  Princeton Artist Brush Co. Imperial synthetic mongoose filbert for applying leaf and removing excess leaf

paint and leaf are fully dry, you may  varnish the surface as usual. ■ KENT LOVELACE’s work was featured in the September 2011 issue of The Artist’s Magazine . His oil paintings on copper are part of private, public and corporate collections throughout the world. Lovelace passed away in May 2017, shortly after completing this article. Visit his website at kentlovelace.com.

DRAWING BOARD By Stephen Cefalo

A Uniquely Human Stance Give your figure drawings a relaxed and natural look with contrapposto.

Donatello’s David , Michelangelo’s David , Botticelli’s Birth of Venus  and the Venus de Milo. One could wonder, however, why it took so long to discover contrapposto in art. Troughout ancient Egyptian art, figures look stiff. Te contrapposto is so wonderfully human and immediately appears to us as a sign of sentience. In the Renaissance, the Christ child is represented standing in this manner, giving the appearance of higher intelligence or nobility. We’re not the only bipeds on the Earth’s surface, but we’re almost certainly the only creatures that can stand in contrapposto, unless depicted in a caricature.

Weight Distribution

CONTRAPPOSTO, FRONT AND BACK:

ABOVE:

These two pastel sketches show how the load-bearing leg establishes a center of balance, causing the femur (thigh bone) to push upward. This, in turn, causes the pelvis to drop over the free leg. The ribcage, following the rule of contradiction, counterbalances the pelvis by tilting in the opposite direction. 16  artistsmagazine.com

One of my professors said that the hardest thing in drawing people is to make them stand. Tis can be an endless source of frustration for a beginner or even a relatively skilled artist. Te basic concept behind contrapposto is the idea that when the pelvis is tilted in one direction, the ribcage will normally tilt in the opposite direction. Tis is sometimes called the “rule of contradiction” (see Contrapposto, front and back; at left). Essentially, a figure in true contrapposto is standing on one leg. CONTRAPPOSTO (LITERALLY “COUNTER-POSTURE,” IN  When we walk, we’re constantly in ITALIAN) is, in the most basic sense, a standing pose in which the weight is shifted to one leg while the and out of contrapposto as we shift position of the upper body is adjusted to balance our weight from one leg to the next. the weight. Te Greeks were the first in our cultural  Although both feet may be touching memory to depict contrapposto. Tis mode of expressthe ground, the “free” leg is serving as ing the human form dovetailed beautifully with the an auxiliary leg, providing a bit of sup Aristotelian ideal of a mean between extremes or plementary balance. If I were to build balance of opposites. Contrapposto contains a numa one-legged table, I’d want to place ber of opposites, such as bent versus stra ight, flexion that single leg directly in the center. If  versus extension, active versus passive, tension versus I want to stand on one leg, then where relaxation and tight versus loose. can that leg go but in the center? Tis Many of the most celebrated and commonly known leg is known as the “load-bearing”  works of art in history were contrappostos, including or “supporting” leg. Te free leg can

            

             

           

DRAWING BOARD

SHOULDERS AND ARMS ARM RAISED ON SIDE OF FREE LEG ARMS RAISED ON SIDE OF LOAD-BEARING LEGS

A

B

Generally, the shoulders and the soft body parts of the upper torso follow the tilt of the ribcage, but the position of an arm can change things. A raised arm on the side of the load-bearing leg raises the shoulder and the breast nipple on that side (A).

essentially go where it likes and can even change positions without altering the contrapposto.  Te leg and thigh holding up the pelvis will push the pelvis up on the side of that supporting leg. Naturally, the pelvis will drop on the side of the free leg. Everything belonging to the pelvis, such as the trochanters of the femurs (hips) and the patellae (knees),  will usually tilt with the pelvis. Te upper torso, carrying a vast amount of  weight, will tilt in the opposite direction from that of the pelvis. Te upper torso does this in order to center its  weight above the supporting leg, as in the weight distribution of the one-legged table. Te contrapposto is born.  Although the head can do whatever it likes, many artists choose to tilt the head in the opposite direction of the shoulders. Tis completes a 18  artistsmagazine.com

ARM RESTING ON HIP OF FREE LEG

In this case, the angle of the shoulders and nipples may tilt opposite to the angle of the ribcage. On the other hand, an arm raised or resting on the hip on the side of the free leg accentuates the contrappostal effect ( B).

nice “S” curve laterally, at the same time serving as a complement to the pelvis and hips.

Confusing Factors It’s commonly taught that in contrapposto, the shoulders tilt in the opposite direction of the pelvis. Tis is generally true, but it doesn’t take into account that the shoulder girdle, composed of the scapulae (shoulder blades) and clavicles (collarbones), acts in conjunction with the arms and moves independently of the ribcage. If the arms are at rest, everything that belongs to the ribcage will share its tilt. Te angle across the shoulders, the nipple line, the angle across the elbows and the costal cartilage at the bottom of the ribcage will all be tilting in the same direction. On the other hand, if the ribcage is lowered on the left, yet the left arm is raised,

the left shoulder may actually appear higher on the left. Furthermore, the lifting of that arm may pull the skin upward, moving fleshy landmarks, such as the breast’s nipple, upward, and making the figure seem quite out of contrapposto. Te shoulders are also affected when the model places one hand on the hip of the supporting leg. Tis pushes the shoulder up on that side. Even though the ribcage has not moved, the slight shifting of the shoulder can be enough to throw off the look of contrapposto. A hand resting on the hip of the free leg, however, can enhance the contrapposto effect. Most accurately, however, it’s the relationship between the ribcage and pelvis that makes a contrapposto. (See Shoulders and Arms.)  Te other factor that can confuse is perspective. Extreme perspective can make the dropped shoulder look

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DRAWING BOARD higher than the raised one. In this case, the only advice I can offer is keen observation of angle relationships. If you get the perspective right and the proportions right, the pose  will make sense.

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Working With Models

I’ve encountered the occasional model who cannot stand in contrapposto. I found out later that one such model had injured her spine  while serving in the military. Others  just stiffen up on the model stand and can’t quite grasp the concept. Side View  Although it’s not commonly men As soon as you tell them to break, tioned, there’s a rule of contradiction they’ll simply relax into a lovely conin play when viewing the figure trapposto. Because of this, at times from the side. In most natural stand- I’ve asked a model to freeze just after ing poses, the pelvis tilts forward I call for a break. Another way I can to support the weight of the upper “trick” a model into contrapposto is torso. Te ribcage then tilts backby asking him or her to slowly walk  ward in order to center the weight around the model stand while I say of the body. Te contrast between “freeze” as each step is taken. One these tilts is often more exaggerated more way is to ask the model to in the female form. Te head and stand on one leg and then to rest. neck thrust forward to complete an  Te downside of contrapposto “S” curve. Tis is the reason for the is that the model often tires quickly. graceful curve in the spinal column, Holding your weight on one leg can offering not only a pleasing look but be quite a strain, especially when also a means of balance and springone knee is locked. Tis contriblike shock absorption. (See Side utes to my greatest fear: the model View, below.) passing out on the stand. When depicting any standing pose, I ask the model to shift weight from BELOW: SIDE VIEW: Nearly all standing side to side or to the center as he poses viewed from the side exhibit a counor she wishes. I pick one of those terbalancing of the pelvis, ribcage, and postures and then have the model neck and head, creating an S-shaped curve. tell me when the shift is coming.  Tis avoids confusion on the part of those drawing the pose. When the pose is shifted to the opposite leg, I can work on areas like the face, feet or hands. If I can establish the structure of the gesture in the first sitting, however, the model can shift legs a little more freely while I spend my time modeling the more stable aspects of the form within that framework. One exercise I’ve had success  with is to have the model stand in contrapposto for only the first 20 minutes and to spend most of the rest of the class standing with the  weight on both legs. At the end of the session, I’ll ask the model to stand in contrapposto for one more two-minute session. It pays to practice sketching contrappostos from memory, reviewing the rules of contradiction and balance in your mind.

Gender and Leg Position In observing the handling of contrappostos through history, I’ve noticed that most artists have chosen a different free-leg position for males than for females. By Greek tradition, men were commonly portrayed standing in a more relaxed position with their feet apart at about pelvis width.  Women were almost always shown with the thighs completely together and little or no space between the feet.  is may have been due to notions of modesty. Women were originally forbidden to be portrayed nude in ancient Greece,  while nude depictions of men were considered normal. O ver time, these rules were relaxed; clothing covered less of the body and became more sheer until women, too, were shown nude. Still, a hand was often placed in front of the pelvis as a gesture of modesty.  e knees-together contrapposto enhances the hourglass look of broader hips and gives the gesture a flamelike or serpentine appearance. ese ideals were imitated during the Renaissance and remained much the same for centuries. I’ve chosen to break this stereotype in many of my drawings, as seen in the pastel sketches on page 16. It’s interesting to me how this stance can instantly imbue a sense of power in the figure.

Observe, Practice, Repeat  To better understand contrapposto, observe it in daily life. Become aware of the way you and people around you stand. Watch them shift and balance their weight as they walk. Notice different ways artists before you have used and interpreted contrapposto. Best of all, draw contrapposto stances— from life, from imagination and from the masters. ■ STEPHEN CEFALO is a frequent contribu-

tor to The Artist’s Magazine. Visit his website at stephencefalo.com. SEPTEMBER 2017

21

ASK THE EXPERTS By Michael Chesley Johnson

When the Lights Are Low No Daylight? No problem with these nocturne-al tips! LEFT: The Houses of Parliament, Sunset

(1903; oil on canvas, 7 32x36 ⁄  16) is one of Claude Monet’s paintings in a series showing the same view of London’s Houses of Parliament at different times of day and under different atmospheric conditions. His vantage point for all of the paintings was a terrace of St. Thomas’ Hospital, across the Thames. CHESTER DALE COLLECTION; COURTESY NATIONAL GALLERY OF ART, WASHINGTON

I want to paint nocturnes en plein air. How would you recommend I light my surface and palette? Lighting is all-important when it comes to painting a plein air nocturne (night scene). Basically, you want enough light to paint by, but not so much that it affects your vision. Shine too much light on your surface and palette, and your eyes will take too long to adjust when looking back at your subject; shine too little light, and you won’t be able to see and mix color accurately. Getting a single portable lamp to illuminate both surface and palette is diffi cult. wo lamps are better. Conveniently, the Mighty Bright Duet2 LED Music Light has two lamps, each on a flexible gooseneck that lets you put the 22  artistsmagazine.com

light where you  want it. One lamp can be aimed at the palette and the other at your painting surface in a way to minimize glare. (Glare is a big problem  when painting in oil at night.) Also, the cool light is perfect for mixing colors. If you want to investigate other options, make sure you consider color temperature, light output, weight, method of attaching the lights and battery life. Cool light is better than wa rm in that it wil l keep you from exaggerating the cool character of nighttime colors. Te lamp should be bright enough to see color but not so bright that it blinds you when looking back at your subject. You can clip a featherweight lamp to your gear without risk of causing stretching, sagging or bending of the item you attach

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ASK THE EXPERTS DEMO

the lamp to. Batteries should last at least a couple of hours. Rechargeable lithium batteries can be heavy but can also give you more time.  A Boruit dual light source zoomable and rechargeable headlamp is another useful light. I find this lamp too bright to paint by—it kills one’s night vision—but it’s great when I want to step back to evaluate my painting and for setting up my gear. If you’re painting in an urban area, you might not need a lamp at all, especially if you paint under a streetlight or near a lit shop window. Beware of colored lights, though; mercury streetlights cast a greenish light, and sodium streetlights have a yellow cast. Either cast will wreak havoc with your color-mixing skills.

1. I set up my gear during

1

NATURAL NIGHT-LIGHTS What about the lighting of my subject? How does natural light change during the course of the night?

 o paint a nocturne en plein air, you need something to light your sub ject. If you’re painting in an urban environment, you’ve got it made. Streetlights and lit shop windows  work well and sometimes can even serve as the subject. Also, the quality of artificial light doesn’t change throughout the night. Painting a nocturne in a natural landscape away from city lights, however, can be challenging. If stars are your only illumination, it’s almost impossible to see your subject. A bright moon, on the other hand, can give you enough light to read by. You can also paint nocturnes at twilight—when there’s still enough light left to see color— but only for a little while. During civil twilight (a period of about 30 minutes from sunset to  when the sun is no more than six degrees below the horizon) there’s enough light to distinguish terrestrial objects, and you can paint a nocturne without needing to illuminate the subject or palette. You can see color, too. Warm colors in the landscape gradually give way to 24  artistsmagazine.com

PAINTING AT NIGHT IN THE WILDERNESS daylight in anticipation of a sunset plein air painting session at a mesa top in central Arizona. Attached to the easel is a Mighty Bright Duet2 LED Music Light with one lamp aimed toward my palette and the other at my painting surface. The Boruit RJ-5000 headlamp (dual light source, zoomable and rechargeable), resting on the shelf to the left of my palette, will be helpful for an occasional overall look at my progress while painting and after the painting session when I pack up my gear and head back to my car. 2. Using my Boruit headlamp

2

to illuminate the setup, I took an in-process shot of my painting as it neared completion. A full moon was just rising. As you can see, I could never paint a plein air nocturne by my headlamp, as it would overwhelm the scene. 3. My finished plein air paint-

3

ing Mesa Top Nocturne (oil on hardboard, 9x12), photographed later under more controlled lighting conditions, shows the dusky twilight colors I viewed on location.

of course. A just-rising full moon their cooler relatives. For example, shines with a yellow-orange light,  what you painted with cadmium red little of which illuminates the earth. might, after a few moments, need to be repainted with alizarin crimson. Once risen, however, it makes the Blues and greens begin to dominate.  world visible again. From its post  Te length of civil twilight overhead on a clear night, it will changes with time of year, latitude shine yellow-green. Tis color influand the amount of light pollution, but ences everything it touches because given reasonably clear atmospheric even the moon doesn’t provide conditions, you can count on about enough illumination to fu lly wake 30 minutes. At the end of this t wiup the retina’s cones (photoreceptive light period, the illumination has cells that perceive color). Lesser  waned enough that there is no useful moons have even less influence. light left for the painter. Clouds, of course, present as  Te full moon alters everything, much of a challenge as they do in the

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What other tips can you give me to make my nocturnal plein air excursions successful? Plan: Scope

out your location in the daylight. Look for things that might be hazards, such as tree roots. Figure out exactly what you plan to paint, and think about how your subject will look at night. (If possible, make a night visit, too.) Make sure you know how to set up and break down your equipment. Avoid the frustration of using untested gear in the dark. Put safety first: Make sure you wear proper foot wear, dress warmly and carry a first aid kit and an extra flashlight with fresh batteries. ry to paint with a buddy, especially if you’re painting in an urban or remote area. Make sure you let someone know where  you’re going. ake a fully charged cell phone. Adjust your palette: Colors tend to get cooler as night deepens, so consider adjusting your palette to include more cool colors than warm ones. Also, the  value range you see will be more extreme; values will be clustered at the dark end of the scale with nothing in the middle and only a few values far over at the light end. Memorize where the colors are on your palette. It’s not always easy to distinguish colors that are close in value and temperature in less-than-optimal light.  one your surface with a neutral, mid-value gray to help make value and color decisions easier. Leave the camera behind (maybe):  Honestly, I think a camera is more trouble than it’s worth. Given the low lighting conditions in the natural landscape, taking reference photos requires special knowledge of exposure times, apertures and ISO settings. If you do go this route, use a tripod, turn off the camera’s flash, use its self-timer and make sure to bracket your shots (take the same picture at three or more exposures). For painting nocturnes, memory is a better camera. Develop your visual memory: If you learn to memorize a scene, what you don’t paint in the field, you can paint in the studio. Focus on observing large shapes,  value and color temperature relationships. Hey, it worked for James McNeill Whistler! ■ MICHAEL CHESLEY JOHNSON is a frequent writer for The Artist’s Magazine and the author of Outdoor Study to Studio: Take Your Plein Air Paintings to the Next Level. His five art instruction videos are available through North Light Shop, and his books are available on Amazon. Michael also teaches workshops throughout the United States. For more information, visit mchesleyjohnson.com.

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30  artistsmagazine.com

JOSEPH RAFFAEL IN THE NOW Three years ago two friends began a conversation that continues today across continents and seas. INTERVIEW BY BETSY DILLARD STROUD

Promise  (watercolor on paper, 18½x17¼) Luminous white sparkles against a blue background containing muted circles of color, and transparent grays emphasize form and shadow. LEFT:

ABOVE: The Promise of a New Day  (watercolor on paper 18½x17¼) The sensuality of the flower in full regalia is expressed in the soft nuance of voluptuous shapes and variegated colors.

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MY JOURNEY WITH JOSEPH RAFFAEL BEGAN 25 OR SO YEARS AGO  when

I first saw, in a book, his painting of a pink rose outside the Matisse Museum. I experienced a sharp intake of breath at its beauty and experienced a strange but intuitive feeling about its significance. Ten, about three years ago, Maureen Bloomfield gave me the opportunity to write my first article about Raffael, “Moving oward the Light.” As a result of that article, he asked me to be one of three writers (David Pagel, Lanie Goodman and me) for his book, whose title is the same as that of the article. My part of the book is a conversation with Raffael about his art. An easy long-distance friendship (Raffael in France and me in Arizona) developed between us. With clarity and breadth, he opened up about his art and life, inspiring me in ways I’d never imagined. Life is a circle of miracles. My wish to know more about Joseph Raffael, which began with that pink rose, has manifested in manifold ways—and the miracles continue to unfold. BETSY DILLARD STROUD 32  artistsmagazine.com

I

n his light-filled studio overlooking the Mediterranean sea in Cap d’Antibes, France, Joseph Raffael is hard at work on his new series of small paintings. ese  watercolors, coined “ jewels” by his cherished friend, Nancy Hoffman, are usually square in shape (about 19x19 inches.) ey possess an almost indescribable luminous, diaphanous quality. ey’re palpable, they breathe and their transparency, accentuated in the smallness of the work, perhaps could get lost in a bigger piece.  As you, the reader, view these paintings, obser ve the magnetic pull that draws  you deep into their essence.

Betsy Dillard Stroud (BDS): Joseph, these small paintings are a dramatic shift from your

large-scale watercolors.  Jospeh Raffael (JR):  With these new, smaller works, I focus on a limited point in front

of me. ere’s a physical relationship to the work being brought to life, which is the opposite of working in a large format. To bring a large piece to fruition, I work on one area at a time within a great expanse, and when that one area is completed, I then move to another area.  With the smaller pieces, the section to be painted is always within the eye’s viewing span. BDS: As you began painting on a larger, already drawn piece, you spied a section that cried out to you, “Paint me as a larger piece!” With that, your scissors came out. You cut out that section, painted it, and voilà—your new series was born. These pieces are like the small korai Greek figures in the

ABOVE LEFT: Dawn Rose  (watercolor

on paper, 17½x19½) A yellow rose in its prime with its bright orange background promises the dawn of a new day.

ABOVE RIGHT: Radiant Heart  (watercolor

on paper, 17½x18¼) Like a mandala, the circular flower within the square is a meditation upon the purity of white, while a “Zen” orange drop is a witness to the other resplendent colors worshiping the rose. SEPTEMBER 2017

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Acropolis Museum. In a book they appear monumental and huge, yet in person, they are astonishingly small, about a foot tall. Like the korai, the power of your paintings originates from your superb craftsmanship, their exquisite beauty and your creative energy. Amazingly, this new series coincides with the severe illness of your wife, Lannis. In the yet-to-be published book, Talking Beauty , David Pagel and you wrote: “Making art is founded in the heart, where love unlimited and abundance abide. Each is a heartbeat.” And Joseph, that heartbeat is visible in each of these small works, s o alive, throbbing with life and color, each telling its own story about what was going on with you in your life. How did Talking Beauty begin?  JR: Nancy

Hoffman suggested that David and I write a few pages on the subject of beauty for an upcoming exhibition of mine at Nancy ’s gallery. During the following year, those pages evolved into a book. David and I have never met, and we’re very d ifferent from each other. He’s young and cheery. He expresses through words and is an art critic for the Los Angeles Times . Our two voices and differences created a lively, unexpected and inevitable tapestry, a jubilant oratorio. It reminds me of Rumi’s quotation: “Out beyond ideas of wrongdoing and right doing there is a field. I’ll meet you there. When the soul lies down in that grass, the world is too full to talk about.” In our back-and-forth, where memory and conscience merged, where those previously untouched parts of our lives and minds (i.e., hearts) surfaced,  we tapped into life, death, love, loss, creativity as inevitable portals to beauty.  Tus, these small paintings, in part, are borne from the Talking Beauty  exploration. It seems that David and I met in Rumi’s field. It’s as if the path to “now”

Heart  (watercolor on paper, 15¼x17¾) Here is the heart of hearts. Beams of light permeate the petals, translucent and laden with dew, and we are drawn into the depths, the very heart of this rose. ABOVE: Golden

RIGHT: Light in Spring  (watercolor on paper, 19x19) The b rilliance of white and the nuance of grays defining form are surrounded by muted circles of color, their neutrality enhancing the contrast between the white cherry blossoms and their background.

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JOSEPH RAFFAEL attended

Cooper Union and earned a bachelor of fine ar ts degree from Yale University, where he studied with Josef Albers. During 1958 and 1959, he traveled in Florence and Rome on a Fulbright scholarship. While in California, he taught at the University of California, Davis; the University of California, Berkeley; and California State University in Sacramento. After the death of his s on, he and his wife, Lannis, moved to Cap d’Antibes, France. In a 1973 article in Time  magazine, Robert Hughes wrote that Raffael’s work pres ents “a tender virtuosity without par allel in other American figurative painting today.” A book on Raffael, Moving Toward the Light , is available through Amazon.com and Nancy Hoffman Gallery (nancyhoffmangallery.com), which represents his work. Visit Raffael’s website at josephraffael.com. 36  artistsmagazine.com

had been swept clean during our search. “Now” also brought with it Lannis’s health scare. She and I went to the edge of life, to the essential, to what matters most. Te unnecessary evaporated like the mist into mysterium, while the little paintings pulsated with new breath. BDS: Your painting Golden Heart  (page  (page 34) mesmerized me. To summarize: Here is the heart of hearts. Beams of golden light permeate the petals, translucent and laden with dew, and we are drawn into the depths, the very heart of this rose. The rose’s symbolism can reflect both le jardin secret  (the  (the secret garden), as well as your feelings about Lannis. The flowers are bold, their voluptuous color is emotional and alive—yet paradoxically, they have an ephemerality, as they are here now, yet they will be gone in a second. These “jewels” exemplify the vibrant color of your larger works, the loose, ambiguous backgrounds, and each seems to depict perhaps a s tage you experienced during Lannis’s illness. Beginning  (at  (at left) displays such an exquisite diaphanous quality, such a poignant fragility, as if the petals would fall off in my hand. I recall the words you wr ote underneath a photograph of a gorgeous sunrise you sent me: “Art helps. Art heals. We are all here to help each other.” other.”  JR: Te

idea of a new day beginning interests me more and more. Each moment counts. Tere is limited time left to paint and live and love and communicate.  Tese new small smal l paintings painti ngs address themselves t hemselves to that. Tey are like l ike new days. Tey burst forth with an energy and a startling presence which stuns me—new and never before seen documents of one person’s being, one’s soul. Te expressions of the artist’s soul can aid others to remember remember their truest tr uest selves. Artists, comp composers osers and writers all a ll speak to one’s one’s heart. BDS: In these small paintings, we witness the genius and mystery of your color, the luminous light that opens our hearts, and your uncanny ability to captivate us visually, emotionally emotionally and spiritually. Art, like the dawn, calls out to us—reminding us who we are and who we are meant to be. Your “jubilant visual oratorio” is a bridge to bring us into the “now.”

■

BETSY DILLARD STROUD is an artist and author. Her most recent book, Watercolor Masters and Legends  (North Light Press), is available in book and art stores and at nor thlightshop thlightshop.com. .com.

 (watercolor on paper, 17½x185 ⁄ 8) A voluptuary composed of light pinks and Beginning  (watercolor oranges, deep crimson, luminous whites and grays fills the picture plane with its lovely gradations, while its deep red secrets and its brilliant light pull the viewer into the painting. LEFT:

 (watercolor on paper, 19x19) The yellow rose in its prime is a complex A Rose for Vincent  (watercolor configuration of petals accentuated by the contrast with the lovely, wet amorphous shapes on its cobalt blue borders and anchored by a rich, deep-green petal.

TOP LEFT:

 (watercolor on paper, 18¾x19) A vertical orange-yellow rose, before full Lannis Rose  (watercolor bloom, stands stalwart in a neutral abstract background of gray, light greens and white.

TOP RIGHT:

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38  artistsmagazine.com

CONSCIOUSLY EXPANDING HIS VISION,

EMIL ROBINSON L AUNCHED FORTH FROM THE FAMILIAR WATERS OF REPRESENTATION TO EXPLORE THE DEPTHS OF ABSTRACTION ABSTRACT ION..

By John A. Parks

GOING ABSTRACT GROWING AS AN ARTIST IS NEVER EASY. MAKING RADICAL CHANGES in one’s work work not only involves venturing ventur ing into the unk nown and risking failure, but it can also alienate followers and collectors who have become fans of earlier work. For many a creative spirit, however, the need to change is paramount. In fact, there’s no real choice, and the joy and excitement of exploring new territory far outweigh the risks. So it is with Emil Robinson, an artist who relinquished early success as a realist painter for an adventure that has brought him through more intuitive representational painting to reach his current abstract work.

ABOVE: Ecstatic

Space 4 , from the Abstractions series (2017; oil on wood panel, 40x30) OPPOSITE: Yellow Striped Interior , from the Spaces  series (201 (2016; 6; oil on linen, 72x50)

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MATERIALS SURFACES: wood

panels made by Robinson or a local artisan; Claessens oil-primed, mediumtooth linen, which Robinson stretches after the painting is complete OILS: Williamsburg,

Old Holland, Gamblin, Winsor & Newton MEDIUM: Winsor &

Newton Liquin BRUSHES: multiple manufactures: “I buy brushes to meet a particular need, and I always feel the bristles.” –ER

LEFT: View 2 ,

from the Doorways  series  series (2016; (201 6; oil on wood panel, 30x22) RIGHT TOP: View 1,

from the Doorways  series (201 (2016; 6; oil on wood panel, 30x22) RIGHT BOTTOM:

View 3 ,

from the Doorways  series  series (2016; (201 6; oil on wood panel, 30x22)

“THE CHANGE IN MY WORK HAS BEEN CONSTANT AND

His Doorway  series  series presents compositions of bare rectangles in brilliant flat color, a rigorous enterprise that is about as far from realism as it is possible to be (see images above and opposite). “I’ve sacrificed a lot of easy pleasure,” says the artist, “but I’ve built something rich and engaged. My career as a realist painter  was going going well when I decided decided to change my my  work. Te need need came from a frank look look at at the trajectory of painting and the goal of inventing a visual language from the ground up.”

Exploring Interior Spaces In looking hard at his own work, Robinson realized the importance of a recurring theme. 40  artistsmagazine.com

“My work has always been about the interior,” he says, “whether it is literally depicting the interior or simply operating within a contemplative space. With this as a guiding principle, my ambitions slowly transitioned away from a literal depiction of things as we already know them to be.” Robinson stresses that he doesn’t think realist painting is finished or outmoded. “I  just couldn’t find a way to make it relevant for me the longer I continued making art,” he says. “Te change in my work has been constant and tumultuous for five years or so. My current paintings have arrived at a place where I feel as if I have built my own

TUMULTUOUS FOR FIVE YEARS OR SO. MY CURRENT PAINTINGS HAVE ARRIVED AT A PLACE WHERE I FEEL AS IF I HAVE BUILT MY OWN WAY OF WORKING.” Emil Robinson

 way of working. It’s something that I have thought very carefully about. I hope that if  viewers look thoughtfully at the work, they  will find that it will open for them.”

Frames Within Frames  Te genesis of Robinson’s recent paintings follows an almost dictionary definition of the process of abstraction, the freeing of ideas from their representational support or, to put it more exactly, the distancing of ideas from their objective referents. His Doorway  series, for instance, began with paintings of door ways done from observation back in 2011. “In these paintings I realized that the light and air within the doorway were more physically present as a painted experience than the door way itself,” he says. “Te paintings became  very simple then—the frame of the door reasserting the frame of the painting’s rectangle.  Tis was also the first time I realized that the rectangle of the painting itself is a powerful first move in a composition.”  As he worked, Robinson also made a connection between this idea of a drama contained within a frame and a broader attitude toward life that he has retained from childhood. “It is similar to how I was reared in a midwestern Catholic household,” he explains. “Powerful emotions were suspect, so they were always constricted by structure. Tis is healthy in some ways, and it is now part of the metaphor and meaning in my work—psychological dynamics held  within a structure.” As part of this newfound interest in the frame of the canvas as a container, Robinson experimented with shallow wooden additions to the edges, further boxing in the experience for the viewer.

Experiments in Color Having abstracted his doorway to a geometric motif, Robinson could now concentrate on the color and paint-handling choices. His palette has greatly expanded  with his journey to abstraction, and he now deploys saturated hues juxtaposed with highkeyed tints and, occasionally, pure white. He points out that the genesis of this development began with his early experience as a realist artist. “I have always been informed by painting light from observation,” he says. “As I learned more about color and grew more confident, I began to see more color surprises in nature. In the Doorway  paintings, because of the incredible SEPTEMBER 2017

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ABOVE: Water in the Temple  from the Spaces  series (2016; oil on wood panel, 30x40)

“AS I LEARNED MORE ABOUT COLOR AND GREW MORE CONFIDENT, I BEGAN TO SEE MORE COLOR SURPRISES IN NATURE.” Emil Robinson

42  artistsmagazine.com

concentration and trust it took to find exciting color within something that was generally undynamic, I became much more comfortable  with the idea that color is always invented.  Ten I set out to find color that matched the intensity of my joy and fear when confronting the events and scenes of my life.” In practice, Robinson finds that organizing the color for these paintings requires some trial and error. “I work many different ways,” he says, “but I have been doing sketches in gouache to find the most powerful color solutions. I try not to make color combinations that are too easily digested. I am not trying to make bland, pleasant paintings. In the current Doorway  paintings, the colors are meant to be beautiful, but also arresting.  Tis visual effect doesn’t come from science; it comes from faith in surprise and a desire to experiment. Tis means that the finished oil paintings are painted and repainted multiple times until I can feel the color gain personality.” By “personality,” the artist means a strong identity or feeling, a sense that will be generated by the work for the viewer.

Rigorous Choice-Making Making multiple changes to color choices on the painting means that Robinson has to address the technical problem of layering and how that affects the creation of edges.  Although the paint is brushed in a lively fashion, he has opted for carefully, but not clinically, painted edges. Te effect is to assert the unassumingly handmade nature of the work. Robinson’s formal experiments in his recent work have also extended to scale, with the artist choosing to paint in different sizes  with each new series. “I have tried to become rigorous about every aspect of my paintings,” he says. “Tis rigor takes the form of choices about materials, scale and process. Te scale is determined by the needs of my current projects. I will have an idea for a painting, decide on a scale by drawing rectangles and then build multiple supports at that scale so that it becomes part of my language. Ten other paintings will feel inevitable, given the constant of scale.”

ABSRACTING INTERIORS By Emil Robinson  TOP LEFT: Doorway Number Nine  (2011; oil on wood panel, 20x17) MIDDLE LEFT:

Winter Morning Four  (2014; acrylic on paper, 14x11) BOTTOM LEFT:

Bright Space , from the Spaces  series (2016; oil on wood panel, 40x30) LEFT:  Ecstatic

Space , from the Abstractions   series (2017; oil on wood panel, 40x30)

I painted these four works over a six-year period. All of them show a shallow interior space, and the frame of a doorway is consistent throughout. The paintings, however, became more abstracted as the years passed, the interiors depicted becoming more those of the psyche as opposed to interiors in physical space. First came Doorway Number Nine  (top left), which I spent a couple of

weeks painting in 2011. I used naturalistic color, and the title refers to a specific place, an open doorway as seen from my studio, where I created the painting. I painted Winter Morning Four  (middle left) in 2014. It’s the work of a couple of hours in my apartment. The color is interpretive, and the title refers to a season that held a particular feeling and light. In 2016 I painted Bright Space (bottom left) from my imagination after

returning from a summer trip to Italy. The space references the chapels of Italian duomos (cathedrals), and the effects on the walls indicate psychological and emotional (spiritual) forces contained in those spaces. The title refers to something coming from within. This year I painted Ecstatic Space  (above right), giving full rein to the dynamic power of abstraction. The title refers to an energy that’s powerful and tumultuous.

Robinson’s Advice for Beginning Artists

Spend at least three hours a week researching other artists, visiting galleries and shows, and reading critical writing about contemporary art. Build a network, reach out to artists who are further along and visit their studios. Interview gallerists to learn how they operate. Become successful by outworking everyone else! Treat art-making like a job so that even when you feel less than excited, you have things you can do. Believe that there is nothing that can stop you. SEPTEMBER 2017

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Semi-Abstract Spaces  While working on his Doorway  series, Robinson has been concurrently painting a series entitled Spaces , consisting of abstracted interiors in which he often establishes surfaces  with sets of parallel colored lines that create shallow perspectival spaces (see Yellow Striped  Interior , page 38, and Water in the Temple , page 42). “Te idea of the parallel lines came from Italian churches,” says the artist. “My wife and I take a student group to Italy during summers to paint with the University of Cincinnati  Artist Immersion Program, and I became interested in the many churches where stripes of different colors of stone are used.” Robinson notes that the work shares some features  with Op Art, when the work seems to create palpable spaces close to the canvas surface. More literal than his Doorway  series, the Spaces  paintings incorporate recognizable features of interiors such as windows,

BELOW: Ecstatic Space 3 , from the Abstractions  series (2017; oil on wood panel, 40x30) OPPOSITE: Ecstatic Space 2 , from the Abstractions  series (2017; oil on wood panel, 40x30)

“... OF ARTISTS LIVING IN THE LAST 100 YEARS, MATISSE STANDS OUT AS MOST INFLUENTIAL FOR ME ... .” Emil Robinson

 views, doors and a hint of human presence in the form of pictures on the walls. Tese last are painted hazily and exist as more or less ghostly presences in a semi-abstract space. “Images in these paintings are treated less like an illusion and more like a document,” says the artist. “Most of them are painted from photographs so I want to try and make sure they appear as they are–reminders of something or small pieces of history.”  Te overall effect is curious and mysterious, as though the process of abstraction had failed to quite absorb all evidence of the rich patina of life. It seems that the artist felt some need to hang on to some of life’s  warmth, the comfort of bric-a-brac and mementos against the unrelenting geometry of his new pictorial space.

Energized Shapes In his most recent series, entitled Abstractions , Robinson has solved this problem in a spectacular way. Te doorway motif has been reduced to a contained rectangle set atop a smaller colored rectangle (see images on page 39, left and opposite). In the larger space the artist paints a highly active formation of amorphous shapes in brilliant color, a kind of wild biology that seems to have its beginnings in a sense of landscape but sometimes seems to be gyrating in space. Tese compositions fully realize the artist’s stated ambition to make paintings about the containment of forces and energies. Given the abstracted natural forms, freely flowing line and brilliant color in Robinson’s  Abstractions  series, it’s hardly a surprise to learn that Robinson is a fan of Matisse. “I think that of artists living in the last 100 years, Matisse stands out as most influential for me as a painter,” he says. “Te intellectual rigor and harmony he brought to his paintings are a clear continuation of a long tradition of excellence in painting stretching back in time.” Robinson’s other painting heroes include the early Renaissance masters Giotto, Masaccio, Piero Della Francesca and Fra  Angelico, to whom Robinson perhaps owes his sense of clarity and his use of the classical interval. “I like artists who are sincere, ambitious and poetic,” says Robinson who also names contemporary artists Dana Schutz and Kerry James Marshall as influences.

Growth and Enrichment for All Given the immense ground that Robinson has covered in the last few years, it seems 44  artistsmagazine.com

EMIL ROBINSON

likely that his work will continue to develop. Of his near-term ambitions he says, “I want to find a way to add the figure back into the  world of these paintings.” For now he has succeeded in refining his focus and defining the nature of his interests in painting.  As for his work’s effect on viewers, he offers this: “I hope they approach my paintings with the kind of open mind and intelligence they might approach a person they

have never met but want to. I want them to feel excited by the color and energy, and I want them to wonder about what the  work might mean. I hope that the meaning changes and grows more rich the longer they look or live with the work.” ■

grew up in a family so full of artists that, initially, he didn’t want to become one because artmaking seemed so ordinary. “I received training from a very early age in how to see the world as full of mystery and wonder,” he says. Encouraged to draw constantly, Robinson eventually went to art school at Centre College, in Danville, Ky., where he studied under Sheldon Tapley, whose work has been featured in The Artist’s Magazine . In 2009, Robinson became one of the top award-winners in the Smithsonian National Portrait Gallery Outwin Boochever Portrait Competition. He teaches art at the University of Cincinnati, and his work has been shown most recently at Anna Zorina Gallery, in New York City, and Waterhouse & Dodd, in London. Visit Robinson’s website at

JOHN A. PARKS is

an ar tist as well as a writer. His latest book is Universal Principles of Art: 100 Key Concepts for Understanding, Analyzing and Practicing Art. Visit his website at johnaparks.com.

emilrobinson.com.

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GIVING VOICE TO THE SOUL Margaret Bowland’s stirring work fuses past with present and confronts life’s unpleasant truths. BY LOUISE B. HAFESH

“I have been criticized for making ‘uncomfortable’ paintings,” says Margaret Bowland, whose narrative portraits are riveting dramas played out on canvas. “In my opinion, if a work of art does not stop you in your tracks, make you question, make you feel, then it is mere decoration, not art,” continues the reluctant but selfconfessed contrarian. “I have sought all of my life to be in a community, to feel like others feel, think like they think,” she says, “but as a line in Saul Bellow’s  Augie  March states, ‘Te soul wants what the soul wants.’” Having learned to trust and tap into what her soul demands, Bowland infuses her work with uncompromisingly honest and perspicacious imagery that cuts to the core. “I am drawn to the tangle that is life—the grace found when we struggle and yet triumph,” she says. “I place my beloved characters in a world I create that reveals the particular conditions of his or her life and then watch while the very truth of each of those characters rises to meet me or anyone else who cares to look.”

RIGHT: In

Power, 2014  (oil on linen, 82x74), an African-American girl wears an 18th-century

dress and white make-up, as did all high society women of the time. Through this and various more subtle details, the piece examines what power has meant to individuals through history. 46  artistsmagazine.com

48  artistsmagazine.com

Learning the Hard Way  Te artist and fine arts professor at New York Academy of Art left college during her junior year, disillusioned by dogma from instructors she describes as “all Abstract-Expressionist men from Chicago”; nevertheless, she has painted all her life—as a child in school and on her own for solace. A  wunderkind, her first paid job, at age 13, was creating scenes on cloth to be installed in the l ids of funeral caskets. “My bestseller was a landscape depicting the River Jordan,” she recalls with some amusement. From there she would go on to be chosen for the Governor’s School of North Carolina (an honorary high school summer program) and then, at age 17, turn up at the University of North Carolina (in Chapel Hill—a mere 30 miles from her hometown) like, as she puts it, “a kid today arriving in New York City from Iowa. Everything was dazzling, sophisticated and terrifying. Here, I believed,

I would find the answers to so many of my questions and be taught to paint like the great artists I had seen in books. But of course, I was walking into college in the early ‘70s, and none of what I wished to learn was offered in art departments of that time.” Expressly instructed against painting the figure, Bowland vividly remembers attending her first life drawing class, viewing a nude model posed on a stand and being told by the teacher to “draw the fourth dimension.” “I wanted to draw the model,” she declares with passion, but notes it soon became clear that skills were not being taught. “Realize that at the time, Frank Stella was king,” says Bowland, “and the largest conversation  was whether to let the lines you made on the canvas bleed or not; whether to leave the masking tape you were using to create those lines breathe a bit at their edges or fix them hard and fast  with acrylic medium.” Bowland was disenchanted, to say the least. “Most

artists of my age have the same story,” she says. “Many thrived. I fled.” Fleeing meant moving in with friends, waitressing, and teaching herself to paint from books and endless museum visits. “Before 9/11, no one checked your backpack upon entering a museum,” says Bowland. “I would paint some horrible image and then take out my painting in the museum and try to understand how I  was failing (and I was always failing). My husband saved me; he married and supported me while I learned to paint.” Eventually the couple moved to Brooklyn, N.Y., where Bowland took on portrait commissions. “Most were pretty horrible;” she says, “however, I  was learning, and rather than paying models, they were paying me. But that was not what my soul wanted, and by then my soul was screaming!”

Unexpected Breakthrough Heeding that visceral call, Bowland began painting to please herself. “I knew, even as I made the paintings, that they would not be desired by any New York gallery,” she says. “Many dealers had already rejected my work as being too academic.” Tat soon changed, however, when Bowland placed a small ad in an art magazine. “I did it with the same expectations one has when hurling a bottle holding a note into the sea,” she says, “but then I received a phone call from om Styron, director of the Greenville County Museum of Art, S.C.” Styron not only gave her a solo show in the museum, but he brought the owner of Driscoll Babcock Galleries to her studio, and before day’s end, she

In Babes in the Woods, 2013  (oil on linen, 84x76), two 4-year-old girls look trustingly toward the viewer, unaware of what comes next as “trees” of falling paint encroach upon them. LEFT:

OPPOSITE: Young girls often embrace the Disney promise that a prince will someday appear and remove all unpleasant realities from their lives, but in Someday My Prince Will Come, 2010  (oil on linen, 78x6 4¼) two girls stand below a painting by Kehinde Wiley of two felled men. SEPTEMBER 2017

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posted to the right of the piece in had a gallery to boot. “It was the happiest day of my life,” says Bowland, order to have any reaction to the art, the piece has failed. Period. Visual  who has come a long way from that language is not Latin.” serendipitous happening. With more No such explanations needed for than 11 solo exhibitions to her credit Bowland’s work. Te artist who works and major recognition, today the selftaught artist teaches figure painting to  with a cadre of carefully chosen modmaster’s students at one of the country’s els, whom she says all possess a sense most prestigious art academies. of grace, self-containment and peace, “I love teaching,” she points out. admits, “I’ve never made a piece that “I have fought long and hard to acquire  was as beautiful as the subject before the skills I have learned, and it is healme.” Intrigued, however, with the ing to be able to give this information concept of damaged beauty, she also to my students, knowing they will says, “I make paintings in which not have to endure what I did. I have something is going wrong. Something thrown paintings through screen doors beautiful is threatened, and the viewer, in frustration. I tell my students that it is hoped, wishes to come to the res visual language is a complete one, like cue. My actors are placed in strange, French or English. One must simply intolerant worlds, and yet they survive. be capable of its knowledge. If the  Tey look back at you with a steady  viewer must approach the written type gaze, intact, in a state of grace.” 50  artistsmagazine.com

Tangled Up in Blue, 2015  (oil on linen, 70x98) is a tribute to Bowland’s friend who, though divorced, was motivated by memories of his fatherless childhood to be a good father to his son. The title comes from a Bob Dylan song about time travel.

ABOVE:

Optical Colors in Oils  o convey such intense and intricate themes that often allude to uncomfortable truths about money, power, gender, race and beauty, Bowland  works in large scale, for the most part in oils, but sometimes in pastels over an acrylic or watercolor toning layer (see Twelve, 2013, page 52). For oils she uses only the finest linen as a surface, staples it to stretcher bars and sizes it  with rabbit-sk in glue. Te canvas must lie flat to dry overnight.

demo

VISUAL LANGUAGE IN OILS By Margaret Bowland 

OIL MATERIALS SURFACE: linen sized

with rabbit-skin glue and primed with Robert Doak primer OILS: Williamsburg SOLVENT: Weber

Turpenoid MEDIUM:  equal parts

stand oil, copal varnish and Brazilian turpentine. BRUSHES:  Richardson

synthetic

1

2

carries the image of Andrew Jackson. In my opinion, he was a barbaric President; I have Cherokee ancestry, and he was responsible for the deaths of thousands of Native Americans. 2. THEMATIC DEVELOPMENT:

3

1. LAYING THE NARRATIVE GROUND WORK:  Two days into creation, I’ve begun a block-in over the streaky gray ground that I often use. I choose pale versions of what I want for the final colors. I know the entire left

side of the painting will be cooler and darker to underscore flames I intend to add to the right side. The subject will wear a wreath made of paper money. On her left I’ve begun painting a $20 bill, which

The block-in is complete. The left side of the wreath is filled with $20 bills, but as the crown arches over the head, the paper roses on the right become $100 bills (Benjamin Franklin), $5 bills (Abraham Lincoln) and a single $1 bill (George Washington). These denominations are on fire. As I painted, I realized that I could add earrings and a necklace to complete the arc of the wreath. I decided the jewelry should be overthe-top diamonds so the painting would read in both directions: A beautiful young woman, covered in makeup, is clutching her wealth while the ideals of her country go up in smoke, simultaneously threatening her life. I devised ways to address the depiction of the money

and jewels: I placed various sizes of photocopies of the bills on the painting to make scale decisions, and then laboriously copied the bills with carbon paper. I painted the bills lighter in areas that I anticipated would appear to be lit by the fire. I also created a pipe-cleaner and paper-towel model of a hand and taped the earrings at angles on a mannequin so I could see how reflections on the jewelry changed with the lighting. 3. SCUMBLES, GLAZES AND ADJUSTMENTS:  I

realized that the structure of the head wasn’t as it should be so I corrected it. Then I went over the entire painting with many scumbles and glazes to soften the transitions between forms and emphasize the spatial relationships. Finally, to complete the picture of how I felt about the nation at the time, I added three fighter jets flying through the flames of burning money. ABOVE LEFT: 2020  (oil

on linen,

78x60) SEPTEMBER 2017

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She then lightly sands it and applies Robert Doak oil primer.  After toning her surface with a thin, streaky layer of transparent sepia diluted with Weber Turpenoid, Bowland uses thin raw umber to draw directly on the surface, blocking in shadow areas first. “It’s important that these areas be thin and feel different from the opacities,” she says. “For the lighter areas, I encourage students to lay in with either yellow ochre or Naples yellow, or white lead, depending on the model’s complexion. Like the relief 52  artistsmagazine.com

on a dime, the white lead or lightest light should be thickest where the form appears closest in space to the  viewer, then pulled out to its thinnest as the paint approaches the ground.” Bowland explains that through this preparation, one can achieve optical colors (various shades of a color that occur as the paint reacts to the thickness of the white or lights in layers below). “With one swipe of a single color,” she says, “you can achieve 20 perceived colors, a mystery not achieved with directly applied color.”

“Think Like a Martian”

 As for achieving an exact hue, Bowland suggests thinking in terms of hot or cold color temperatures. “If a model is before you in natural north light, the lights are going to appear cool and the shadows warm. e  viewer can tr ust that when he feels an area moving toward warmth, he’s heading into a shadow. In artificial light, the opposite occurs. is subliminal trust allows you to take the  viewer where you wish to go.” Bowland goes on to explain how she helps students understand that

   W    O    L    R    A    B    A    S    I    L    Y    B    O    T    O    H    P

An early achiever, MARGARET BOWLAND, began selling her art while in junior high and is an alumna of the Governor’s School of North Carolina, a summer residential program for intellectually gifted high school students. She began fine art studies at the University of North Carolina (Chapel Hill), but is mostly self-taught. In 2010, Bowland was a finalist and People’s Choice Award winner in the Smithsonian National Portrait Gallery Outwin Boochevar Portrait Competition. Her work appears regularly in solo and group exhibitions across the United States, and has also been exhibited in Germany and Denmark. In addition to her studio work, Bowland teaches painting at New York Academy of Art (New York City).

Visit Bowland’s website at margaretbowland.com.

there’s no such thing as “flesh color” by the way I open my soul to the outside placing a dark-complexioned person in  world and find where the chips fall,” full light while a lighter-complexioned she says. “I wish that it made people person stands in shadow, and then think I was just a lovely human asking students to identify the “light- being—measured, wise, untroubled— but my soul doesn’t care about how est moments.” “You must think like I’m perceived in society. It only a Martian,” she says. “You must see anew without preconceived notions of knows what it is and demands that it  what color a person is to you.” be given a life, a voice.” ■ Of a mind that there’s also LOUISE B. HAFESH is an award-winning no empirical reality outside of the artist and w riter, and a frequent contributor magic created within one’s painting, to The Artist’s Magazine . See examples Bowland describes herself, as driven of her work at louisebhafesh.com and from within to make images she paintersportal.blogspot.com. needs to see made real. ”My work is

“Nakedness Has No Color” and Knows No Border, 2015  (oil on linen, ABOVE:

82x70) derives it’s name in part from a quote in James Baldwin’s book No Name in the Street . The model, an albino AfricanAmerican, has expressed difficulty finding a place in either the “white world” or the “black world.” OPPOSITE: White

make-up has been used for centuries by cultures ranging from Queen Elizabeth I’s 16th-century England to the Japan of geisha girls. Twelve, 2013  (acrylic and pastel on paper, 56x46) examines women’s efforts to present or remake themselves according to cultural expectations.

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53

IN HIS STUDENT DAYS, ROGER DE MUTH TOLD ILLUSTRATOR AND FINE ARTIST BOB CONGE, WITH WHOM DE MUTH HELD AN INTERNSHIP, THAT HE WOULD “WORK FOR FREE” JUST TO MAKE ART. “In hindsight,” says De Muth, “I’m not sure telling anyone you’ll work for free makes good business sense.” In fact, De Muth did receive payment for his internship. He’s also savvy about marketing his creations—which is a good thing because, with De Muth, it’s hard to tell where play ends and work begins. 54  artistsmagazine.com

He’s the person who keeps a store of sketchbooks so there’s always one ready to grab, who shoots reference photos daily, who built most of his studio furniture and cabinetry, who crafts his own travel paint kits. He creates whimsical ceramic sculptures, mixing trays and brushholders.

Hand-bound sketchbooks may bring his leather and metal embossing skills into play. His antique Albion press, imported from England, allows him to create prints from the woodblocks he’s carved. Ten there are his gardens,  which he seldom sits still to enjoy because the joy is in the gardening

There’s never an uncreative moment for Roger De Muth, whose ink and watercolor paintings capture architectural treasures near and far. BY HOLLY DAVIS

itself—or perhaps in sketching the “I have a room upstairs that my garden—or photographing it. He  wife and I call the ‘archive room’ keeps separate websites for several of that’s packed to the gills with paintthese interests—watercolors, ceramics, ings, prints, sketchbooks and ceramic sculptures,” says De Muth. “It’s frightgardening. Ten there are the selfening to me that one person could published books showcasing his various creative interests. Now retired (but possibly produce so much artwork. I not idle), he enjoyed a 46-year career always put a new blank sheet of paper in commercial illustrating and, for 36 on the drawing table as soon as I finof those years, taught illustration at ish a piece so I don’t waste any time Syracuse University (N.Y.). getting to work on the new painting.

Buci News, Paris  (ink and watercolor on p aper, 11x15) depicts a small newspaper shop on the Left Bank in Paris. “I wish more stores still looked like this,” says De Muth. ABOVE LEFT:

ABOVE RIGHT: The house in At the Top of the Hill, Oporto, Portugal  (ink and watercolor on p aper, 14x18) is one of several venerable domiciles at the top of a steep hill overlooking the Duoro River.

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Well-Traveled Paint Box: De Muth’s favorite paint box has accompanied him on several vacations, as the list on the inside cover shows. A hole in the cover fits over the bottle of ink in the upper right corner, so he can ink pictures clipped to the closed top. The silver box, which fits into the right side of the paint box, originally held Gillette razors but now holds his pans of watercolor.

ABOVE:

Have Watercolor, Will Travel says De Muth. “It actually changed filled during vacations; hence, the Let’s focus on one area of De Muth’s my life. I went to an old section of travel themes. creative output—his ink and waterRochester, N.Y., and came back with He owns several traveling paintboxes, but his favorite has a hole in color paintings, whether created en a couple of nice paintings.” Other the upper right corner of the lid that plein air or in the studio. A motto influences include Winslow Homer allows the neck of his ink bottle to displayed in his studio and often used for his watercolors of faraway places poke through when the box is closed as a tag line says “Have Watercolors, (e.g. England, Cuba, the Bahamas), Fabrice Moireau for his architectural (see Well-raveled Paint Box, above).  Will ravel,” and his travel sketch watercolors, and James Gurney for his He can work on the flat top of the books and studio paintings often plein air works. box, painting or even drawing in ink, depict landmark buildings or eye As an illustrator working against since the ink bottle is held secure catching storefronts, rendered in  watercolor (or, recently, water-soluble tight deadlines, De Muth had found  within the box with only the top of oils) and ink. “I discovered my love speed of the essence, a principle that the bottle exposed. He inks with a of architecture when Jim Tomas at meshes with sketchbook work—but dip pen (which can use waterproof Rochester Institute of echnology finding time to sketch can be a ink without clogging), and maintains gave an assignment to ‘hop on a bus, problem in itself. For this reason, a casual attitude toward his fieldwork: get off anywhere and do a painting,’” De Muth’s sketchbooks are often “If the ink blobs or something, it’s fine,” says De Muth. “It’s just a sketch.”  When sketching on location, De Muth usually works in pencil and ink, then adds watercolors in his studio or hotel room. “You need a little wider space to work on with watercolors,” says De Muth, “so, if I’m on vacation, I usually get a room that has a desk.”  Although he takes color notes on site, he doesn’t worry about exact hues when painting and often works from memory. De Muth is perfectly comfortable setting up on a sidewalk or pulling out

De Muth has visited Key West several times—always with sketchbooks. “Key West has a great collection of seedy old homes, touristy areas and biker bars,” says De Muth. “Great inspiration for artists.” LEFT:

56  artistsmagazine.com

his paint box on a pier. He sketches in airports during layovers or while en route on planes or trains—either drawing the scene or people around him or working from photos. “Te  worst thing for me would be to be somewhere without a pen and paper,” says De Muth. “I’d be bored, and I  wouldn’t know what to do with myself.”

Marketing en Plein Air Love of art-making and distaste for idleness—these are De Muth’s primary motivators. Tat said, he’s not one to let a good marketing moment slip by—nor, it seems, has he ever met a stranger. He describes a plein air painting session in the industrial section of Utica, N.Y.: “People would stop their cars because I was on the side of the road. I’d turn the canvas around so they could see it. Everybody  who stopped, I gave a business card to, and we’d chat for a minute or two, and then they’d take off.”  After vacationing in Key West, De Muth spent several hours in an airport, waiting to board. Tere was a plein air festival in the city at that  When you’re sketching on an airplane time, and a fellow passenger thought or something, and people want to see De Muth was paid by the city to  what you’re doing, it’s kind of fun for paint in the airport. Not so, but the them to see one of the finished pieces two got a laugh out of it and De next to the preliminary sketch that Muth was happy to show a bit of his I’m working on. Tey always get a  work and pose for a picture. business card, but they enjoy seeing “I usually put a finished painting the original art and the process, too.” in my paint box,” says De Muth. TEXT CONTINUED ON PAGE 60

TOP: The man in Rury’s Food Store Cherry Valley NY  (ink and watercolor on paper, 9x20) is Frank Rury, son of the original proprietor of one of the few remaining mom-and-pop grocery stores. ABOVE: The

China Town store depicted in Mott Street General Store NYC (ink and watercolor on paper,18x19) closed, after 102 years of family-run business, due to the cat aclysm of 9/11. SEPTEMBER 2017

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demo

LAYERING WATERCOLOR OVER INK  By Roger De Muth 

1

2

3

4

1. PENCIL DRAWING AND

Alwyn Court is a 12-story apartment building in Midtown Manhattan, built between 1907 and 1909 in the French Renaissance style. Since 1984, it has also housed the Petrossian, a restaurant whose name appears over the front door and on the awnings. After sorting through numerous photos I’d taken of the building, I decided to paint the ornate façade of the first two floors as viewed from a position to the right of the front door. From this angle, only the protruding edge of the arch over the door is visible on the left side of the building. 58  artistsmagazine.com

INKING: I

drew the line work in pencil, then began inking over the pencil lines. To keep my hand from resting on the surface as I work, I use a mahl stick or a piece of paper. 2. FINISHED INKING WITH STIPPLING: I continued inking until all the line work was completed. Notice that the inking has more detail than the pencil sketch. Even so, the ornamentation isn’t fully rendered. I had to decide what to include and what to

leave out. Note also the light stippling of ink, which gives an illusion of texture on the surfaces of the buildings and sidewalk. 3. FIRST WASH:  After

the inking, I began the first wash in watercolor, starting with the lightest values. This wash is just a thin toning layer. The second wash is also subtle. Perhaps most visible is the extra toning in areas around the windows and ornamentation panels on the right

4. ADDITIONAL TONING:

side on the building. I also added some watercolor spattering.

MATERIALS Arches 300-lb. hot-pressed watercolor paper SURFACE:

5. SHADOWS: With

the third wash I completed the windows and background, adding the strong shadows.

DRAWING MATERIALS:

graphite pencil, Higgins Black Magic ink and dip pen with Esterbrook 757 School Medium Oval nib

6. GLAZING AND

With the addition of very thin blue and white glazing and spattering, I completed Alwyn Court Building. SPATTERING:

primarily Winsor & Newton with a few Holbein colors WATERCOLOR:

Winsor & Newton Series 7 kolinsky sable rounds and a few Grumbacher sable rounds BRUSHES:

5

6

Court Building  (Ink and watercolor on paper, 16x18)

ABOVE: Alwyn

SEPTEMBER 2017

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TEXT CONTINUED FROM PAGE 57

Ink and Watercolor in the Studio

Since his college days, De Muth’s media of choice have been ink and  watercolor—the ink providing the linear structure and detail, and the watercolor adding not just color, but the lights and darks that convey form and depth. He points out that many illustrators also appreciate the quick-drying quality of this media combination.  Tis isn’t to say that every inkand-watercolor piece is a dash-to-thefinish creation. De Muth always has several projects going at once, and although most works progress quickly, De Muth is also willing to spend months perfecting the composition of

a drawing before adding watercolor. Studio work generally begins with photographs because De Muth considers sketchbook or plein air pieces final works rather than references for a studio painting.  Tere’s no lack of photos to choose from, for what De Muth doesn’t have time to sketch, he photographs with either a Sony NEX-7 or his iPhone. He estimates that he has more than 50,00 0 photos stored on iCloud and several 100,000s on  various hard drives. Daily photo excursions lead to daily sessions with Photoshop, during which he’ll select a few pictures from the latest 100 or so.  Ten the manipulation begins. He may change the perspective or lighten areas so he can see details better. LEFT: Mini

Creations:

(left to right) 7 Two 13 ⁄ 8 x1 ⁄  8 watercolors, 11 ⁄ 8 x1x5 ⁄ 8 book (papers hand bound in embossed leather cover, then painted), paint kit in 1x2 BristolMyers tin. 60  artistsmagazine.com

“I stretch things, cut them apart, paste them and then remove things,” says De Muth. “If there’s a car I don’t like, I take it out. Sometimes I stitch pictures together. Photoshop’s Photomerge command does that without seams.” Stitching photos allows De Muth to create a panoramic reference. Once the photo is the way he  wants it, he runs off a print, which he then transfers as a pencil sketch onto Arches 300-lb., hot-pressed  watercolor paper. Tis sketch, however, is only a guideline, and he’s been known to restart a drawing two or three times before he feels it’s right.  After completing the pencil drawing, he inks in the lines.  Whether working on sketches or studio pieces, De Muth uses a mahl stick or scrap of paper to keep his hand from staining the surface, and he always inks with a dip pen fitted with an Esterbrook 757 School Medium Oval nib. Tis particular nib, no longer in production but sometimes available on eBay, was popular in the early 1900s. It has a tiny ball on the end that keeps the tip from catching on the paper’s fibers (De Muth suspects the nibs were used by children learning cursive writing).  When the ink ing is complete, he applies several layers of watercolor

FAR LEFT: Working in a Moleskine sketchbook, De Muth drew the Victorian house with a fountain pen, then toned the picture with a wet paper towel shaped into a point. He drew the sepiaink portraits while watching the people he depicted on TV. LEFT: De Muth thinks of the building in Cartoleria, Naples, Italy (ink and watercolor on paper, 10x21) as Naples’s “funky” equivalent of New York City’s Flatiron Building.

The aerial view in Steam Whales from the Eleanor Ettinger Gallery  (ink and watercolor on paper, 14x20) shows steam clouds over New York’s 57th street. BELOW LEFT:

   H    C    I    L    R    E    P    Y    R    R    E    K    Y    B    O    T    O    H    P

 washes with some spattering and spot color, starting with the lightest values and adding strong shadows in the final layers. (See Layering Watercolor Over Ink, pages 58–59).

Enjoying the Moment  Although De Muth has created ink and watercolor paintings since his college days, he’s also been open to trying new art forms and media—the aforementioned ceramics, printing,

bookbinding and gardening, to name a few—not to mention his latest medium, water-soluble oils—and he’s met with gratifying success in these creative ventures. One can’t help but think, though, that his early declaration holds true: He’d be willing to  work for free just to make art. ■ HOLLY DAVIS is

Magazine.

senior editor of The Artist’s

ROGER DE MUTH earned a bachelor of fine arts degree in illustration from Rochester Institute of Technology (New York). He’s an awardwinning designer and illustrator whose clients include Cartoon Network, Kodak, Xerox, Masterpiece Puzzles, Disney and Warner Brothers. In 2015 he was awarded a Gold Medal in the single image category from the Society of Illustrators Comic & Cartoon Art Competition. De Muth also taught illustration at Syracuse University from 1979 to 2014. His hobbies include ceramics (rogerdemuthceramics.com), gardening (rogerdemuthgardens.com) and photography. His book Have Watercolors, Will Travel is available at blurb.com.

Learn more about De Muth’s sketchbooks and studio work at demuthdesign.com and rogerdemuthwatercolors.com. SEPTEMBER 2017

61

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ROAD TEST By Birgit O’Connor

A New Paper for Watercolor Winsor & Newton revamps its line of paper for watermedia; an artist puts it’s new Professional paper to the test and finds a surprise.

ABOVE: CONVEY-

ING EFFECTS OF WIND: I

found Winsor & Newton Professional paper easy to work with and amenable to different watercolor techniques. I painted this piece on a sheet from the Winsor & Newton cold-pressed block.

64  artistsmagazine.com

IN 1832, SCIENTIST WILLIAM WINSOR AND ARTIST HENRY NEWTON established a partnership; together they founded

is absorbed and how consistently color flows on the surface. Te paper has no smell, and its surface is softer than other popular papers with a harder sizing. When wet, the heavier 300-lb. paper continues to lie flat.

the company in London known as Winsor & Newton. Since its inception the company has been well known for its dedication to artists by providing some of the finest art materials on the market; however, no matter how trustworthy a brush, paint and paper manufacturer may be, it must continually move forward—making improve- Both Sides Now ments, developing products and changing formulations. Most interestingly, this mould-made Currently Winsor & Newton has revamped its line paper has a noticeably different of watermedia papers by way of partnership with a new surface texture: the top side, with the mill. Te former student-grade paper (Cotman) will  Winsor & Newton logo watermark, now be known as “Classic,” and the higher-grade paper is much smoother than the back side. (Artists’) will be known as “Professional.” Of course, either side can be used for  Winsor & Newton sent me several samples of painting, but the difference in textheir Professional paper: a 300-lb. cold-pressed sheet, ture allows an artist to maximize the a block of 140-lb. hot-pressed paper, and a block of benefit of different techniques. 140-lb. cold-pressed paper. Professional paper is sized  Te heavier 300-lb. cold-pressed both internally and externally, which affects how water paper is surprisingly easy to tear

 without any special treatments or No Unwanted Granulation! tools. Te surface accepts water and  Te big surprise came when I applied color well, and it remains workable a blue/gray blend consisting of French for a long time without drying out. ultramarine blue with burnt sienna.  When testing the paper, I was  Tis combination is notorious for most pleased to see the consistency of separating and settling into the paper’s the sizing throughout the entire sheet, tooth, leaving granulated effects. especially along the edge, which  With Winsor & Newton’s new coldallowed for even washes. pressed paper, there was no unwanted

separation. I could create smooth  washes, even with colors that usually separate. When I applied color to the top, smoother side of the paper, the results were flawless washes of color such as I’d never seen before.  When mingling color directly on the paper, I was pleased to see that the color moved easily and the surface remained consistently damp. Color intensity did take just a bit longer to build, but that was a minor issue.  When a wash of color was drying, it remained even without blossoming and did not need to be watched over.  With each additional layer, the color

LEFT: ADAPTABLE TO STYLES: Winsor & Newton Professional hot-pressed paper works well for both traditional botanical illustrations and very loose painting styles. BELOW: MOVING COLOR: Winsor & Newton Professional cold-pressed paper is a workable surface for moving wet single colors and layering color. BOTTOM: WASH AND LIFT: After

applying a wash, I found I could easily lift areas to suggest the contours of buildings.

SEPTEMBER 2017

65

ROAD TEST LEFT: ATMOSPHERIC TECHNIQUES: When additional layers of color are added to Winsor & Newton Professional cold-pressed paper, the color continues to move easily.

more recent offerings in watermedia are watercolor sticks and watercolor markers. Te company also makes gouache and inks, as well as charcoal, canvas, varnishes and mediums. Overall, I found Winsor & Newton Professional watermedia to be paper easy to work with for all techniques. Tis surface would be receptive to many different painting styles. I was very happy with the results of my experiments and would definitely use this brand of paper again. ■

flowed as freely as it did with the first layer, and when I used lifting techniques or even tape, the surface stayed

intact—no tearing or other damage.  Winsor & Newton, of course, makes more than paper. Among its

BIRGIT O’CONNOR is a sought-after instructor based in C alifornia. She is the author of several books on watercolor, available at northlightshop.com, and star s in numerous videos. See her work and find her teaching schedule at birgitoconnor.com.

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October 16, 2017

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1992 (colored pencil on paper) by Tanja Gant, Two Cats, On a Cold Day  (pastel on paper) by Yael Maimon, Arabesque (digital) by Nikolai Aleksander, NOLA Beetle  (watercolor on paper) by Matthew Bird

66  artistsmagazine.com

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YOUR COMPLETE GUIDE TO WORKSHOPS HERE & ABROAD

Workshops 2017 & 2018 At whatever stage you are in your career, there’s a class, a workshop, a tour, or a program that can inspire, edify and delight. From Alaska to Mexico, from Missouri to  Japan; in person or online; for a week or a semester: there’s something for everyone here.

WORKSHOPS ALABAMA Huntsville Museum of Art 8/24-8/26/17, Huntsville.  Michael Story, Understanding Skies & Reflections: Landscape Painting in Oil or Pastel. 9/15-9/16/17, Huntsville. Gary Chapman – CHARCOAL: Expressive Mark Making, A Painter’s Approach to Drawing. 10/2-10/6/17, Huntsville.  Brian Bomeisler, Drawing on the Right Side of the Brain. 10/9-10/12/17, Huntsville.  Tony Couch, Watercolor Painting. 11/8-11/11/17, Huntsville.  Liz Haywood-Sullivan, Pastels – Inside/Outside: The Best of Both. Contact: Laura E. Smith, Director of Education/Museum Academy, 256/535-4350 x222 [email protected] or hsvmuseum.org

Michael Story 8/24-8/26/17, Huntsville.  Huntsville Museum of Art Master Artist Workshop in Oil or Pastel. Join us as we use the sky and water as a dramatic design element in your painting’s composition. Contact: Laura Smith, 256/535-4350 [email protected] www.hsvmuseum.org/museumacademy or www.michaelstory.com

ARIZONA Larisa Aukon 12/4-12/8/17,  Power of Landscape. 1/29-2/1/18, Discover the Joy of Creativity. Scottsdale Artist’s School. Contact: 480/990-1422, scottsdaleartschool.org

Robert Burridge 10/23-10/27/17, Sedona. Artist Retreat: Playing with Polyptychs. 5-day Workshop (Monday-Friday). Sedona Arts Center. Contact: 888/954-4442 or 928/282-3809 www.sedonaartscenter.org

Caroline Jasper 7/31-8/8/17, Phoenix. 6 hr workshops. Art Unraveled, acrylics. Sponsored by Phoenix Rising Productions. Contact: [email protected] or www.artunraveled.com

Birgit O’Connor 11/14-11/17/17, Tucson . Nov. 13 Demonstration. Contact: Robbie Summers, 520/818-0817 [email protected] or [email protected] www.southernazwatercolorguild.com

Susan Ogilvie, PSA 11/28-12/2/17, Scottsd ale. Landscapes in Pastel. This studio class will focus on design and composition, simplification, and emphasizing the freedom of color choices. Contact: Scottsdale Artists’ School, 800/333-5707 www.scottsdaleartschool.org

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Sedona Arts Center Multiple Da tes, 2017, Richard Drayton, Colored Pencil Adventure. 2-day workshop teaches the secrets of creating high performance art with Prismacolor fine art pencils. Award winning artist and illustrator Richard Drayton will guide students through step-by-step techniques that will result in rich blended colors and powerful composition. 10/1-10/5/17,  Jeanne Bessette, The Soul of the Artist. Jeanne shows artists how to tap into their own unique message. Her intuitive approach to painting and her ability to see the strengths artists bring to their own artmaking helps workshop participants strengthen their own personal voice. 10/11-10/13/17,  J. Brad Holt, Sedona Landscape Painting. An intensive three day plein air oil painting workshop. The objective is to enable students to see real progress in their field painting technique. My goal is to ensure that each student will be able to bring at least one painting in from the field that they can actually be proud of. 10/22-10/23/17, Qiang Haung, Plein Air Painting. Qiang’s approach to plein air painting will be demonstrated with particular focus on selecting a dramatic composition, simplifying it, observing the light distribution and using bold and loose strokes to create a powerful and accurate representation on canvas. 10/23-10/27/17, Betty Carr, Sedona Fall Colors. Learn to capture the beauty of light! Betty Carr teaches students to accurately portray the effect of light on any subject in watercolor or oil. Students can work in either medium and will explore a variety of locations in beautiful Sedona. 10/23-10/27/17, Robert Burridge, Polyptych Figurative Retreat. Learn to work with the nude, draped and partially draped model, lots of paint sketching, and create multi-panel compositions. Be prepared to paint looser, bolder, freer, lighter and more intuitively. Plenty of time for action-filled painting exercises, demos and personalized attention. 10/28-10/29/17, Elaine Hultgren, The Nature Journal. An award winning botanical and story board artist Elaine teaches many techniques for drawing and annotation. Step-by-step from beginning to end. The nature journal is perfect for travel and personal ar tistic journaling. 11/1-11/4/17,  Jan Sitts, Texture, Color, Feeling. Jan’s experience and enthusiasm create an atmosphere of fun and spontaneity inspiring new directions and discovery through innovative combinations of design and materials. By combining aggressive textures and unusual mediums with various “raw” materials surprising compositions emerge. 11/11-11/13/17,  Elizabeth St. Hilaire, Paper Painting – Birds and Blooms. An intense workshop in which students are taught to make a beautiful palette of colors with various papers and create an under-painting and collage with paper for a final finish. a unique figurative collage technique. 12/1-12/3/17, Joan Fullerton, Contemporary Mixed Media. Inspiring demonstrations, lectures, encouragement and practice. You’ll learn how to coax hints of reality from an abstract background, how to

integrate collage imagery, how to control values and colors for emotional emphasis, and how to suggest rather than delineate. Contact: 928/282-3809 or 888/954-4442 SedonaArtsCenter.org

CALIFORNIA Art In The Mountains 9/11-9/15/17, Monterey. David Taylor, Staying Afloat in Watercolor. Contact: Tracy Culbertson, 503/930- 4572 [email protected] or www.artinthemountains.com

Robert Burridge 8/31-9/3/17, Arro yo Grand e. Robert Burridge Studio Mentor Workshop. Come paint with Bob in his Studio (includes individual mentor time, demonstrations and personal theme development). 3.5 days Workshop/  Mentor Program, limited to 7 enrollees. Contact: [email protected] for fees and details. 11/2-11/5/17, Arroyo Grande.  Robert Burridge Studio Mentor Workshop. Come paint with Bob in his Studio (includes individual mentor time, demonstrations and personal theme development). 3.5 days Workshop/  Mentor Program, limited to 7 enrollees. Contact: [email protected] for fees and details.

Flying Colors Art Workshops April 2018, Santa Barbara. Brenda Swenson, W/C Sketchbook. All levels of instruction. Class size 12. Contact: Cris Weatherby, 858/518-0949 [email protected] or ww w.FlyingColorsArt.com

Robbie Laird 9/17-9/21/17, Calistoga. Creative Rhythms Retreat. See Robbie’s website for details of this exciting New Workshop! Contact: Carla Heise, [email protected]

Birgit O’Connor 7/30-8/4/17, Mendo cino. Mendocino Art Center. Contact: 707/937-5818, www.mendocinoartcenter.org

Camille Przewodek  January-D ecember, 2017, Petaluma. In addition to my workshops, I teach regular weekly classes at my Petaluma studio in Northern California. Mondays with Camille is an ongoing landscape and still life class. View an up-to-date schedule on the Classes & Workshops page at my website: ww w.przewodek.com 8/7-8/11/17, Petaluma . 5-Day Plein-Air Workshop/Color Boot Camp. Discover and develop a new way of seeing and painting color. All levels, oils preferred. Plein-air still life, landscape, head & figure. Contact: Camille, 707/762-4125 fi[email protected] or w ww.przewodek.com

COLORADO Tom Lynch 9/11-9/14/17, B eaver Creek. Contact: 630/851-2652 [email protected] or www.TomLynch.com

Carol Lake • [email protected] • 385/414-1439 Mary McLane • m [email protected] • 970/290-6065

CONNECTICUT

Over 100 art workshops each year with nationally known artists.

Alain J. Picard, PSA 9/23/17, Hill-Stead Museum, Farmington.

The Painterly Landscape, Plein-Air Workshop, Saturday 9:00am-4:00pm. Contact: picardstudio.com/workshops 10/26-10/28/17, UART, New town.

The Painterly Portrait, Three-Day Workshop, Thursday-Saturday 9:30am-4:30pm. Contact: uartpastelpaper.com 4/6-4/7/18, Newtown. The Painterly Landscape, Weekend Workshop, Friday 7:00-9:00pm, Saturday 9:30am-4:30pm. Contact: picardstudio.com/workshops

DELAWARE Tom Lynch 10/10-10/13/17, Rehobot h B each.

Contact: 630/851-2652 [email protected] or www.TomLynch.com

Painting from the Rim of the Grand Canyon with Bill Cramer June 8–10, 2018

FLORIDA Cultural Center at Ponte Vedra Beach The Cultural Center, a non-profit arts center, is located across from one of the most prestigious beaches and in the most desired travel destinations in Florida. Located just one mile from the world famous PGA Tour at Sawgrass and 45 minutes from the oldest city in the nation, the Cultural Center is the perfect place for art and culture. Local and nationally recognized artists teach one to seven day workshops in our fully equipped studios. For more information on classes and workshops go to www.ccpvb.org or contact Sara Bass at [email protected] or 904/280-0614 ext 204. 9/14-9/16/17,  Larry Moore, Abstraction Workshop – All Painting Media. 10/4-10/8/17,  Sally Strand, The Color of Light Workshop – All painting media. 10/20-10/22/17,  Peter Rubino, Reclining Female Workshop - Clay.

Fort Myers Beach Art Association www.fortmyersbeachart.com 11/6/17, 1/8/18, 3/5/18,  Cheryl Fausel weekly watercolor classes. Beginner 9-12 and Intermediate/Advanced 1-4. Six Mondays $150/$180; 4 Mondays $100/$120. Contact: [email protected] after September 1. See www.fortmyersbeachart.com for complete schedule. 11/13-11/15/17, Vladislav Yelisleyev, Achieving the Freedom of Brushstroke. Watercolor (3 days) all levels. Fees: Member cost: $315. Non-member cost: $355. Demo Sunday, Nov. 12, 2017 4-6pm. Contact: Kay Cowan, [email protected] Supply list see www.fortmyersbeachart.com 1/11/18,  Cheryl Fausel. A One-Day Introduction for True Beginner-Beginners to Watercolor. A $10 “Palette Fee” paid in class will include all supplies needed. 9:00 am 4:00pm. $90/$95. Contact: [email protected] after September 1, 2017. 1/15-1/18/18,  Kathleen Conover, Chaos to Order. Mixed media (4 days) Beginner to advanced. Fees: Members $415. Non-members $455. D emo Sunday, Jan. 14 4-6pm. Contact: Michele Buelow, fmbaaworkshops@ gmail.com Supply list see www.fortmyersbeachart.com 1/25/18, Sue Pink, Watercolor Batik. 9:00am - 3:00pm. Cost: $60/$65. Cost includes oriental paper and nontoxic wax. Bring watercolor supplies prepay/register: check to Sue Pink at PO Box 366733, Bonita Springs, FL 34136. Check out: suepink.com 1/26/18, Lynne Wesolowski, Mono Print Scarf w/Acrylic and Gelli Plate. 9:00am - 3:00pm. Cost of class: $50/$55. Acrylics/Printing. All supplies provided for $10 including 8”x 72” Silk Scarf paid in class. Contact: [email protected] 2/1-2/2/18, Sue Pink, (2 days) Collage. 9:00am 3:00pm. C ost: $110/$120. Improve composition skills creating textured papers. Bring structure/strength to artwork. Prepay/Register check Sue Pink at PO Box 366733, Bonita Springs, FL 34136. 2/8-2/10/18, Neil Walling, (3 days) Painting Trees, Seas, and Skies in Oil. 9:00am - 4:00pm. $185/$200 each class. Contact: [email protected] 2/19-2/22/18,  Marie Natale, Watercolor – Loose, Luminous & Colorful. (4 days) Intermediate/Advanced. Fees: Member cost: $395. Non-member cost: $435. Demo Feb. 18 4-6pm. Contact: Nancy Randall, [email protected] Supply list see www.fortmyersbeachart.com 3/8-3/10/18, Neil Walling, (3 days) Painting Trees, Seas, and Skies in Watercolor. 9:00am - 4:00pm. $185/$200 each class. Contact: [email protected] 3/15/18,  Cheryl Fausel, How to Use Your Photo Shop Elements to Manipulate Your Paintings. 9:00am 4:00pm. (Hour for lunch) $90/$95. Contact: [email protected] after September 1.

SedonaArtsCenter.org

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WORKSHOPS 2017 & 2018 Ralph Garafola Artist: Garafola’s style is contemporary realism; he works in oil and watercolor. “All my paintings are portraits. Whether my subject is a person, landscape, seascape, still life or pet, my approach is to realistically portray my subject in its natural environment. It puts the viewer inside the painting” Garafola says. Author: Frank J. Reilly - The Elements of Painting” by Ralph Garafola is a must read for both the aspiring painter and accomplished artist – and everyone in between. PURE Reilly…It was written from Garafola’s class notes; word-for-word as Reilly taught it to Garafola. Inside this 232 page book - learn how to draw the head/  figure; drapery; how to apply light and shade; color: hue, value and chroma; the controlled palette, skills in brush handling; hard and soft edges; picture making and the elements to tell a story…and so much more. Educator: Art Center Sarasota- Painting: landscape, still life & more with Ralph Garafola.  January thro ugh April 2018, 6 weeks courses. All Levels; Oil, Water Soluble Oil, Acr ylic, all painting mediums. http://artsarasota.org/garafola Garafola is available for private lessons. Contact: 561/509-0522, http://www.ralphgarafola.com http://frankreillytheelementsofpainting.com or http://thepriceoflibertyfreedom.com

Caroline Jasper 3/7/18, 3/14/18, 3/21/18, 3/27/18, Venice/No rth Po rt.

4 Wednesdays, different locations. Plein Air Painting With A Pro. Sponsored by Peace River Painters. Contact: [email protected] or www.peaceriverpainters.com

Tom Lynch 11/14-11/17/17, Quin cy. 12/11-12/14/17, Palm Beach. 1/5-1/7/18, Sanibel Island. 1/18-1/21/18, Daytona Beach. 2/14-2/17/18, Punta Gorda. 3/13-3/15/18, Tequesta .

Contact: 630/851-2652 [email protected] or www.TomLynch.com

Aline Ordman 3/10-3/11/18, Northport.  Northport Art Center. Oil and

Pastel. Finding the Abstract to Create the Reality. Contact: [email protected]

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Michael Story 8/24-8/26/17, Winter Park.  Crealde School of Art

Mastering Skies & Reflections in Oil or Acrylic. Join us as we use the sky and water as a dramatic design element in your painting’s composition. Contact: Barbara Tiffany, 407/699-0148 [email protected], www.crealde.org or www.michaelstory.com

GEORGIA Anderson Fine Art Gallery 9/5-9/11/17, Chris Groves. Artist-in-Residence Week.

In The Studio - Daily 10 a.m. - 12 p.m., Sept. 5-9, Fee: $40 or Private Lessons - Sept. 6-9, 1 p.m. - 6 p.m. Fee: $150- 1 hour, $225- 2-hour. Artist Talk - Sunday, September 10, 12 p.m. - 2 p.m. Fee: $40. 9/21-9/23/17,  Linda Ellen Price, Studio Spontaneity. Learn not to rely on reference material and use quick gestures. Color Theory, mixing color and adding punch to your paintings. Colorful street scenes to figures in semis working in oil. Fee: $450. 10/5-10/7/17, Margaret Dyer, The Figure Using Traditional Techniques. Working with live models students explore drawing, composition proportion, value, light and shadow. Open to all Mediums. Fee: $495. 10/12-10/14/17, Mark Horton. Location: Artist’s Annex Gallery, St. Simons Island. Landscape in the Studio This course is designed for all mediums, oil, watercolor or pastel painters of all levels who want to take their work to the next level. The focus will be on composition, design, value and color. All levels & all mediums. Fee: $495. 11/2-11/4/17,  Marc Hanson. Location: Artist’s Annex Gallery, St. Simons Island. Three Day Plein Air Workshop Wait List Only. This is a 3 day outdoor painting workshop for intermediate to advanced painters working in oils, pastels or acrylics. Fee: $625. 1/25-1/27/18,  Chris Groves. Location: Artist’s Annex Gallery, St. Simons Island. Realism/Abstraction. Three Day Thursday - Saturday, 9:00 a.m. - 4:00 p.m. Oil. Fee: $525. 2/22-2/24/18,  Jason Sacran. Location: Artist’s Annex Gallery, St. Simons Island. 3 Day Plein Air Workshop 9:00 a.m. - 4:00 p.m. 3/7-3/10/18,  Larry Moore. Location: Artist’s Annex Gallery, St. Simons Island. 4-day. Advanced Abstraction 2018. 9:00 a.m. - 4:0 0 p.m. All Mediums. Fee: 525.

3/22-3/24/18, Tom Nielsen. Location: Artist’s Annex

Gallery, St. Simons Island. Water in the Studio. 3-day. This will be a course for artists already experienced in their medium who have a desire to learn the how and why’s of painting water. All mediums are welcome. Demonstrations will be in oil. Fee: $525 4/9-4/12/18,  John P. Lasater. Location: Artist’s Annex Gallery, St. Simons Island. 3-Day Plein Air Workshop 9 a.m. - 4 p.m. Expect to be encouraged and challenged by demonstrations and hands-on help. Learn to think more artistically, while attempting one of the toughest artistic exercises - painting landscapes outdoors. Fee: $625. Contact: 912/634-8414 www.workshopsonstsimonsisland.com

Cerulean Blue Trips 4/6-4/11/18, Savannah.  Spring in Savannah! The

charming squares and gracious homes of this historic city are a riot of colorful blooms! Join instructor Stacy Barter (best in show winner of the Blossom-Art of Flower International Exhibition) for a 5 day workshop focusing on Savannah in bloom. Oil & acrylic. Contact: Nan Dawkins, 954/663-7250 www.ceruleanbluetrips.com

INDIANA Tom Lynch 8/15-8/18/17, C armel.

Contact: 630/851-2652 [email protected] or www.TomLynch.com

Camille Przewodek 9/25-9/28/17, New Harmony.  4-Day Plein-Air Color

Workshop. Discover and develop a new way of seeing and painting color. Intermediate to advanced levels, oil preferred. Color that expresses the light key of nature can make any subject strikingly beautiful. Plein-air still life, landscape, head & figure. More info at www.przewodek.com Contact: Maggie Rapp, 812/459-9851 [email protected]

William A. Schneider, AISM, IAPS-MC, PSA-MP, OPA 10/17-10/20/17, Carmel.  Painterly Portraits.

Contact: Inspire Studios, 317/517-1213 www.SchneiderArt.com

Carol Lake • [email protected] • 385/414-1439 Mary McLane • [email protected] • 970/290-6065

MAINE Coastal Maine Art Workshops All classes in our big Rockland studio unless noted otherwise! 2017 Worksho ps: We still have some room! 8/8-8/11/17, Por tland. Alvaro Castagnet AWS, Painting with Passion! WC. Int/Adv. $675. 8/14-8/18/17,  Ken Dewaard, Essence and Design! Oils/or medium of choice. All Levels. $650. 8/21-8/25/17,  Mike Bailey AWS NWS, Plein Air Landscape! WC. All levels. $650. 8/28-9/1/17,  David P. Curtis, Plein Air Landscape! Oils. All levels. $650. 8/28-9/1/17,  Chris Cart, Speaking with Your Brush! Int/Adv. WC. $650. 9/4-9/8/17,  John Wilson, The Plein Air Landscape #1. Week One. Oils. Int/Adv. $695. 9/11-9/15/17, John Wilson, The Plein Air Landscape #1. Week Two. Oils. Int/Adv. $695. 9/11-9/15/17, Andy Evansen, The Impressionistic Landscape! WC. Int/Adv. $695. 9/18-9/22/17,  Colin Page, Oils. Closed! 9/18-9/22/17,  Kevin Beers, The Seen Scene! Oils. Int/Adv. $650. 9/25-9/29/17,  Colley Whisson, The Modern Impressionistic Landscape! Oils. All levels. $725. 2018 Workshops

All classes in Rockland unless noted otherwise! 7/16-7/20/18,  Mel Stabin AWS, WC. 7/23-7/27/18,  Sterling Edwards, WC. 7/30-8/3/18, Belfast.  Tony van Hasselt AWS, WC. 8/13-8/17/18, Frank Eber, WC. 8/20-8/24/18,  Herman Pekel, WC. 8/27-8/31/18, Marc Hanson, Oils. 8/27-8/31/18, Kathy Conover AWS NWS, WC. 9/10-9/14/18, Lori Putman, Oils. 9/10-9/17/18,  Charles Reid, WC. 9/17-9/21/18,  Colin Page, Oils. Registration by Lottery Only!! Check our website for more details and more classes!! Contact: Lyn Donovan, 207/594-4813 [email protected] or www.cmaworkshops.com

MARYLAND Caroline Jasper 4/9-4/13/18, Havre de Grace.  5 Day Workshop:

Powercolor Painting Retreat, acrylics, oils, water-soluble oils. Sponsored by Caroline Jasper Studios.

Contact: [email protected] or www.carolinejasper.com/learn

Birgit O’Connor

William A. Schneider, AISM, IAPS-MC, PSA-MP, OPA

Contact: Kat Masella, 978/729-4970 [email protected]

8/4-8/7/17, Stevensville. Revealing the Soul - Sensitive

Susan Ogilvie, PSA

Portraits & Figures. Contact: Chesapeake Fine Art Studio, 410/200-8019 www.SchneiderArt.com

MASSACHUSETTS Casa de los Artistas, Inc. – Masla Fine Art – ArtWorkshopVacations.com Robert Masla Studios North Contact: 413/625-8382, www.MaslaFineArt.com or www.ArtWorkshopVacations.com Join Masla this summer and fall for drawing and plein air painting workshops at the edge of the Berkshire Mountains, at Masla Studios North, in picturesque rural Ashfield, MA. Weekend includes fabulous picnic lunch and some materials. Workshops are for beginners to advanced painters. Experience Maslas’ award winning teaching style while you enjoy a b eautiful relaxing weekend in the country. Small groups with lots of individual attention. 8/5-8/6/17, “Drawing and Painting the Landscape” Saturday & Sunday, (10am - 5pm) – P ainting the New England Landscape in the Fall, Plein Air and the Studio with Watercolor, Acrylic or Oil, demos in all, (date to be announced on website).

Northeast Art Workshops 9/6-9/8/17,  Lorraine Glessner, Mixed Media Encaustic. 9/11-9/15/17, Birgit O’Connor, Watercolor: Big & Bold. 9/18-9/22/17,  Katherine Chang Liu, Mixed Media. 9/25-9/29/17,  Patti Mollica, Acr ylic & Oil. 10/2-10/6/17, Lisa Pressman, Cold Wax Medium. 10/9-10/13/17, Jeannie McGuire, Watercolor:

Uniquely Contemporary. 10/16-10/20/17, Eric Wiegardt, Watercolor: Fast & Loose. 10/25-10/27/17, Kat Masella, Watermedia and Wax. 4/10-4/12/18,  Kat Masella, Encaustic. 5/1-5/4/18, Jane Davies, Acrylic. 5/28-6/1/18,  Charles Reid, Watercolor. 6/18-6/22/18,  Frank Eber, Watercolor. Contact: 978/729-4970 www.NortheastArtWorkshops.com

9/11-9/17/17, Gloucester.  Northeast Art Workshops.

9/19-9/21/17, Falmouth.  Landscapes: Color, Value and

Design. This studio and plein air class will focus on design and composition, while emphasizing the freedom in color choices. Field studies and studio painting on Cape Cod. Contact: Falmouth Artists Guild, Suzy, 508/540-3304 www.falmouthart.org

MICHIGAN Robert Burridge 8/7-8/9/17, Traverse City.  Start Abstract Painting Today!

3-day Workshop (Monday-Wednesday). Crooked Tree Arts Center. Contact: Kaleigh James, 231/941-9488 [email protected] or www.crookedtree.org 8/11-8/13/17, Petoskey.  Start Abstract Painting Today! 3-day Workshop (Friday-Sunday). Contact: Me gan DeWindt, 231/347-1236 [email protected] or www.crookedtree.org

Camille Przewodek 8/21-8/25/17, Ann Arbor.  5-Day Plein-Air Workshop/ 

Color Boot Camp. Discover and develop a new way of seeing and painting color. All levels, oil preferred. Color that expresses the light key of nature can make any subject strikingly beautiful. Plein-air still life, landscape, head & figure. Contact: Debra Zamperla, 734/662-8734 [email protected] or www.artensity.org/camille-przewodek

Michael Story 7/12-7/14/18, Lowell.  Franciscan Life Process Center

Mastering Skies & Reflections in Oil or Acrylic. Join us as we use the sky and water as a dramatic design element in your painting’s composition. Contact: Kathleen Bechtel, 616/897-7842 (352) [email protected] www.lifeprocesscenter.org or www.michaelstory.com

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WORKSHOPS 2017 & 2018

Workshop DVDs

The Secret to Creating  Prize-Winning Paintings

 William A. Schneider  AISM, IAPS-MC, PSA-MP, OPA 

Chris Unwin Watercolor Workshop Weekly Tuesdays & Wednesdays. West Bloomfield, MI 48322 Contact: Chris Unwin, 248/624-4902 [email protected] or www.ChrisUnwin.net

MISSISSIPPI Robert Burridge 11/15-11/19/17, Ocean Springs. Abstract Acrylic Painting & Collage. 5-day Workshop ( Wednesday-Sunday). Ocean Springs Art Association. Contact: Carole Marie Stuart, [email protected] or www.oceanspringsartassociation.org

MONTANA Robbie Laird 9/28-10/1/17, Kalispell.  (MTWS). Layered Watermedia. Contact: Margo Voermans, [email protected]

NEBRASKA

 Sacked Out - Bev Jozwiak  , AWS, NWS 

Michael Story “Queen of Hearts” Pastel 20x16

 Workshops

 Island Home Nita Engle, AWS 

 See Video Clips of the above artists and Video Clips of 

Chris Unwin,  NWS  &  Alexis Lavine,  NWS 

ChrisUnwin . NET 

WWW.

Revealing the Soul Sensitive Portraits & Figures Location: Chesapeake Fine Art Studio, Stevensville, MD 8/4/17 - 8/7/17  (410) 200-8019 Portraits and Figures in Oil and Pastel Location: Fredericksburg Artists’ School, Fredericksburg, TX 9/18/17 - 9/21/17  (830) 997-0515 Painterly Portraits Location: Inspire Studios, Carmel, IN 10/17/17 - 10/20/17  (317) 517-1213

 www.SchneiderArt.com 815-455-4972

MADELINE ISLAND  SCHOOL of the  ARTS

Unique Island Setting,Exceptional Workshops 2017 PAINTING WORKSHOPS MADELINE ISLAND

Joe Paquet ....................................July 10-14 Jane Davies...................................July 24-28 Herman Pekel............................July 31-Aug 4 Sterling Edwards ..............................Aug 7-11 Frank Eber ....................................Aug 14-18 Ted Nuttall ....................................Aug 21-25 David Taylor .............................Aug 28-Sept 1 Margaret Dyer ..............................Sept 11-15 Fabio Cembranelli .........................Sept 18-22 Plein Air Painters of America Master Workshops.........................Sept 25-29 MISA West at TANQUE VERDE RANCH, AZ

Eric Wiegardt .................................Nov 13-17 Karlyn Holman ...........................Nov 27-Dec 1

www.MADELINESCHOOL.com

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             

                            

9/15-9/19/18, Aurora . Autumn Art Workshop Mastering The Light in Oil or Acrylic. Join us as we use underpainting and layering of color to simulate a luminous glow in our landscape paintings. Contact: Karen Thurlow, 402/628-2635 [email protected], w ww.autumnartworkshop.com or www.michaelstory.com

NEVADA Birgit O’Connor 8/15-8/18/17, Re no. Fearless Florals. Contact: Tricia Leonard, [email protected]

NEW JERSEY Ralph Garafola Artist: Garafola’s style is contemporary realism; he works in oil and watercolor. “All my paintings are portraits. Whether my subject is a person, landscape, seascape, still life or pet, my approach is to realistically portray my subject in its natural environment. It puts the viewer inside the painting” Garafola says. Author: Frank J. Reilly - The Elements of Painting” by Ralph Garafola is a must read for both the aspiring painter and accomplished artist – and everyone in between. PURE Reilly…It was written from Garafola’s class notes; word-for-word as Reilly taught it to Garafola. Inside this 232 page book - learn how to draw the head/  figure; drapery; how to apply light and shade; color: hue, value and chroma; the controlled palette, skills in brush handling; hard and soft edges; picture making and the elements to tell a story…and so much more. Educator: Art Center Sarasota- Painting: landscape, still life & more with Ralph Garafola.  January thro ugh April 2018, 6 weeks courses. All Levels; Oil, Water Soluble Oil, Acrylic, all painting mediums. http://artsarasota.org/garafola Garafola is available for private lessons. Contact: 561/509-0522, http://www.ralphgarafola.com http://frankreillytheelementsofpainting.com or http://thepriceoflibertyfreedom.com

Tom Lynch 8/25-8/27/17, Red Bank. 5/15-5/18/18, Manahawkin. Contact: 630/851-2652 [email protected] or www.TomLynch.com

Alain J. Picard, PSA 11/16/17, Goshen. The Goshen School of Art. The Painterly Portrait, Demonstration, Thursday 6:00pm-9:00pm. Contact: [email protected] 11/17-11/19/17, G oshe n. The Goshen School of Art. The Painterly Portrait, Three-Day Workshop, Friday-Sunday 9:00am-4:30pm. Contact: [email protected]

NEW MEXICO Caroline Jasper

       

6/4-6/8/18, Cloudcroft. Brilliant Color & Light - oils/  acrylics. Sponsored by Cloudcroft Art Workshops. Contact: [email protected] or www.cloudcroftart.com

    

NEW YORK Larisa Aukon

                     





5/30-6/1/18, Power Of Landscape. Hudson Valley Art Workshops. Contact: 518/966-5219, [email protected]

Hudson River Valley Art Workshops 8/6-8/12/17, Kim English. 9/3-9/9/17,  Self-Directed Retreat. 9/10-9/16/17, Ann Lindsay. 9/17-9/23/17, David Taylor. 9/24-9/30/17,  Leah Lopez. 10/1-10/7/17,  Skip Lawrence. 10/8-10/14/17, John MacDonald. 10/15-10/21/17, Fran Skiles. 3/18-3/24/18, Margaret Evans.

Carol Lake • [email protected] • 385/414-1439 Mary McLane • [email protected] • 970/290-6065

4/22-4/28/18,  Margaret Dyer. 4/29-5/5/18,  Christine Camilleri. 5/6-5/12/18, Peter Fiore. 5/16-5/20/18, Christine Ivers. 5/20-5/26/18,  Robert Burridge. 5/30-6/3/18,  Larisa Aukon. 6/3-6/9/18,  L aurie Goldstein-Warren. 6/10-6/16/18, Richard McKinley. 6/17-6/23/18, Joel Popadics. 6/24-6/30/18,  Elizabeth St Hilaire. 7/1-7/7/18, Brenda Swenson. 7/8-7/14/18,  Kathyanne White. Contact: 888/665-0044 [email protected] or www.artworkshops.com

Aline Ordman 8/13-8/14/17, Saranak Lake.  Adirondacks Plein Air Festival. Aline is the juror of awards for this plein air show and will teach a two day workshop in oils or pastels August 13 to 14. This plein air workshop will explore painting in pastels and/or oils in terms of the properties of color (value, intensity, temperature), technique and design. Weather permitting we will be outside. Otherwise, students will work from their own photo materials. There will be a demo in both mediums each day along with lots of personal attention and critique. Contact: saranaclakeartworks.com/pleinair 5/18-5/20/18, New York City.  Pastel Society of America. Painting on Location in NYC. Contact: [email protected]

Pastel Society of America PSA School for Pastels National Arts Club, 15 Gramercy Park South, New York, NY 10003 Contact: 212/533-6931 psaoffi[email protected] or www.pastelsocietyofamerica.org Enrich your paintings and study with these masterful artists. 9/18-9/20/17,  Infusing Landscapes with Emotion with Richard McKinley PSA-MP, Hall of Fame Honoree 2010. 10/14-10/15/17, Four Seasons of Trees with Susan Story PSA. 1/12-1/14/18,  Painting Rocks in the Pastel Landscape with Liz Haywood-Sullivan PSA-MP. 2/18-2/23/18,  PSA Destination Workshop in Dunedin, FL with Richard McKinley PSA-MP, Hall of Honoree 2010. 3/17-3/18/18,  Exploring the Application of Broken Color in the Landscape with Maria Marino PSA. 4/14/18, Dancing Pastels, Inspired by Gesture and Movement with Janet A. Cook PSA. 5/11-5/12/18,  Day at the Museum Animal Drawing with Patricia Wynne, professional illustrator and naturalist. 5/18-5/20/18, People in Places in NYC with Aline Ordman PSA-MP. 6/1-6/3/18, Hands-on Albers Color Workshop with Cynthia Dantzic, LIU professor of art, author, student of Josef Albers. 8/17-8/19/18,  Soften the Edges of the City with Pastel with Nancie King-Mertz PSA-MP. 9/24-9/26/18, The Prosaic Landscape made Poetic with Richard McKinley PSA-MP, Hall of Honoree 2010. 10/13-10/14/18,  On Color! Unity & Form with Casey Klahn PSA. 10/20/18, Emerging from the Dust of Failed Paintings with Anna Wainright PSA-MP. 10/27-10/28/18,  Pastel Portraits from Life in the Classical Realist Tradition with Carol Peebles PSA. Classes – ongoing year round: Tuesdays, 5:30 pm to 8:30 pm, Introduction to Pastel Still Life and Landscape with Janet A. Cook PSA. Wednesdays, 9 am to 12 pm, Portraiture, Landscape and Still Life with Diana DeSantis PSA-MP. Thursdays, 1 pm to 4 pm, Color & Composition with Maceo Mitchell PSA-MP.

WORKSHOPS ON ST. SIMONS ISLAND AndersonFineArtGallery

ROBERT BURRIDGE

• Burridge Studio App • Free Online Newsletter • Free Weekly BobBlast • Current Workshop Schedule • Workshops in Bob's Studio

RobertBurridge.com

ARTIST’S ANNEX GALLERY 2017 Schedule CHRIS GROVES September 5-11 LINDA ELLEN PRICESeptember 21-23 MARGARET DYER October 5-7 MARK HORTON October 12-14 MARC HANSON Wait List 2018 Schedule CHRIS GROVES January 25-27 JASON SACRAN February 22 - 24 LARRY MOORE March 7-10 TOM NIELSEN March 22-24 JOHN P. LASATER April 9-12 3309 Frederica Rd St. Simons Island, GA 31522 Call 912-634-8414 For Information

WorkshopsOnStSimonsIsland.com

NORTH CAROLINA Award Winning Artist Workshops Charlotte/Matthews 8/11-8/13/17, Bill Farnsworth. 10/19-10/22/17, Ned Mueller. 11/7-11/9/17, TBD. 6/22-6/24/18, Julee Hutchison. 9/20-9/23/18, John P. Lasater IV. 10/11-10/13/18, David Boyd Jr. 12/7-12/9/18, Nancy Tankersley. Contact: 704/607-6046, [email protected] or www.awardwinningartistworkshops.com

Robert Burridge 8/21-8/25/17, Boone.  Abstract Acrylic Painting & Collage. 5-day Workshop (Monday-Friday). Cheap Joe’s Art Stuff. Contact: Edwina May, Workshop Coordinator 800/227-2788, www.cheapjoes.com 11/9-11/12/17, Raleigh.  Art of the Carolinas - Workshops & Art Materials Exhibition Sponsored by Jerry’s Artarama. Contact: Sharon DiGiulio, 800/827-8478 ext 156 [email protected] or www.ArtoftheCarolinas.com SEPTEMBER 2017

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WORKSHOPS 2017 & 2018 Caroline Jasper 11/9-11/12/17, Raleigh.  4 Day Workshops & Materials

Expo. Art of the Carolinas. Various 3-hr workshops in oils, acrylics, water-soluble oils. Sponsored by Jerry’s Artarama. Contact: 919/878-6782 ext. 156 [email protected] [email protected] or www.artofthecarolinas.com

 John C. Campbell Folk School 8/18-8/20/17, Kathy Chastain, Beginning Journaling &

Watercolor. $354. 8/20-8/26/17, John Mac Kah, Critters & Creatures— Painting Animal Folk in Oils & Acrylics. $630. 8/20-8/26/17, Annie Cicale & Redenta Soprano, Botanical Books: Traditions Old and New. $630. 8/27-9/2/17,  Billie Shelburn, Dynamic Highland Landscapes. $630. 9/3-9/8/17,  Annie Cicale, Artist Book—Vessel for Word & Image. $564. 9/8-9/10/17,  Virginia Urani, Get Your Feet Wet with Watercolor. $354. 9/10-9/16/17,  Teri Jones, Alcohol Inks—Mastering the Medium. $630. 9/17-9/23/17, Annie Pais, Painting with Natur al Oils. $630. 9/24-9/30/17,  Pebbie Mott, Painting in Acrylics. $630. Contact: John C. Campbell Folk School, Brasstown, NC, 800-FOLK-SCH or www.folkschool.org

Kanuga 4/7-4/13/18, Hendersonville.  M.E. Mike Bailey, David R.

Becker, Carrie Burns Brown, Kathleen Connover, Robbie Laird, Dale Laitinen, Dean Nimmer, Jean Pederson, Richard Stephens, Debora Stewart, Jo Toye and Soon Warren. Contact: Chris & Barbara Hutchison, 530/259-2100 www.KanugaWatermediaWorkshops.com

Tom Lynch 11/10-11/12/17, Raleigh.

Contact: 630/851-2652 [email protected] or www.TomLynch.com

Nancy Couick Studios & Gallery Charlotte 8/11-8/13/17, Alexis Lavine, Design For Success. 9/15-9/17/17, Soon Warren, Painting Vibrant Watercolors. 11/13-11/15/17, Rose Edin, Watercolors Filled with Light.

1/26-1/28/18, Cindy Agan, Portraits of Children and

Animals. 2/9-2/11/18, Ed Macomber, Edges Lost and Found,

OHIO Aline Ordman

Discussion of Art Materials. 3/1-3/4/18, Kim Johnson, Getting Loose with Watercolors. 4/19-4/22/18,  Iain Stewart, Amazing Architectural, Landscapes and Other Beautifully Painted Subjects. 6/15-6/17/18,  Ryan Fox, Combining Pouring with Traditional Watercolor Techniques. 7/12-7/13/18, Janet Rogers, Impressionist Flowers. 7/14-7/15/18,  Janet Rogers, Impressionist Landscapes. 7/16-7/17/18, Janet Rogers, Impressionist Portrait and Figures. Contact: 704/541-6944, [email protected] or www.nancycouick.com

9/22-9/24/17, Cincinnati.  Cincinnati Art Club. Pastel

Michael Story

“Be Brave and Have Fun”, watercolor - plein air and studio. Unearth fresh and honest art inside yourself and learn to capture it with paint. Herman will teach you to find originality in your own work. Get started with new ideas in a way that is fun and fast. You will learn about color mixing, glazes, composition, drying time, thickness and edges to create an impressionist painting you never thought possible with watercolor. Expect to be challenged to be brave, and to have fun! 8/21-8/25/17, Bend.  Fabio Cembr anelli, “Intuitive Painting, Transcending the Subject!”, watercolor, studio. Learn to take advantage of transparent watercolor to create loose, intuitive, free and spontaneous effects in your paintings. Join Fabio Cembranelli and explore wet-on-wet techniques, practicing how to paint with no preliminary drawing. You will learn how to take advantage of your own mistakes and capture the essentials of each subject. 8/28-9/1/17, Bend.  Jane Davies, “100 Drawings, Paintings, and Explorations”, acrylic, studio. How do you make good art? How do you make art that is truly yours? My view is that there are no tricks, gimmicks, or shortcuts to this elusive goal: it just takes a lot of art making to cultivate your inner awareness of who you are as an artist. Fortunately, making a lot of art is fun, if you can let go of the expectations and negative voices (that inner critic!) that get in your way. In this workshop we will focus on quantity – making a lot of pieces from a given starting point. Contact: Tracy Culbertson, 503/930-4572 [email protected] or www.artinthemountains.com

11/9/17, Raleigh. Art of the Carolinas / Sponsored by

Jerry’s Artarama. Mastering Color in Oil or Acrylic. Improve your paintings with key fundamentals to mastering color in easy to follow, step-by-step exercises that Michael demonstrates in class. Contact: Sharon DiGiulio, 800/827-8478 (156) [email protected], www.artofthecarolinas.com or www.michaelstory.com 11/10/17, Raleigh.  Art of the Carolinas / Sponsored by Jerry’s Artarama. Mastering Skies & Reflections. Improve your paintings and join Michael as we use the sky as a dramatic design element in your painting’s composition. Contact: Sharon DiGiulio, 800/827-8478 (156) [email protected], www.artofthecarolinas.com or www.michaelstory.com 11/11/17, Raleigh.  Art of the Carolinas / Sponsored by Jerry’s Artarama. Mastering the Light by Underpainting in Oil or Acrylic. Improve your paintings and join Michael as we use unde rpainting and layering of color to simulate a luminous glow in our landscapes. Contact: Sharon DiGiulio, 800/827-8478 (156) [email protected], www.artofthecarolinas.com or www.michaelstory.com 10/15-10/19/18, Boone.  Cheap Joe’s “In House” Workshops. Mastering Skies & Reflections in Oil or Acrylic. Join us as we use the sky and water as a dramatic design element in your painting’s composition. Contact: Edwina May, 800-227-2788 (1123) [email protected] www.cheapjoes.com/art-workshops.html or www.michaelstory.com

and Oil Painting. This workshop will explore painting in pastels and/or oils in terms of the properties of color (value, intensity, temperature), technique and de sign. Students will work from their own photo materials. There will be a demo in both mediums each day along with lots of personal attention and critique geared to each students’ level. Contact: www.cincinnatiartclub.com/cac-workshops.html

OREGON Art In The Mountains 8/7-8/11/17 and 8/14-8/18/17, Bend.  Herman Pekel,

Contact us for details!

MID-COAST MAINE AND BEYOND!

2018 WATERMEDIA  WORKSHOPS

Hendersonville, North Carolina

Instruction - Sun.-Thu. (April 7-13, 2018) M.E. MIKE BAILEY DAVID R. BECKER CARRIE BURNS BROWN KATHLEEN CONNOVER ROBBIE LAIRD DALE LAITINEN DEAN NIMMER JEAN PEDERSON RICHARD STEPHENS DEBORA STEWART JO TOYE SOON WARREN www.KanugaWatermediaWorkshops.com Chris & Barbara Hutchison, Directors [email protected] 74  artistsmagazine.com

cmaworkshops.com AUGUST 2017

AUGUST 2018

13-17 Frank Eber WC  Rockland  20-24 Herman Pekel WC  14-18 Ken Dewaard Oils  21-25 Mike Bailey AWS NWS WC  27-31 Marc Hanson Oils  27-31 Kathy Conover AWS NWS WC  28-9/1 David P. Curtis Oils  28-9/1 Chris Cart WC  SEPTEMBER 2018 10-14 Lori Putman Oils  SEPTEMBER 2017 10-17 Charles Reid WC  Rockland  17-21 Colin Page-by Lottery 4-8 John Wilson #1 Oils  11-15 Andy Evansen WC  Paint Away Classes!  11-15 John Wilson #2 Oils  Oct 3-13, 2017 Venice  Colley Whisson Oils  18-22 Kevin Beers Oils  Oct 13-23, 2017 Provence  25-29 Colley Whisson Oils  Tony van Hasselt WC  JULY 2018 Apr 26 - May 4, 2018 16-20 Mel Stabin AWS WC  Strasbourg, France  23-27 Sterling Edwards WC  Barge Trip Belfast  Larry Moore Book by Oct ’17  30-8/3 Tony van Hasselt AWS WC 

207-594-4813 •  [email protected]

 WOR KSHOPS! NANCY COUICK STUDIOS WWW.NANCYCOUICK.COM 704.541.6944 CHARLOTTE, NC

Carol Lake • [email protected] • 385/414-1439 Mary McLane • [email protected] • 970/290-6065

Tom Lynch

TENNESSEE

9/25-9/28/17, Spring field. Contact: 630/851-2652 [email protected] or www.TomLynch.com

Camille Przewodek

10/12-10/15/17, Oregon City.  Landscapes: Color and Composition with Pastel. Studio and Plein Air with Oregon’s autumn colors! Design and Color with purpose. Contact: 503/866-5507 [email protected] o r www.carriemoorestudios.com

10/26-10/29/17, Nashville.  Outdoor Figure Intensive. Head & clothed figure in outdoor light. We will focus on seeing and expressing the big masses, light key, and planes of the figure (and background!) with color to establish a vibrant illusion of the figure in space. Contact: Camille, 707/762-4125, fi[email protected], www.przewodek.com or Jeanie Smith, Warehouse 521, 615/337-2570, [email protected] or http://tinyurl.com/warehouse521-camille-2017

RHODE ISLAND

TEXAS

Tom Lynch

Robert Burridge

6/5-6/8/18, Pawtucket. Contact: 630/851-2652 [email protected] or www.TomLynch.com

SOUTH CAROLINA

10/9-10/12/17, Lubbock.  Loosen Up with Aquamedia Painting. West Texas Watercolor Society. Demo: Sunday, October 8. Contact: June Musick, [email protected] or www.wtws.org

Art In The Mountains

Tom Lynch

10/16-10/20/17 and 10/23-10/27/17, Charleston. Charles Reid, Drawing and Painting with Charles Reid Studio. Intermediate to Advanced. A great drawing is the foundation of a great painting. Charles Reid, the master of contour drawing, will teach you how to concentrate on interconnecting shapes rather than drawing separate objects. Discover how to simplify and avoid overworking by focusing on good paint consistency. Practice “direct painting”, using as few over-washes as possible. Achieve the correct color, edge variety, and tonal value on the first try. Contact: Tracy Culbertson, 503/930- 4572 [email protected] or www.artinthemountains.com

4/9-4/12/18, Dallas. Contact: 630/851-2652 [email protected] or www.TomLynch.com

Susan Ogilvie, PSA

Tom Lynch 2/26-2/28/18, N. Myrtle Beach. Contact: 630/851-2652 [email protected] or www.TomLynch.com

Michael Story 3/20-3/22/18, Bluffton.  Colleton River Plantation Painting the Skies & Marshes of the Low Country. Join us at the Colleton River Plantation as we use the sky and water as a dramatic design element in painting the Low Country marshes. Contact: Michael Story, 803/356-4268 [email protected] or www.michaelstory.com

HUDSON RIVER VALLEY ART WORKSHOPS

William A. Schneider, AISM, IAPS-MC, PSA-MP, OPA 9/18-9/21/17, Fredericksbu rg. Portraits and Figures in Oil and Pastel. Contact: Fredericksburg Artists’ School, 830/997-0515 www.SchneiderArt.com

Wimberley Artists Workshops 10/16-10/19/17, Edward Povey, The internationally renowned painter from Wales is teaching the “Five secrets of Landscape painting”. The workshop format is all inclusive (luxury lodging, meals, wine) in Texas’ beautiful Hill Country. 11/13-11/16/17, Rita Kirkman, The national award winning pastelist, teaches techniques for making small and quick paintings and then scaling them up. The workshop format is all inclusive (luxury lodging, meals, wine) in Texas’ Hill Country. 1/15-1/18/18, Clive Tyler, One of the top pastelists in the US teaches plein air and in-studio completion. The workshop format is all inclusive (luxury lodging, meals, wine) in Texas’ beautiful Hill Country. 2/5-2/8/18, Michael Holter, One of America’s top watercolorists, Michael teaches both plein air and studio.

The workshop format is all inclusive (luxury lodging, meals, wine) in Texas’ beautiful Hill Country. 2/19-2/22/18, Cody DeLong, The Arizona based artist teaches mastery of the vivid colors of the US Southwest in Oils. The workshop format is all inclusive (luxury lodging, meals, wine) in Texas’ beautiful Hill Country. 3/5-3/8/18, Jason Sacran, The emphasis will be on plein air oils with completion in the studio. The workshop format is all inclusive (luxury lodging, meals, wine) in Texas’ beautiful Hill Country. 3/26-3/29/18, Laurel Daniel, This Texas artist has taught for years in workshops and in Austin’s art museum. The workshop format is all inclusive (luxury lodging, meals, wine) in Texas’ beautiful Hill Country. 4/16-4/19/18, Lorenzo Chavez, With a focus on plein air in oils or pastel, Lorenzo paints “Art of the American West.” The workshop format is all inclusive (luxury lodging, meals, wine) in Texas’ beautiful Hill Country. 5/7-5/10/18, Skip Whitcomb, uses oils and pastel to craft and teach exceptional plein air work. The workshop format is all inclusive (luxury lodging, meals, wine) in Texas’ beautiful Hill Country. 5/21-5/23/18, John Lasater, Considered one of the top instructors in the US, John focuses on plein air in oils. The workshop format is all inclusive (luxury lodging, meals, wine) in Texas’ beautiful Hill Country. Contact: 512/847-9344, [email protected] or Wimberleyartistworkshop.com

VERMONT Vermont Institute of Natural Science 9/30-10/14/17, Quechee.  SAT, SEP 30: Opening Reception and VINS 45th Birthday Party. SUN-THU: Visiting Artists from Wild Apple Graphics. TUE: Quick Paint Competition. WED: Nocturne Painting, Documentary Film. THU: Submission of Competition Artwork, Wine Tasting at Scavenger in White River Junction, VT. FRI: Final Reception, Awards Ceremony, Art Exhibit and Sale Opening. OCT 6-14: Art Exhibit and Sale. Contact: 802/359-5000, vinsweb.org

VIRGINIA Tom Lynch 8/4-8/6/17, Richmond. (Plein Air WS) 4/30-5/4/18, Fredericksburg. Contact: 630/851-2652 [email protected] or www.TomLynch.com

Susan OGILVIE P SA

 Learning, Laughter, and Friendships in an  Inspiring, & Inviting  Environment

Call Toll-Free 1-888-665-0044 Kim English Aug 6-12, 2017 Self-Directed Retreat Sep 3-9, 2017  Ann Lindsay Sep 10-16, 2017 David Taylor Sep 17-23, 2017 Leah Lopez Sep 24-30, 2017 Skip Lawrence Oct 1-7, 2017 John MacDonald Oct 8-14, 2017 Fran Skiles Oct 15-21, 2017 Margaret Evans Mar 18-24, 2018 Margaret Dyer Apr 22-28, 2018 Christine Camilleri Apr 29-May 5, 2018 Peter Fiore May 6-12, 2018 Christine Ivers May 16-20, 2018 Robert Burridge May 20-26, 2018 Larisa Aukon May 30-Jun 3, 2018 Laurie Goldstein-Warren Jun 3-9, 2018 Richard McKinley Jun 10-16, 2018 Joel Popadics Jun 17-23, 2018 Elizabeth St Hilaire Jun 24-30, 2018 Brenda Swenson Jul 1-7, 2018 Kathyanne White Jul 8 - 14, 2018

art workshops.com

Workshops   Studio & Plein Air •

with an emphasis on

Composition and Color 2017 AZ  MA  OR •

•

susanogilvie.com SEPTEMBER 2017

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WORKSHOPS 2017 & 2018 Alain J. Picard, PSA 5/18-5/20/18, Richmond. Mid Atlantic Pastel Society. The Painterly Portrait, Three-Day Workshop, Friday-Sunday 9:30am-4:30pm. Contact: MidAtlanticPastelSociety.com

Shenandoah Art Destination The Shenandoah Art De stination, a 10-acre property, is magnificently located near the historic town of Lexington, nestled in the Shenandoah Valley between the Blue Ridge and the Allegheny Mountains. The owners, JanWillem & Nancy Boer, offer an ideal creative vacation and inspiration for all art lovers of any ability – the fee for your stay is all-inclusive – accommodations (private room and bath), meals (home-cooked), and art instruction. Pick-up from airports and train station available for nominal fee. All artists are welcome from the beginner to the professional painter for painting (all media), drawing and printmaking. Daily course guidance/tutelage by your host, Jan-Willem Boer, an established artist and illustrator for over 25 years in the USA & Europe, earning his degree from the Rietveld Academie in Amsterdam, The Netherlands. Each day there is a focus on a different skill with much one-on-one instruction. The facility is set up with two great indoor studios and many wonderful outdoor locations for plein-air painting. It is the perfect setting to focus on art and at the same time have a refreshing vacation. Courses run from early spring to late autumn; for cost and more information please visit website. Non-participating spouse/partner is also welcome (see website for their cost). The testimonials of previous participants acknowledge what a wonderful experience you will have as well as the Google Reviews posted directly on Google. Featured in the Washington Post Travel Magazine 9/13/15 - http://t.co/bDaZdFZ9Cj 8/27-8/30/17,  4-Day session. 9/1-9/4/17, 4-Day session. 9/8-9/10/17, Weekend session. 10/12-10/15/17, 4-Day session. 10/19-10/24/17, 6-Day session. 11/3-11/5/17, Weekend session. Register now to be part of the beautiful fall season courses. Contact : 612/221-1140 [email protected] or www.ShenandoahArtDestination.com

WASHINGTON Birgit O’Connor 10/2-10/6/17, Vancouver. Fearless Florals SWWS.

Contact: Charlene Shelfer, 503/705-5277 [email protected]

CANADA

WISCONSIN

9/25-9/29/17, Vancouver Island, British Columbia. Loosen Up with Aquamedia Painting. 5-day Workshop (Monday-Friday). Vancouver Island Art Workshops. Contact: Mary, 250/714-8080 [email protected]

 Jack Richeson & Co Inc 8/7-8/9/17, Kimberly. Stephen Wysocki, Plein Air Painting Workshop. A great introductory class to the style and methodology of Plein Air painting. Stephen will guide and instruct students about the supplies they will need and how to determine a good composition. 9/25-9/27/17, Kimberly. Lee Mothes, Watercolor & Drawing Media. Join nationally renowned artist Lee Mothes for this three day workshop focusing on making your work come alive. Contact: 920/560-3777, [email protected] or richesonart.com

Caroline Jasper 9/11-9/14/17, La c d u Flambe au. 4 Day Workshop. Head & Heart Plein Air Painting, oils, acrylics, water-soluble oils. http://www.carolinejasper.com/wkshp_dmstrtns/  wksp.4.HeadHeartPleinAir.media.Dillmans.htm Sponsored by Dillman’s Art Workshop Retreat. Contact: 715/588-3143, [email protected] or www.dillmans.com

Madeline Island School of the Arts 7/31-8/4/17, Herman Pekel. 8/7-8/11/17, Sterling Edwards. 8/14-8/18/17,  Frank Eber. 8/21-8/25/17,  Ted Nuttall. 8/28-9/1/17,  David Taylor. 9/11-9/15/17, Margaret Dyer. 9/18-9/22/17,  Fabio Cembranelli. 9/25-9/29/17,  Plein Air Painters of America Master Workshops. 11/13-11/17/17,  Eric Wiegardt. 11/27-12/1/17, Karlyn Holman. Contact: 715/747-2054, www.madelineschool.com

INTERNATIONAL BALI Flying Colors Art Workshops August 2018, Ubud and Candi Dasa. Ken Goldman, WC. All levels of instruction. Contact: Cris Weatherby, 858/518-0949 [email protected] or www.flyingcolorsart.com

Fort Myers Beach Art Associaon A working gallery of workshops, classes, exhibits and art for sale. 3030 Shell Mound, FMB 239-463-3909 Fortmyersbeachart.com

ART WORKSHOPS 2018 MEXICO-San Miguel de Allende Judy Morris, Betty Carr- March 2018 SWITZERLAND June 2018 Mel Stabin-WC SANTA BARBARA April 2018 Brenda Swenson-WC BALI-Ken Goldman August 2018

FlyingColorsArt.com 76  artistsmagazine.com

858-518-0949

Paint in  Italy. France. Spain. England. Croatia....

Robert Burridge

Caroline Jasper 6/18-6/22/18, Prince Edward Island. 5 Day Workshop: Looser Paintings: Land and Water. acrylics, oils, watersoluble oils. Sponsored by Out of Our Minds Gallery. Contact: 902/962-3612, [email protected] or www.outofourmindsgallery.com

CROATIA Aline Ordman 10/4-10/13/17, Dubrovnik. Landscape Painting Pastel and Oil. After arriving in Dubrovnik we will go to the beautiful island of Korcula and paint the magnificent landscapes of sea and lovely old towns. Aline will demonstrate in pastels and oils while teaching principles of color, design and technique. Daily excursions to different locations. Contact: www.slikamilina.ca/pricing-book

ENGLAND Cerulean Blue Trips 6/16-6/23/18, If you love flowers, this trip is for you! Cornwall is famous for many things: stunning seascapes, Celtic ruins, Cornish Pasties (tasty meat pies), and the TV series, Poldark. But nothing compares to Cornwall’s gardens! Paint in a different garden each day with floral art instructor Pat Fiorello and return at day’s end to a beautiful hotel by the sea. All mediums, all levels. Contact: Nan Dawkins, 954/663-7250 www.ceruleanbluetrips.com

FRANCE Cerulean Blue Trips 6/2-6/11/18, Looking for some magic in your life and/  or art? You don’t have to be an artist to join us on this tour of Black Madonnas, the cave of Mary Magdalene, Chartres Cathedral, prehistoric caves, shrines to Roman goddesses, and more! Join Linda Richichi for a unique opportunity to travel, reflect, and create a unique and unforgettable travel journal!

Carol Lake • [email protected] • 385/414-1439 Mary McLane • [email protected] • 970/290-6065

7/15-7/24/18,  Spend 9 magical nights in quiet,

unspoiled Brittany in a lovely chateau by the sea! You’ll learn techniques for painting skies, seas and landscapes from acclaimed oil and pastel artist, Susan Nicholas Gephart. Susan is on the faculty at the Plein Air Convention and is well known for her dramatic skies. All mediums and levels welcome! Contact: Nan Dawkins, 954/663-7250 www.ceruleanbluetrips.com

Château de la Voûte Fall Painting Holiday 9/23-9/30/17,  Workshop with landscape artist Tom

Hughes. Accommodations in picturesque Loire Valley chateau. Participants will be coached at each person’s individual skill level, from experienced outdoor p ainter to outright beginner. Contact: 415/922-5872, www.PleinAirFrance.com

Paint Away: Art Classes Abroad! A Coastal Maine Art Workshop Program. Non-painters welcome! 10/13-10/23/17, Provence.  Tony van Hasselt AWS, Paint the Villages of Provence. WC. $3,995 painter dbl occ/$3,595 non-painting companion dbl occ. 4/26-5/4/18, Strasbourg.  Larry Moore Plein Air Oils/  Acrylics. Our own private Barge on the Marne Canal! Non painters welcome! Dbl Occ $3,795/non Painter $3,595. Contact: Lyn Donovan, 207/594-4813 [email protected] or www.cmaworkshops.com

Robbie Laird  *NEW-FIRST TIME! September 17-21, 2017 Creative Rhythms Retreat Painting, Mindfulness Practice, & Yoga

Calistoga, California Carla Heise, [email protected] Details - www.Robbie Laird.com September 28 - October 1, 2017 MTWS, Kalispell, Montana Margo Voermans [email protected]

For more workshops

Contact Robbie 530/259-2100 [email protected] www.RobbieLaird.com

 Aline Ordman

Workshops in France Art Retreats

Chateau art retreat in Provence. Distraction-free paradise for artists. Friendly, fabulous food, wine, accommodation in the Château and transportation to beautiful painting locations. All-inclusive retreat except airfare. 5/6-5/15/18, Provence.  10 days. Poppies to the Mediterranean. All media -paint and sketch side-by-side with artists. 9/16-9/25/18, Provencal villages, vineyards and Cézanne. All media. Sketch side-by-side with artists.

last a lifetime. What you learn at the Folk School stays with you. JOHN C. CAMPBELL FOLK SCHOOL

folkschool.org BRASSTOWN

1-800-FOLK-SCH NORTH CAROLINA

Northeast Art Workshop Retreats gets rave reviews!  Internationally Acclaimed Artist Instructors All levels & all media including: watercolor, encaustic, acrylic, oil, collage, etc.

Instructed Workshops

Paint with exceptional master painters in France. Perfectly-balanced painting workshops with instruction and total immersion in French life. All-inclusive: instruction, food, wine, accommodation at the Chateau, except air-fare. 7/4-7/13/18,  Carol Marine Instructor Painting Provence10 days painting experience in southern France with Daily Painting pioneer. Contact: Julie Snyder, 818-621-2523

Our classes

Watermedia Artist, Teacher, Juror

New York

August 2017; Ohio September 2017 Croatia  October 2017 Florida March 2018; New York May 2018

2000 sq ft Dream Studio also available for Shares and Rentals

northeastartworkshops.com

978.729.4970

 www.alineordman.com

GUATEMALA Flying Colors Art Workshops February 2018, Antigua and Panajachel. Kathleen

Conover, WC. All levels of instruction. Contact: Cris Weatherby, 858/518-0949 [email protected] or www.flyingcolorsart.com

ITALY Larisa Aukon 8/18-9/1/18, Oil and Gouache - Plein Air in Umbria.

La Romita School of Art. Contact: 855/476-6482, laromita.org

Cerulean Blue Trips 9/23-9/30/17, Amalfi C oast.  Spend a week along the

stunning Amalfi Coast in Italy, painting magnificent seascapes, seaside gardens, and street scenes with realist instructor Inez Hudson. Includes a tour of Pompeii! 9/30-10/7/17, Ravello.  Spend a week in Ravello perched high above the Mediterranean sea, painting seaside gardens, villas and street scenes with award winning plein air instructor, Stacy Barter. 9/23-10/3/18, Get intense personal instruction from the artist behind the wildly popular PBS show, The Grand View. Join Stefan Baumann for 10 nights of intensive painting instruction focusing on both the landscape of Tuscany and the architecture of its capital city, Florence! All mediums, all levels (beginners love Stefan so don’t be intimidated!) Contact: Nan Dawkins, 954/663-7250 www.ceruleanbluetrips.com

www.TOMLYNCH.com Aug 4 – 6

Richmond, VA (Plein Air WS) Aug 15 – 18 Carmel, IN Aug 25 – 27 Red Bank, NJ Sept 11 – 14 Beaver Creek, CO Sept 25 – 28 Springfield, OR Oct 10 – 13 Rehoboth Beach, DE Nov 10 – 12 Raleigh, NC Nov 14 – 17 Quincy, FL Dec 11 – 14 Palm Beach, FL  Jan 5 – 7 Sanibel Island, FL  Jan 18 – 21 Daytona Beach, FL Feb 14 – 17 Punta Gorda, FL Feb 26 – 28 N. Myrtle Beach, SC Mar 13 – 15 Tequesta, FL Apr 9 – 12 Dallas, TX Apr 30 – May 4 Fredericksburg, VA May 15 – 18 Manahawkin, NJ  June 5 – 8 Pawtucket, RI

 Available For Workshops In Your Area Call 630-851-2652  [email protected] 

Paint Away: Art Classes Abroad! A Coastal Maine Art Workshop Program. Non-painters welcome! 10/3-10/13/17, Venice.  Colley Whisson, Impressionistic Venice. Oils/Acrylics. $3,695 painter dbl occ/$3,495 non-painting companion dbl occ. Contact: Lyn Donovan, 207/594-4813 [email protected] or www.cmaworkshops.com

MEXICO Casa de los Artistas, Inc. – Masla Fine Art Robert Masla Studios South Contact: 413/625-8382 www.ArtWorkshopVacations.com or www.MaslaFineArt.com SEPTEMBER 2017

77

WORKSHOPS 2017 & 2018 CAROLINE JASPER

SEPTEMBER 30 to OCTOBER 6 / 2017

Painting Workshops oils, acrylics, water-solube oils

3RD ANNUAL

VINS Nature Center         n Quechee, VT         e

Plein Air

PleinAirVINSVT.org

Painting Festival

Free Newsletter Sign up: [email protected]

www.carolinejasper.com

Workshops 2017-2018 & Ongoing Classes Pastel Society of America · 15 Gramercy Park South · NY, NY 10003 www.pastelsocietyofamerica.org · (212) 533-6931

ADVERTISER INDEX Alain Picard .........................................................78 Aline Ordman .......................................................77 American Artists Professional League ....................79 Anderson Fine Art Gallery .....................................73 Art Gallery Frames................................................79 Art Gallery Of Fells Point, The ...............................79 Art In The Mountains ............................................72 Artspa n.com ........................................................67

A Unique Tropical Paintcation with the Best Instruction in the Best Location. All inclusive artists retreats tropical oceanside paradise Robert Burridge, Andy Evansen, Robert Masla, Jim McVicker, Mario Andres Robinson, Sandra Wakeen, Randall Sexton, Lian Quan Zhen. Serene charming fishing village 10 miles south of Puerto Vallarta. Call for e arly registration discounts. Visit our website for more details, schedule, slide show, free instructional videos and… 1/6-1/13/18 & 2/10-2/17/18,  Robert Masla, Paint in paradise with Casa Director/Co-founder, Aqua media, Art & Yoga, Draw Like Crazy – Draw Like a Painter! Painting in Plein Air and the Studio. 1/13-1/20/18, Lian Quan Zhen, Watercolor Painting – Color Pouring and Blending, Studio and Plein Air. 1/20-1/27/18,  Robert Burridge, Abstract Acrylic and Collage Workshop. 1/27-2/3/18, Jim McVicker, Painting in Plein Air and the Studio. 2/3-2/10/18, Mario Andres Robinson, Painting in Paradise – the Portrait and Figure in Watercolor”. 2/17-2/24/18, Andy Evansen, Loosening Up Your Watercolor Painting, Plein Air and Studio. 2/24-3/3/18, Sandra Wakeen, Painting in the Tropics, Plein Air and Studio. 3/10-3/17/18,  Randal Sexton, Expressive Brushwork En Plein Air, Plein Air and the Studio.

Zola Delburn 10/30-11/4/17, San Miguel de Allende, GTO.  Stephen Cefalo, Drawing and Painting the Figure. This 5 day workshop coincides with the wonderful fiesta celebrating Dias De Los Muertos in magical San Miguel de Allende, the heart of México. Stephen Cefalo is a contemporary figurative painter, equally influenced by the symbolists and artists of the baroque. The workshop will be held in the painting studio of Gerardo Ruiz which is located next to Fábrica la Aurora. Breakfast will be served at 9:30 a.m. in the garden before each class. A closing fiesta will be hosted by Zola Delburn in her painting studio in El Centro. Reserve your space now! This workshop is open to a maximum of 10 people. Contact: Zola Delburn, [email protected] or www.zoladelburn.com 12/4-12/8/17, San Miguel de Allende , GTO.  Zola Delburn, The Fundamentals of Painting in Oils. Year round classes in Color and Composition, as well as an Open Studio class for the artist that wants to take their painting to a new level. Contact: Zola Delburn, [email protected] or www.zoladelburn.com 12/4-12/8/17, San Miguel de Allende , GTO.  Gerardo Ruiz, Printmaking and Encaustic Painting. Year round classes in Printmaking and Encaustic Painting. Contact: Gerardo Ruiz, [email protected] or www.gerardoruizart.com

Flying Colors Art Workshops 3/4-3/10/18, San Miguel De Allende.  Judy Morris, WC. All Levels Welcome. 3/11-3/17/18, San Migu el De Allende.  Betty Carr, WC. All Levels Welcome. 10/21-10/27/18, San Miguel De Allen de.  Don Andrews. All Levels Welcome. Contact: Cris Weatherby, 858/518-0949 [email protected] or ww w.FlyingColorsArt.com

NEW ZEALAND Art In The Mountains 1/31-2/10/18,  New Zealand Cruise/workshop and 2/10-2/12/18 plein air in Sydney, Australia with David Taylor. “Strength and Flow of Watercolor”

78  artistsmagazine.com

Contact: Tracy Culbertson, 503/930- 4572 [email protected] or www.artinthemountains.com

SCOTLAND Workshops in Scotland Join Scotland’s art retreat in the Highlands and Islands of Scotland’s west coast. Magnificent glens, countryside and the best of Scotland. Loch-side accommodations, all meals, wine, and transportation included with exception of airfare. Includes 3-day art and culture tour-Edinburgh & Glasgow. 6/16-6/29/18, 2 full weeks. Art Retreat. Argyll Scotland. All media. Paint and sketch side-by-side with artists. Contact: Julie Snyder, 818/621-2523

SPAIN

Audubon Artist s Inc ..............................................79 Award-Winning Artist Workshops ...........................73 Birgit O’Connor ....................................................77 Blick Ar t Materi als .....................................IFC, 1, 29 Camille Prze wodek ...............................................74 Canvasonr olls.......................................................26 Cape Co d Art A ssociatio n......................................79 Caroline Jasper Studi o ..........................................78 Catharine L orillard Wolfe Art Club ..........................79 Cerulean Blue Enterpr ises .....................................76 Chicago Pastel Painters ........................................79 Coast al Maine Art Worksh ops ................................ 74 Colar t Americ a ...............................3, 15, 27, 28, BC Colore d Pencil Societ y Of Americ a.........................25 Creative Art Wo rkshops .........................................72

Cerulean Blue Trips

Drawing Art Academy ...........................................75

5/19-5/26/18, Travel with Dick Blick resident artist, Joe Gyurcsak to study the techniques of the Spanish impressionist, Joaquín Sorolla. Beginning at the Sorolla museum in Madrid, you will paint in the gardens of the artist’s home. Next, travel to Valencia to paint some of Sorolla’s most famous scenes along the Spanish coastline. All mediums, all levels. Contact: Nan Dawkins, 954/663-7250 www.ceruleanbluetrips.com

F+W ...............................13, 20, 62, 66, 67, 79, IBC

SWITZERLAND Flying Colors Art Workshops  June 2018, Lauterbrunnen. Mel Stabin, WC. All levels. Contact: Cris Weatherby, 858/518-0949 [email protected] or ww w.FlyingColorsArt.com

Flying Colors Art Workshop ...................................76 Fort Myers Beach Art Association ..........................76 General Pencil .....................................................25 Golden Artist Colors ...................................6, 25, 26 Hudson River Valley ..............................................75 Huntsville Museum Of Art .....................................68 Jack Richeson & Co Inc ....................................5, 29 Jerry’s Artar ama .............................................21, 28 John C. Campbell Folk School ...............................77 Kanuga ................................................................74 Larisa Aukon ........................................................76 Liliedahl Fine Art....................................................9

UNITED KINGDOM

Macpher sons ....................................... 6, 11, 27, 29

 Jack Richeson & Co Inc

Madeline Island School Of Art ...............................72

9/2-9/13/17, Newquay, Co rnwall. Stephen Quiller, Watermedia Workshop. Waitlist Only. Contact: 920/738-0744 or 800/233-2404 [email protected] or www.richesonart.com

Masla Fine Art .....................................................77

ONLINE

Northeast Art Workshops ......................................77

DrawingAcademy.com

Planes Of The Head..............................................79

Ongoing online classes - “How to Draw Whatever You See or Imagine”. Discover traditional drawing techniques and get an unlimited personal support from the Academy tutors. Watch Free “How to Draw” Video Le ssons here: http://DrawingAcademy.com/free

Plein Air Fra nce Holida ys ......................................76

Camille Przewodek

Robbie Laird Art Studio ........................................77

Mondays with Camille. LDL (Long Distance Learning) is a continuation program for further developing a new way of seeing and painting color. Online instruction/  critiques are scheduled on Monday afternoons, from 2 to 5 pm (Pacific Time) for painters who have taken one of my 5-day workshops, but are unable to come and continue their studies at my regular Monday morning classes in Petaluma CA. Plein-air still life, landscape, head & figure. Please see website for updated schedule and details. Contact: Camille Przewodek, 707/762-4125 fi[email protected] or w ww.przewodek.com

Robert Burridge Studio .........................................73

Michael Story .......................................................76 Nancy Co uick Studios & Galler y............................. 74 National Society Of Artists ....................................79 Pastel So ciety Of America .....................................78

Portr ait Societ y Of Americ a ...................................17 Publicis M edia .....................................................19 RG & L Garafola .............................................13, 29

Savoir-Faire ...................................................28, 63 Sedona Arts Center ..............................................69 Shenandoah Art Destination ..................................78 Susan Ogilvie .......................................................75 The Art Engine .....................................................73 The Cultural Ce nter At Ponte Vedra Be ach ..............71 The Teaching Company .........................................23 Tom Lynch ...........................................................77 Vermont Institute Of Natural Sciences ...................78 Visual Arts Center ................................................79

The next Workshop Section will appear in The Artist’s Magazine’s December 2017 issue. Space Reservation is by August 31, 2017 Newsstand Date for December is October 31, 2017

William Sc hneider ................................................72 Wimberley Artists Workshops ................................70 Zola Delburn ........................................................77

Carol Lake • [email protected] • 385/414-1439 Mary McLane • [email protected] • 970/290-6065

CALL FOR ENTRIES DEADLINE: AUGUST 31, 2017 Audubon Artists Inc. 47 Fifth Avenue, New York, NY.

2017 Online Jury E xhibition, October 1 - December 31, 2017. Awards Announcement: Oct. 10th. Over $2 0,000 in cash, medals & merchandise awards. Open to Audubon Artists. Elected and Associate Members Only residing in the USA. Online entry requirements: All exhibit entrants must register, pay $20 entry fee & submit jpeg image. From June 1 - August 31, 2017. Elected & Honorar y Members Jury Free. Medium Categories, Aquamedia, Collage & Mixed Media, Graphics, Oils/Acrylics, Pastels, Sculpture. Elected member dues $60. Associate member dues $40. Must be paid online by June 30, 2017. Dues beginning July 1, incur $15 late fee. Artists must pay Current or Arrears dues to participate in the exhibit. New associates welcome for entry. Awards Jurors - to be announced. To obtain prospectus www.audubonartists.org

DEADLINE: SEPTEMBER 4, 2017 Sixth Biennial National Juried Open Exhibition “Pastels Chicago 2017” November 8 - December 3, 2017 at the

Mayslake Peabody Estate in Oak Brook, Illinois. $1,500 Best of Show with approximately $8,000 in cash and merchandise. Juror of Selection: Jen Evenhus, Judge of Awards: Ellen Eagle. Members $35/Non-members $45, up to 3 entries. Soft pastels only. Online entry only. Prospectus and link to ShowSubmit at www.ChicagoPastelPainters.org

DEADLINE: SEPTEMBER 7, 2017 National Society of Artist 33rd Juried National Art Show,

in Galveston, Texas, is accepting entries online. Open to all artists of different mediums in 2D and 3D that are original. No older than 3 years. No nudes or violence. Notification by email September 20, 2017. Entry fee $30 for first, $10 for each additional. Shipped artwork due by October 5, 2017. Hand delivered artwork due by October 11, 2017. Total prize money $3,000. JPEG entries accepted at www.onlinejuriedshows.com. Prospectus at www.nsartists.org

DEADLINE: SEPTEMBER 8, 2017 Cape Cod Art Association All New England Open Juried Exhibition & Sale.  October 16 - November 12. Submit

HADE

digital images through https://client.smarterentry.com/  capecodart before September 8 deadline. Accepted work received by October 16. Reception: 5-7pm Thursday, October 19. Pickup: November 13. Over $3,000 cash awards. www.CapeCodArtAssoc.org

    S     m     D     o     c     A  .      d     4     E     a     1     H     e     6      h      3     7     e  .      9      h     L      t      0      f     L     o     8  .     s     0     A     e     6     n     7     E     a      l     E     p     S

DEADLINE: SEPTEMBER 15, 2017 Art Gallery of Fells Point 34th North American Miniature Exhibition, October 4 - November 5, 2017.

Prospectus - www.fellspointgallery.org. Artwork accepted August 16 - September 17, 2017. Cash prizes. For more information, please contact Pat Baker, [email protected]

DEADLINE: OCTOBER 1, 2017 American Artists Professional League’s 89th Grand National Exhibition Annual Open Juried Show On Line.

Show dates October 9 - December 29, 2017. Open to all art ists. Media: Oil & Acr ylic (Oil Technique), Water Media & Acrylic ( Watercolor Technique), Pastel, Mixed Media & Graphics and Sculpture. Over $15,000 in awards, medals and merchandise will be given. Submit your entries online at www.americanartistsprofessionalleague.org. The prospectus can be downloaded from the website, or send a SASE to: AAPL, Salmagundi Club, 47 Fifth Ave, New York, NY 10003. More Information: Email: offi[email protected] or Tel: 212/645-1345.

The Fine Art of Framing 

DEADLINE: NOVEMBER 3, 2017 Catharine Lorillard Wolfe Art Club, Inc.  121st Annual

Hundreds of ready made frames in sizes from 4” x 6” to 48” x 72”

Open Juried Exhibition at the National Arts Club, NY. January 9-25, 2018. Open to women artists. Media: Oil, Acrylic, Watercolor, Pastel, Graphics, Mixed Media and Sculpture. Over $10,000 in awards. Entry fee: $45/  Members, $50/Associates, $55/Non-Members. Online entry. Submit your entries at www.showsubmit.com Download the prospectus at www.clwac.org

DEADLINE: DECEMBER 10, 2017 11th Biennial National Art Exhibition,  Visual Arts Center,

Punta Gorda, FL. February 2 - March 23, 2018. Juror: Steven J. Levin. Best of show $2,000. Entry fees $35 1st, $15 2nd and 3rd. Online entries only www.juriedartservices.com Prospectus www.visualartcenter.org

CUSTOM SIZE FRAMES AVAILABLE IN MANY STYLES

Order Online:

 ArtGalleryFrames.com

EARLY-BIRD DEADLINE: SEPTEMBER 8, 2017

F RAY

SHOW OFF YOUR VIBRANCY IN BLACK & WHITE. Shed your colors and enter your best black, white and gray drawing in the Shades of Gray competition, presented by Drawing magazine. You could gain a lot by working with the power of black, white and gray, including $1,000 in cash, an appearance in Drawing magazine and national recognition.

Stickley at Rest , by Janet Evander. Third-place winner, 2016 Shades of Gray Competition

Accepted media include: • Graphite • Chalk • Charcoal • Colored Pencil • Pastel • Pen-and-Ink

For the full list of prizes and rules, visit

• Ballpoint Pen • Mixed Media • And More!

artistsnetwork.com/shadesofgray

SEPTEMBER 2017

79

Competition Spotlight artists are chosen from The Artist’s Magazine ’s annual art competition finalists.

The Artist’s Magazine  Annual Art Competition 2016 Finalist

COMPETITION SPOTLIGHT

ABOVE: Happy-Go-Lucky  (watercolor and gouache on board, 16x20)

Jan-Niklas Tants Garching, Germany I STUDIED BIOCHEMISTRY IN COLLEGE,  but art was always a leisure activity. During the four years while I was working on my Ph.D., I began painting more and tried to improve by studying other wildlife artists. The predominent medium in Happy-Go-Lucky  is watercolor. I generally follow the classical approach of lightto-dark; I t ypically don’t use any white. Several layers were 80  artistsmagazine.com

required to get the final colors. I only use Schmincke watercolors; here I used a layer of gouache for a dusty effect, which also helped push the other elephants further back. I used gouache to put sunny highlights on the elephant’s wet skin and for the reflections in the water. I knew it would be a challenge to paint so many elephants, and indeed, it

Be passionate about what you do. Passion can guide you through the difficult times you will no doubt have during the painting process. Passion keeps you going.

was challenging to focus on all of their small wrinkles. It was important for the varying tones and grays to exist harmoniously and not clash, but also to differ enough to suggest individual animals and specific body parts. I loved painting the little elephant’s face; you really build a close relationship with the subject while painting it as you see it come to life. ■

Call for Entries

EARLY-BIRD DEADLINE: SEPTEMBER 5

We’re looking for artists age 60+

10 winners — $250 each

working in two dimensions in all art media. Submit your work and you could see it featured in The Artist’s Magazine!

10 winners will be prominently featured in the magazine and will receive $250 each in cash prizes.

For complete guidelines and to enter, visit

artistsnetwork.com/competitions/over-60-art-competition Vase with Flowers V  by Kristin Herzog (acrylic on canvas, 36x36); photo by Peter Toth

cadmium

cadmium-free

The only difference? Cadmium-Free is safer for you. As an artist, you take risks every day. But if there’s one thing you should be able to rely on, it’s your tools. Recently, cadmium in paint has come into question. Some say cadmium risks your health. Others say non-cadmium risks quality. But you shouldn’t have to choose one over the other. So we created the world’s first non-cadmium acrylic paint with the same brightness, color strength and opacity as cadmium paint.

Liquitex Heavy Body Cadmium-Free. www.liquitex.com/cadmium-free

IN THIS ISSUE SEPTEMBER 2017

VOLUME 34 NUMBER 7

COLUMNS 7  Perspective 8

The Artist’s Life

10

Brushing Up

16

Drawing Board

22

Ask the Experts

64

Road Test

80

Competition Spotlight

54

FEATURES 30

 Joseph Raffael in the Now In small paintings focused on solitary flowers, Joseph Raffael celebrates single moments of beauty. BY BETSY DILLARD STROUD

ON THE COVER 16 10 30

38

Going Abstract Emil Robinson’s paintings of interiors have evolved from literal depictions to portrayals of contemplative space. BY JOHN A. PARKS

46

  54 8 22

46

Giving Voice to the Soul Cast in a theater of unpleasant truths, Margaret Bowland‘s figures convey unflinching grace. BY LOUISE B. HAFESH

54

Artist on the Go In ink and watercolor paintings, Roger De Muth preserves architectural treasures ranging from landmark urban structures to careworn dwellings. BY HOLLY DAVIS

(ink and watercolor, 10½x13) by Roger De Muth

ABOVE: Alfred Bernard’s House

7 38 9 80

Stephen Cefalo on Drawing the Figure Gold Leaf Today Living in the Now: Joseph Raffael Margaret Bowland’s “Uncomfortable” Pictures Around the World: City Scenes in Watercolor, Pen & Ink Fathers & Sons by Way of Japan Night Scenes: Plein Air in the Dark Queer British Art at the Tate Journey From Representation to Abstraction Social Star: Vincent Giarrano From Biochemistry to Art COVER: Radiant Heart  (detail;

watercolor on paper, 17½x18¼) by Joseph Raffael