Thursday, April 28, 2011


The week long workshop in Juliette Aristides' atelier went well. We covered the bolus earth grounds of the 17th century, under-painting with a dual temperature palette, glazes and working wet-into-wet while glazing.
The last three days were devoted to the sequential palette settings and some of the ideas of the leading portrait painters of the 18th century. For those studies we worked on a grey ground in a more direct method, eschewing (but not before discussing ) the grisaille approach of Reynolds and Romney in favor of the more or less alla prima approach of Stuart, Gainsborough and Lawrence.
It was a lot of fun and I am very fortunate to have been invited by Juliette to present this information and lead this extensive workshop.
All 20 of the atelier students at work.
A photo of one of the students' palettes displaying a typical "set" portrait palette, second sitting, in the 18th century vein.
Heartfelt thanks to Juliette and all her dedicated students.

Additionally my regular semesters' offerings have been moving along well.
 Here is a students' two hour figure study in oils under way in my Saturday afternoon figure painting class.
We had only met twice at this point and the students have all risen to the challenge of creating a full length figure painting in just two short hours (after I demonstrate and lecture for the first hour of the three hour session) very admirably.
Another photo from only the second week of the term.
This time it is perspective class.
Students have been applying the slide lecture and drawing demo information from the first part of class to rendering classic views (this time from the Colosseum in Rome, circa 1820).
Students use sepia wash as the medium which helps them understand tonal relationships as a perspectival device, along with edge qualities. Composition is also discussed while analyzing these assignment images.
Soon the class will be taking frequent field trips to nearby cathedrals to draw and paint on-sight.