Auction Preview: European Art Auction, Nov. 8, 2013, Heritage Auctions, Dallas

October 6, 2013, 5:55 pm

≫ Next: Auction Preview: 19th Century European Art October 28th, Christie's NYC

≪ Previous: Auction Preview: Illustration Art October 26 - NYC

Thomas Frederick Mason Sheard (1866-1921)
Polishing Silver
oil on canvas
40 X 33⅝ in.

Heritage Auctions, the third largest auction house in the world, will be holding its signature sale of European Art on November 8th. Full previews of all 97 lots will take place November 6-8 at Heritage's Slocum Street location in Dallas. For more information, or to see the full, online, auction catalog, please visit the HA website.

Franz Rumpler (1848-1922)
Portrait of a Young Girl with a Mandolin and Cats
oil on canvas
50 X 30 in.

Carl Ludwig Friedrich Becker (1820-1900)
Mother and Child, 1878
oil on canvas
43¼ X 31in.

Arthur Hughes (1832-1915)
The Footstep
oil on canvas
18¾ X 27½ in.

Anders Zorn (1860-1920)
Entering the Cellar, 1916
oil on canvas
38½ X 29

Anders Zorn (1860-1920)
Little Girl in Traditional Dress, 1883
watercolor on paper laid on board
22¾ X 15 in.

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Auction Preview: 19th Century European Art October 28th, Christie's NYC

October 8, 2013, 8:30 pm

≫ Next: Auction Preview: Sotheby's 19th Century European Art NYC, November 8, 2013

≪ Previous: Auction Preview: European Art Auction, Nov. 8, 2013, Heritage Auctions, Dallas

Edmund Blair Leighton (British, 1852-1922)
To Arms! 'Sweet bridal hymn, that issuing through the porch is rudely challenged with the cry "To arms!"', 1888
oil on canvas
60 X 41 1/2 in.

It's Autumn, which means the auction houses in New York City are gearing up for their sales of 19th century European art. Sotheby's will be holding their auction on November 8th, with highlights in the sale including works by Sir Lawrence Alma-Tadema, and Joaquin Sorolla; but coming up first will be the sale at Christie's, on October 28th.

The Christie's auction of 19th Century European Art features works by several artists frequently featured in such sales, including Barbizon School landscape painter Jean-Baptiste-Camille Corot, portraitist Giovanni Boldini, and maritime artist Montague Dawson, but it lacks some of the artists who usually draw the larger crowds, like Tadema, Gérôme, and Bouguereau (there is one piece for sale by Bouguereau's wife, Elizabeth Jane Gardner, however, and another by Tadema's second wife, Lady Laura). What is unusual, and exciting, about this sale, however, is the presence of not one, but three paintings by Edmund Blair Leighton - a popular Victorian artist whose works come up for auction infrequently.

Born in London on September 21st, 1852, Edmund Blair Leighton was destined to follow in the footsteps of his father, Charles Leighton, a promising young artist who died when the boy was only three years old. After Charles' death, Blair Leighton's mother established a school for young girls in order to support her family, and, fearing this was not the best environment to raise her young son, sent Blair Leighton to a boarding school in St. John's Wood, where he spent the next decade suffering mistreatment at the hands of his school masters. At age twelve he left to attend the University College School, and by age fifteen he had completed his studies, and was sent to work for a tea merchant in London. With the freedom he attained through his small income, he was finally able to pursue his own interests, and began attending evening classes at the South Kensington School of Art and at Heatherly's School of Art. After six years working this way, Blair Leighton left his job, and enrolled full-time in the Royal Academy schools where he remained for another five years.

In 1878, Blair Leighton began exhibiting at the Royal Academy, and over the next 42 years, he contributed a total of sixty-six pictures to the annual summer exhibitions. His paintings, which were "monumental in scale and appealing in subject matter,"were extremely popular with publishers, and with the public, many of whose homes contained reproductions of the artist's greatest works. Although the highpoint of his career was reached at the turn of the century, when he passed away on September 1st, 1922, he was still remembered fondly in the newspapers for his ability to excite interest in antiquity and romance.

"To Arms!," which was exhibited at the Royal Academy in 1888, depicts a young knight and his bride leaving the church immediately following their marriage ceremony. The young couple's parents stand on the Church steps and look on in consternation as a knight in full armor urgently informs the newlywed groom of impending war and his need to join the fight. This picture was clearly the first of a series of large paintings in which a knight and his lady are seen in incidents illustrative of the code of chivalry; God Speed was painted in 1900 (fig. 1), The Accolade followed in 1901 (fig. 2) and The Dedication in 1903. Much of the arms and armor that feature in all of these paintings as well as others were no doubt from the artist's own collection.

All 93 lots in the 19th Century European Art sale will be available for viewing at Christie's New York City location at 20 Rockefeller Plaza beginning October 24th. The full catalog can also be viewed online at Christie's website.

VIEWING TIMES

October 24, 10am - 5pm

October 25, 10am - 5pm

October 26, 10am - 5pm

October 27, 1pm - 5pm

October 28, 10am - 12pm

To Arms! (detail)

Edmund Blair Leighton (British, 1852-1922)
A Favour, 1898
oil on canvas
36 X 20 1/4 in.

Edmund Blair Leighton (British, 1852-1922)
The New Governess, 1894
oil on canvas
22 3/4 X 15 5/8 in.

Lady Laura Alma-Tadema (British, 1852-1909)
The Pledge, 1889
oil on panel
15 3/4 X 20 in.

Isidor Kaufmann (Austrian, 1853-1921)
A Difficult Passage in the Talmud
oil on panel
13 X 11 1/4 in.

Elizabeth Jane Gardner Bouguereau (American, 1851-1922)
Moses in the Bulrushes
oil on canvas
49 1/4 X 34 3/4 in.

Jules Adolph Goupil (French, 1839-1883)
Le bibelot
oil on panel
36 X 22 1/2 in.

Ugo Zannoni (Italian, 1836-1898)
Seated Girl Crocheting, 1878
marble, with green marble pedestal
40 1/2 inches tall

Alberto Pasini (Italian, 1826-1899)
On the Steps of the Mosque, Constantinople, 1872
oil on canvas
14 X 11 in.

Géza Vastagh (Hungarian, 1866-1919)
Three Lions Walking Down a Rocky Hillside
oil on canvas
66 1/2 X 53 in.

Henri-Joseph Harpignies (French, 1819-1916)
Souvenir de Dauphiné, 1898
oil on canvas
32 X 25 7/8 in.

Emilio Sanchez-Perrier (Spanish, 1855-1907)
Acalá de Henares
oil on panel
15 3/4 X 22 in.

Montague Dawson (British, 1895-1973)
Henry Morgan's Ship off Gorgona in the Pacific
oil on canvas
40 X 50 in.

Benjamin Constant (French, 1845-1902)
An Afternoon Idyll
oil on canvas
24 1/8 X 39 1/2 in.

Giovanni Boldini (Italian, 1842-1931)
Suonatrice di lira e ascoltatrice (Woman Playing a Lyre and a Listener), 1875
oil on panel
26 1/4 X 22 in.

James Jacques Joseph Tissot (French, 1836-1902)
In the Conservatory (Rivals)
oil on canvas
15 1/8 X 20 1/8 in.

From the Christie's press release:

New York– On Monday, 28 October, Christie’s will present the fall sale of 19th Century European Art in New York. The well-curated sale boasts a diverse selection of 93 lots, representing key schools and artists. Highlighting the sale is James Jacques Joseph Tissot’s Victorian masterwork, In the Conservatory (Rivals), while works from Alberto Pasini and Jean-Baptiste-Camille Corot are among the Orientalist and Barbizon highlights. Female artists also figure prominently in the sale, including Elizabeth Jane Gardner Bouguereau and Rosa Bonheur, among others. The sale represents artists from a total of twelve different European countries, including Great Britain, France, Germany, Austria, Spain and Italy.

VICTORIAN ART

In the Conservatory (Rivals) by James Jacques Joseph Tissot, which hails from the Metropolitan Museum of Art, New York, is a tour-de-force of the artist’s skill (illustrated page 1; estimate: $2,500,000-3,500,000). Gifted to the Museum by the esteemed collector Mrs. Jayne Wrightsman, this painting showcases, through an impeccably detailed execution, the splendors of wealth that were available in the 1870s this comedy of manners is set against the backdrop of afternoon tea in a lush conservatory. Tissot, a French-born Anglophile, settled in England in 1871 and Rivals was likely aimed toward appealing to the new generation of collectors. A classic example of Tissot’s “storytelling,” the Victorian work incorporates a plethora of gestures, expressions, and interactions between the subjects, but the plot is kept vague. This deliberate ambiguity keeps viewers imagining what has just happened. Also popular among Victorian audiences were grand scenes of England’s historical past. Edmund Blair Leighton’s A Call to Arms (To Arms!) is an iconic representation of the universal themes of Arthurian legend (illustrated left; estimate: $400,000-600,000). This work depicts a young knight and his new bride leaving the church where they have just been married, only to be interrupted by another knight in full armor who has come to tell the groom that he is needed for war. An impressive five feet tall, To Arms reveals Leighton’s skill as an accomplished draftsman and is one of the artist’s sixty-six paintings to have been exhibited at the Royal Academy over a span of forty-two years.

FRENCH ACADEMIC ART

Elizabeth Jane Gardner Bouguereau also sought to evoke emotion in her viewers through the painting Moses in the Bulrushes (illustrated right; estimate: $250,000-350,000). Born in New Hampshire, Elizabeth Gardner traveled to Europe in the 1860s to study art, eventually settling in Paris. It was here that she would study with several of the leading artists of the time, including William Bouguereau, whom she would later marry. She also began one of the longest Salon careers in history while in Paris, lasting forty-six years, from 1868 to 1914. Moses in the Bulrushes was Gardner’s entry in the Salon of 1878 and addresses a theme from religion that was traditionally considered too grand and monumental for a female artist. The moment she chose to depict was from the Old Testament, when the Pharaoh’s daughter discovers the newborn Moses in a basket in the Nile; her handmaiden peeks through the bulrushes to ensure they are not seen. The personal and intimate feeling of the work is what differentiates Gardner’s work from that of her husband, to whom she is often compared. This entry would help cement her place in the male-dominated world of Academic painting.

ORIENTALIST ART

Among the strong selections of Orientalist Art will be On the Steps of the Mosque, Constantinople by Alberto Pasini (illustrated right; estimate: $100,000-150,000). Italian-born, Pasini spent much of his time in France. In an 1855 French expedition to the Near-East, he encountered Orientalism, the style that would have a profound impact on his art. Pasini’s realistic painting depicts different social types brought together by the common bonds of trade and religion. Another highlight is Benjamin Constant’s An Afternoon Idyll, circa 1855, a scene of a late afternoon with a storm brewing in the distance (illustrated page 4; estimate: $150,000-250,000). Constant captured intense light effects and environmental richness by juxtaposing the darkening skies against the bright seas and costumes of the young women.

BARBIZON SCHOOL OF ART

Among the Barbizon highlights of the sale is La mare aux vaches à la tombée du jour by Jean-Baptiste-Camille Corot, which has been in the same private collection for nearly thirty years (illustrated left; estimate: $180,000-220,000). This atmospheric landscape represents the artist’s meditations on nature and was never intended to portray specific moments in time or place. It was this approach, so exquisitely executed in this painting, which earned Corot the reputation as a “poet of landscape,” rather than a “painter” of it. Despite its openness to interpretation, Corot’s skill in perfectly capturing his surroundings is remarkable, as the work portrays the moment of crepuscule, when the land is bathed in half-light and the sky still retains the beauty, light, and color of the already-set sun.

WORKS OF ART FROM RENOWNED INSTITUTIONS

The October sale of 19th Century European Art will include several works of art from renowned institutions. Twelve pieces from the Toledo Museum of Art will be sold to benefit the Acquisitions Fund, including Félix Ziem’s Embarquement devant la bibliothèque Marciana, a lovely Venetian cityscape, which has been in the museum’s collection for 91 years (illustrated right; estimate: $60,000-80,000). Also included are works by artists such as Henri-Joseph Harpignies, Jozef Israëls, and Joseph Bail, among others. In addition to Tissot’s Rivals, two other works from the Metropolitan Museum of Art will be sold, as well – François Vernay’s Still-Life with Fruit (estimate: $8,000-10,000) and Jean-Baptiste-Camille Corot’s Deux Bateliers en Rivière (illustrated page 4; estimate: $120,000-180,000).

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Auction Preview: Sotheby's 19th Century European Art NYC, November 8, 2013

October 12, 2013, 9:50 pm

≫ Next: Words of Wisdom: Sir George Clausen on Underpaintings

≪ Previous: Auction Preview: 19th Century European Art October 28th, Christie's NYC

Pascal Adolphe Jean Dagnan-Bouveret (French, 1852-1929)
Hamlet et les fossoyeurs, 1884
oil on canvas
40 X 33 1/2 in.

The catalog for the upcoming auction of 19th Century European Art, featuring nearly ninety paintings and sculptures, is now online at the Sotheby's website. Highlights of the sale include works by William Adolphe Bouguereau, Sir Lawrence Alma-Tadema, John William Godward, Jean-Léon Gérôme, Pascal Adolphe Jean Dagnan-Bouveret, and a recently rediscovered painting by Joaquín Sorolla.

Prior to the actual day of the sale, all lots in the auction will be available for preview at Sotheby's New York City location at the corner of 72nd Street and York Avenue. As always, these viewings are free, and open to the public.

PREVIEW TIMES

Friday, November 1 | 10:00 AM - 5:00 PM
Saturday, November 2 | 10:00 AM - 5:00 PM
Sunday, November 3 | 1:00 PM - 5:00 PM
Monday, November 4 | 10:00 AM - 5:00 PM
Tuesday, November 5 | 10:00 AM - 5:00 PM
Wednesday, November 6 | 10:00 AM - 5:00 PM
Thursday, November 7 | 10:00 AM - 1:00 PM

Dagnan-Bouveret (detail)

William Adolphe Bouguereau (French, 1825-1905)
Blessures d'amour, 1897
oil on canvas
75 1/2 X 45 in.

William Adolphe Bouguereau (French, 1825-1905)
Portrait of a Man, 1850
oil on canvas
18 1/8 X 15 in.

William Adolphe Bouguereau (French, 1825-1905)
Il s'enfuit à tire d'ailes, 1855
pencil on paper
17 1/4 X 14 1/4 in.

William Adolphe Bouguereau (French, 1825-1905)
Tendres propos
oil on canvas
12 3/4 X 8 1/2 in.

William Adolphe Bouguereau (French, 1825-1905)
Joueur de flûte, 1878
oil on canvas
16 X 13 in.

William Adolphe Bouguereau (French, 1825-1905)
Souvenir, 1894
oil on canvas
28 X 20 in.

Albert Ritzberger (German, 1853-1915)
At the Fountain, 1895
oil on canvas
44 X 31 in.

Sir Lawrence Alma-Tadema (British, 1836-1912)
The Benediction
oil on panel
21 1/2 X 5 1/8 in.

John William Godward (British, 1861-1922)
Clymene, 1892
oil on canvas
9 3/4 X 6 3/4 in.

John William Godward (British, 1861-1922)
Dolce Far Niente, 1906
oil on canvas
14 1/4 X 29 in.

Sir Alfred James Munnings (British, 1878-1959)
Kempton Park Stables
oil on panel
14 X 28 in.

Jean-Léon Gérôme (French, 1824-1904)
Diane et Actéon
oil on canvas
25 1/4 X 39 1/4 in.

Peder Mønsted (Danish, 1859-1941)
Heather-covered Hills by the Lakes Near Silkeborg, 1907
oil on canvas
48 X 79 1/2 in.

Emilio Sánchez-Perrier (Spanish, 1855-1907)
Boating Along a Quiet River, Acala, 1886
oil on panel
13 7/8 X 8 3/4 in.

Emilio Sánchez-Perrier (Spanish, 1855-1907)
Washerwomen at the Edge of the River, Guillena
oil on panel
9 X 18 1/2 in.

Charles Courtney Curran (American, 1861-1942)
Summer, 1906
oil on canvas
24 X 36 1/4 in.

Léon-Augustin Lhermitte (French, 1844-1925)
Laveuses à mezy
oil on canvas
20 X 29 3/4 in.

Julien Dupré (French, 1851-1910)
A Milkmaid with Her Cows at Pasture
oil on canvas
21 1/2 X 25 3/4 in.

Daniel Ridgway Knight (Ameican, 1839-1924)
Normandy Girl Sitting in a Garden
oil on canvas
32 X 25 7/8 in.

Daniel Ridgway Knight (Ameican, 1839-1924)
On the Terrace at Rolleboise
oil on canvas
32 X 26 in.

Frederic, Lord Leighton (British, 1830-1896)
The Star of Bethlehem
oil on canvas
61 X 23 3/4 in.

Jean-Léon Gérôme (French, 1824-1904)
Allegory of Night, 1859
oil on canvas
89 3/4 in. diameter

Jean-Léon Gérôme (French, 1824-1904)
Atelier de Tanagra
oil on canvas
25 3/8 X 35 7/8 in.

Frederick Arthur Bridgman (American, 1847-1928)
The Procession of the Bull Apis, 1879
oil on canvas
40 X 70 in.

Edwin Lord Weeks (American, 1849-1903)
The Pearl Mosque, Agra
oil on canvas
20 1/4 X 30 1/8 in.

Edwin Lord Weeks (American, 1849-1903)
Persian Café - The Pottery Selleroil on canvas
20 1/8 X 24 1/4 in.

Alexandre Cabanel (French, 1823-1889)
Rebecca et Eliézer, 1883
oil on canvas
22 1/2 X 37 3/4 in.

Peder Mønsted (Danish, 1859-1941)
A View of Anacapri, 1888
oil on canvas
26 X 48 in.

Jehan Georges Vibert (French, 1840-1902)
The Peeping Roofers and the Woman's Bath
watercolor and gouache on paper
14 5/8 X 22 3/4 in. (top)
21 1/4 X 29 7/8 in. (bottom)

Jehan Georges Vibert (French, 1840-1902)
Tough Medicine
oil on canvas
14 X 11 in.

Alfred Stevens (Belgian, 1823-1906)
Femme au balcon
oil on canvas
16 1/8 X 11 in.

François Bonvin (French, 1817-1887)
Femme tricotant, 1881
oil on canvas
20 3/4 X 15 1/2 in.

René-François-Xavier Prinet (French, 1861-1946)
Salon de famille
oil on canvas
38 X 30 7/8 in.

Eugen Von Blaas (Austrian, 1843-1931)
The Love Letter
oil on canvas
33 3/8 X 27 in.

Franz Dvorak (Czech, 1862-1912 or 1927)
Mystic Roses, 1911
oil on canvas
50 3/8 X 60 1/4 in.

Joaquìn Sorolla y Bastida (Spanish, 1863-1923)
Buscando Mariscos, Playa de Valencia, 1907
oil o canvas
23 3/4 X 37 3/8 in.

↧

Words of Wisdom: Sir George Clausen on Underpaintings

December 8, 2013, 7:05 pm

≫ Next: Colour Composition with Michael John Angel

≪ Previous: Auction Preview: Sotheby's 19th Century European Art NYC, November 8, 2013

Sir George Clausen
The Barn Door
oil on canvas
30 X 25 in.

Another object of underpainting is the determining of the design of light and dark. All paint changes a little, lowers a little, with time ; and if a picture has no strong arrangement of light and dark, but depends for its beauty on subtle delicacies and differences of value, these are often lost in a few years through the flattening down of the paint ; while if there is a strong backbone, as it were, of light and shade beneath the colour, the picture will always be effective, and the main features remain, in spite of any little changes.

Clausen, George, Six Lectures on Painting, (E.P. Dutton & Co., New York, 1906), p. 59.

↧

Colour Composition with Michael John Angel

December 9, 2013, 7:15 pm

≫ Next: Sneak Peek: Jeremy Lipking at Arcadia Contemporary NYC December 12 - 31

≪ Previous: Words of Wisdom: Sir George Clausen on Underpaintings

Recently, Michael John Angel, Master of the Angel Academy of Art in Florence, Italy, posted a lesson about "Colour Composition" on his school's blog. He was kind enough to share that post with the readers of Underpaintings.

--------------------------------------------------

Colour Composition

Colour has three aspects: hue, value and chroma. Colour composition begins with a value scheme (lighter or darker greys), and there are eight or ten of these schemes (the disparity of the numbers is caused by the fact that the value schemes actually elide into each other, rather than being discrete; the cut-off point between schemes is not fixed). The two examples given here use what I call the Holbein Scheme and the Two-tone Silhouette.

The Holbein Scheme comprises a light-value focus (the face) that is supported by a dark base (the clothing), the dark shape of which is then designed upward to completely surround the focus. The whole of this is seen against a mid-tone background, whether plain (as here, in fig. 1) or representational.

Figure 1

The artist next chooses a hue scheme from the colour wheel (fig. 2). These hue schemes can be of complimentary colours, near compliments, triads, analogous colours, etc. In our example, Holbein has chosen a complimentary scheme: red-orange (the face, the low chroma dark clothing and the sleeves) and a greenish blue (the background). Please note that these schemes have nothing to do with the style in which the painting is painted: the Annigoni (top row, second from the left) and the Holbein (third from the left) are smoothly painted, while the Rembrandt (first on the left) and the Millais (at the extreme right) are very painterly indeed, but the value schemes are identical. Please note, too, that the overall value family of the mid-tone background is the main factor in defining the mood of the painting: the darker the mid-tone family, the more brooding and/or mysterious the painting.

Figure 2

The most mysterious of all the value compositions is, of course, the two-tone silhouette. In our example (fig. 3), we see, on the top row, a Rembrandt, a Caravaggio and a Thomas Lawrence, all essentially a number of light shapes seen against a very dark everything-else. True, there is a value range within the assembly of light shapes, but that range is nothing compared to the overwhelming contrast created by the dark “everything-else.” Caravaggio (on the bottom row) has superimposed his usual low- to middle-chroma yellow-orange to red-orange analogous hue scheme onto this two-tone value scheme.

Figure 3

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Sneak Peek: Jeremy Lipking at Arcadia Contemporary NYC December 12 - 31

December 11, 2013, 10:14 pm

≫ Next: Sneak Peek: One-Year Anniversary Show Maxwell Alexander Gallery Culver City, CA

≪ Previous: Colour Composition with Michael John Angel

Jeremy Lipking
October Aspens
oil on linen
20 X 30 inches

Jeremy Lipking's long-anticipated return to New York City begins today with a one-man show at Arcadia Contemporary in SoHo. The exhibit features nearly two dozen new paintings, and though all of the works display the charm and technical virtuosity that have made Lipking so highly-regarded among both collectors and fellow-artists alike, this show offers a personal glimpse of the painter seldom seen before. Not only does the show center around Lipking's family - with a series of images of his daughter Skylar and several of his son Jacob and wife Danielle - there is also a rare self-portrait with Lipking assuming the role of one of his artistic inspirations, Anders Zorn.

The show opens tonight with an artist's reception from 6:00 - 8:00 PM, and will remain on view through the end of the month. Images from the show, including several works not pictured here, can be seen online at ISSUU.

Arcadia Contemporary is located at 51 Greene Street, between Grand and Broome Streets. It is open from 10am to 6pm Monday through Friday, and from 11am until 6pm weekends. For more information, please visit Arcadia's website.

Light and Coloroil on linen
16 X 21 inches

Minarets
oil on linen
16 X 20 inches

Innocence
oil on linen
22 X 16 inches

Dahlias
oil on linen
40 X 20 inches

Thoughts of Summer
oil on linen
41 X 27 inches

Adrift
oil on linen
40 X 40 inches

Green and Grey
oil on linen
9 X 12 inches

Interlude
oil on linen
22 X 30 inches

Venus
oil on linen
16 X 20 inches

Red and Whiteoil on linen
16 X 8 inches

Nocturneoil on linen
16 X 8 inches

Figure in Turquoise & Black
oil on linen
8 X 10 inches

Plein Air
oil on linen
16 X 20 inches

Self Portrait as Zornoil on linen
7 X 10 inches

Jacob at Sundown
oil on linen
40 X 24 inches

At Homeoil on linen
8 X 6 inches

Sofie at Dusk
oil on linen
24 X 16 inches

Sonyaoil on linen
12 X 16 inches

The Sledoil on linen
11 X 14 inches

Lone Pineoil on linen
8 X 6 inches

Chantal
oil on linen
8 X 10 inches

Peonies
oil on linen
18 X 24 inches

↧

Sneak Peek: One-Year Anniversary Show Maxwell Alexander Gallery Culver City, CA

December 13, 2013, 8:45 pm

≫ Next: The Art of Gerrymandering

≪ Previous: Sneak Peek: Jeremy Lipking at Arcadia Contemporary NYC December 12 - 31

Joseph Todorovitch
Painting of a Girl
oil
30 X 20 in.

Opening Saturday in Culver City, California, is a new show at the Maxwell Alexander Gallery. It is a celebratory exhibition marking the one-year anniversary of the ambitious, young gallery, and it features works by 13 of the artists the gallery has shown since opening. Among those on view will be Jeremy Lipking, Glenn Dean, Kris Lewis, Logan Maxwell Hagege, David Kassan, Tim Solliday, Bill Schenck, Duke Beardsley, Vincent Xeus, Kim Cogan, Joseph Todorovitch, and Jeremy Mann. Additionally, there will be some works by new artists the gallery expects to feature in the coming year.

“Our goal was to have tightly curated shows with the highest quality," says gallery owner Beau Alexander, "and I think we’ve been extremely successful at keeping this vision alive. I’m excited for our clients to see what we have planned for the coming year.”

The Maxwell Alexander Gallery is located at 6144 Washington Boulevard, in Culver City, California. For more information on the show, please visit the gallery's website, or contact owner, Beau Alexander, directly at 310.839.9242.

The One-Year Anniversary Show begins at 6:00 PM on December 14th.

David Kassan
Audrey
oil
16 X 20 in.

Jeremy Mann
Plumrose
oil
18 X 24 in.

Kim Cogan
Entrance
oil
42 X 32 in.

Jeremy Lipking
Canyon Shadows
oil
6 X 8 in.

Vincent Xeus
Never Landoil
20 X 16 in.

Kris Lewis
Sea Change
oil
20 X 20 in.

Glenn Dean
The Toil of Land and Sea
oil
30 X 40 in.

Tim Solliday
Desert Winds
Pastel
14 X 14.5 in.

Duke Beardsley
Prairie Rose
oil
30 X 30 in.

Bill Schenck
Ride Off the Mesa
oil
30 X 36 in.

Logan Maxwell Hagege
Light on the Round Clouds
oil
40 X 60 in.

↧

The Art of Gerrymandering

December 15, 2013, 8:15 am

≫ Next: New Instructional Video from Scott Waddell

≪ Previous: Sneak Peek: One-Year Anniversary Show Maxwell Alexander Gallery Culver City, CA

Portrait of Elbridge Gerry, a signer of the Declaration of Independence,
5th Vice-President of the United States, and a former Governor of Massachusetts. It was his
plan of redistricting Massachusetts which led to the term "Gerry-mander."

This past week, satirical journalist Jason Jones of Comedy Central's The Daily Show with Jon Stewart, produced a news story about the art of gerrymandering. Gerrymandering, of course, is the act of redrawing the boundaries of electoral districts - often in ridiculous, abstract shapes - to redistribute the votes of large groups of people whose ideology is in opposition to the incumbent party. It is a highly questionable, but legal, way of neutralizing a majority vote when the majority no longer sees eye-to-eye with the ruling power.

A pictorial representation of gerrymandering. Even though the votes represented in the image are equal, by redrawing the electoral district boundaries, one party is given a significant, undue advantage over the other.
(source: Electoral-Vote.com)

In Jones' segment, "American Horrible Story: Jason Jones Meets the Picasso of Gerrymandering," the reporter interviews redistricting consultant Kimball Brace, a man who compares the contorted geopolitical outlines he creates to fine art. Jones takes Brace's conceit and then runs with it, mocking the idea that such political rigging is art, while also lampooning Modern Art, artists, and the world of art galleries in general. The video was typical of Jones' recent work - aggressive yet funny - and quickly made its rounds among artists on social media sites.

This recent commercial for Verizon Wireless may have served as partial inspiration for Jones' Gerrymandering video.

As odd as it may seem, the idea of a relationship between gerrymandering and art may not be so far-fetched, however. Though sources do not agree, it is quite possible that the term "Gerry-mander" may have arisen through a collaboration between a newspaper-man and an artist. According to Brewer's Dictionary of Phrase & Fable (Cassell, London, 2001), it was none other than the famous portrait painter Gilbert Stuart who saw the similarity between Gerry's planned boundary of an electoral district in Essex County, Massachusetts, and a lizard. After re-drawing the district as a salamander, Stuart showed the polling map to his friend Benjamin Russell, editor of the Boston Sentinel, who declared it was better to call the new shape a "Gerry-mander." The name caught on, and though the practice was not new, this dubious form of redistricting will likely forever be associated with Governor Gerry because of an artist's little drawing and a writer's ability to create a memorable catchphrase.

↧

New Instructional Video from Scott Waddell

December 18, 2013, 7:45 pm

≫ Next: Under(paintings) the Mistletoe

≪ Previous: The Art of Gerrymandering

Artist and teacher Scott Waddell has just released a new download to his growing list of instructional videos. This new film "Drawing and Painting," is over an hour long and features several demonstrations of Waddell's impeccable oil painting technique. As always, Waddell is enthusiastic in his explanations, and quite clear, often making use digital animation to visually get his points across. Though I have just begun watching the tutorial this evening, I think this may be my favorite installment to date!

From Waddell's website description:

"This in-depth instructional video delves deep into the artistic process with several new drawing and painting demonstrations. These demonstrations cover a variety of concepts and techniques related to the many challenges facing artists. The video also covers all of the materials used in the demonstrations. Fully illustrated with never before seen animations and diagrams, this video covers such topics as block-in, optical and conceptual modes, color strings, painting various flesh tones, form under multiple lights and much more. This video also comes with a free Video Guide. This Video Guide is an additional pdf file that can be downloaded with the video files. It contains a Time Code Table of Contents for the video, an Illustrated Glossary, and a Materials List."

"Drawing and Painting" is available as an mp4 download for $37 through Scott Waddell's website. The running time is 71 minutes.

↧

Under(paintings) the Mistletoe

December 24, 2013, 11:16 pm

≫ Next: Portfolio: Vincent Giarrano (b.1960) Part 1

≪ Previous: New Instructional Video from Scott Waddell

↧

Portfolio: Vincent Giarrano (b.1960) Part 1

December 30, 2013, 12:35 pm

≫ Next: Technique: Vincent Giarrano Demo Part 1

≪ Previous: Under(paintings) the Mistletoe

Connecticut artist Vincent Giarrano derives most of his inspiration from a small, six square-mile area of America's east coast (some could argue that it really centers on ⅟₁₀ᵗʰ of a square-mile), but his regular collectors hail from regions from all across America, and as far away as Europe. This past year, demand for his paintings was so great, that if you followed him on social media – which I do – you would have noticed that almost every week a new show was announced somewhere in the world in which Giarrano was invited to participate. Whether it is the allure of New York City in Giarrano's pictures that attracts his adherents, or it is Giarrano's ability to relate to his viewers the mundane and introspective moments of everyday life, 2013 was a busy and successful year for this contemporary, representational artist.

Vincent Giarrano was born in Buffalo, New York, in 1960, and from an early age, showed a great deal of interest in art. He did not take his first formal training until age 17, however, but by the following year, he was enrolled at the State University of New York at Buffalo, where he earned his Bachelor's of Fine Arts degree in sculpture, four years later. Immediately after graduating from SUNY Buffalo, Giarrano enrolled in Syracuse University's Master Degree program, graduating with that prestigious diploma in 1985. With those degrees in hand, it could have easily been supposed that this native New Yorker would have remained Upstate to search out a university professorship, but he instead traveled down to New York City to pursue a career as a commercial artist.

That a fine artist like Giarrano began his professional life as an illustrator is not unusual, though what sets his path apart from that taken by most of his contemporaries is that Giarrano chose to cut his teeth in the difficult profession of being a comic book artist (Everett Raymond Kinstler being one of a few others who took the same journey). Earning jobs at such big publishers as Marvel and DC Comics, as well as at award-winning imprint companies such as Dark Horse Comics, Giarrano penciled, inked, and sometimes even wrote, for famous characters like Batman, Aquaman, Spider-Man, Green Lantern, Lobo, and Ghost Rider. But after two decades in the comics industry, Giarrano felt it was time for a change, so he moved from New York City to Connecticut and turned his artistic focus toward gallery art instead.

Since his move a decade ago, Giarrano has enjoyed much success and recognition in the art world. His paintings, especially those of Manhattan's trendy SoHo District, are extremely popular, as are his pictures of solitary and solemn women going about their daily routines. But it his ability to infuse the everyday with a subtle sense of narrative – a skill which has earned him favorable comparisons to cinematographers from Fellini to Hitchcock – which has probably made him so sought-after as an artist. By being able to tap into the contemporary psyche of the average "man on the street," Giarrano's paintings are able to transcend the geographic boundaries of New York City, and touch collectors everywhere.

Vincent Giarrano's work can be seen at Gallery Henoch in New York City; Susan Powell Fine Art, Madison, Connecticut; Haynes Galleries, Nashville, Tennessee; Waterhouse Gallery, Santa Barbara, California; Thompson's Galleries, London, England; and L'Oeil du Prince Galerie, Paris, France. His painting, City Girl, is also currently on view at the National Portrait Gallery at the Smithsonian Institution in Washington, D.C., where it was one of forty-eight works chosen for the 2013 Outwin Boochever Portrait Competition.

↧

Technique: Vincent Giarrano Demo Part 1

December 31, 2013, 10:15 am

≫ Next: Portfolio: Vincent Giarrano Part 2

≪ Previous: Portfolio: Vincent Giarrano (b.1960) Part 1

Vincent Giarrano
Commuining
oil
18 X 24 in.

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In this demonstration by Vincent Giarrano, the artist explains the process he used to make the oil painting Communing. Giarrano's typical palette consists of the following colors: Winsor green, ultramarine blue, cobalt blue, alizarin crimson, cadmium red, burnt sienna, cadmium orange, yellow ochre, cadmium yellow, ivory black, and titanium white, though he does sometimes add lemon yellow or raw umber, depending on his subject. He generally works on New Traditions panels, mounted with the company's L600, lead-primed Belgian linen, and uses bristle flat brushes made by Rosemary & Co.. For his medium Giarrano uses Gamblin Galkyd SD (slow drying), and for his solvent, he uses Gamsol, also made by Gamblin. Giarrano does occasionally make color notes on location, but does not generally work en plein air, preferring instead to execute his paintings in his studio.

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Stages for Communing:

1- "I usually start with a ground of ultramarine blue and burnt sienna. I can push it warm or cool and dark or light, depending on my subject."

2- "My sketch stage is more of a plan than a drawing. I locate important elements and spot my dark notes."

3- "Once I have enough information, I work in a direct painting method, finishing as I go. I focus on seeing shape and color and ignore what things are."

4 & 5- "As I work through, my process is to simplify and put those notes in, then address smaller, subtle notes."

5 (see caption above)

6- "While painting, I keep my original concept in mind. I also think about how the 'eye' will move through the piece, based on edges, resolve, color, thickness of paint, focal points, etc.."

7- The final painting. "Even though I've been finishing as I go, there are often changes or modifications that I'll make when I see the whole thing."

↧

Portfolio: Vincent Giarrano Part 2

January 1, 2014, 11:41 am

≫ Next: Upcoming Workshops: Max Ginsburg

≪ Previous: Technique: Vincent Giarrano Demo Part 1

↧

Upcoming Workshops: Max Ginsburg

January 1, 2014, 4:30 pm

≫ Next: Technique: Vincent Giarrano Demo Part 2

≪ Previous: Portfolio: Vincent Giarrano Part 2

↧

Technique: Vincent Giarrano Demo Part 2

January 2, 2014, 11:15 am

≫ Next: Portfolio: Vincent Giarrano (b. 1960) Part 3

≪ Previous: Upcoming Workshops: Max Ginsburg

Vincent Giarrano
Lobster with Bowl of Apples
oil
12 X 16 in.

Earlier this year, Vincent Giarrano (b. 1960) created a step-by-step still-life demonstration for Jerry's Artarama using Charvin Extra Fine Oil Colors, Charvin Extra Fine Painting Medium, Vermeer Classic Mongoose Hair Flat Brushes, and a Raphael Oil-Primed Linen Panel. To learn more about his process and the materials he used, please visit the blog, The Splatter, which teamed up with Giarrano to present this online lesson.

"I start by putting on a ground; paint thinned with turpentine. I use a brush and then wipe it around just lightly. I like a sort of a warm earth tone, usually ultramarine blue and burnt sienna."

"With the same mixture I sketch out my subject. It's more of a plan than a tight rendering. Through the painting process I know it'll be changed or lost. It's enough of a guide that I can concentrate on my shapes of color instead of the subject as a whole."

"Depending on my subject, I choose something to start with. In this case the background; that way I have a better sense of relating the rest of the painting to something correctly. It's also the furthest thing back, so I'm getting logical placement of one thing in front of another. For this painting I used a new medium; Charvin Extra Fine Painting Medium."

"My process for this painting is to finish as I go. I concentrate on painting things only once, however if something is wrong I can always change it. I overpaint shapes slightly so I don't wind up with gaps between color notes."

"I paint some of the table next so as to take advantage of working wet into wet with the background. Next I move onto the apples for the same reason and also because I'm still working from back to front."

"I'm concentrating on keeping my color notes clean and also painterly, so I use as few brush strokes as possible; one or two and then back to my paint palette."

"As I paint, I consider my edges and choose what I feel works best; hard, soft or lost edges."

"I work on the bowl next and use thicker paint as notes go lighter in value. The basic idea is light advances and shade recedes, so this goes along with thick paint advances or is noticed more and thin paint recedes or stays back."

"I start painting the lobster next, finishing as I go and moving left to right; the better to see and relate to what I've done, being right handed. I'm going back and forth between the red notes and the dark notes. I focus on keeping my colors clean and painting the color and shapes I see. It's important to ignore what your mind might be telling you about shapes and colors and concentrate more on what your eyes are really seeing. I finish up by painting in the table with the same things in mind."

"Afterward I look at the piece and decide if there's anything I missed or want to change. The only thing I do is add the shape of a table leg in the background on the bottom."

↧

Portfolio: Vincent Giarrano (b. 1960) Part 3

January 3, 2014, 12:45 pm

≫ Next: Workshop Database?

≪ Previous: Technique: Vincent Giarrano Demo Part 2

Ten Tips for Mapping Out the Figure by Vincent Giarrano¹

During the mapping out stage of drawing, it's important to consider the small individual shapes you see and also how those shapes line up with other parts of the figure.

1. Look for any smaller shapes that can help you define the larger shapes in the figure: shadow shapes (outline them), muscle shapes, creases and negative shapes (for example, the spaces between the limbs and the trunk of the body).

2. Try to ignore detail. I find it helps to think of the figure as a flat arrangement of shapes rather than a human body.

3. With each new shape, cross-check it against the surrounding shapes to confirm that it's right.

4. If the shape you see is too big or complex, imagine a line closing off part of it so it's more manageable.

5. When you come across something wrong, make a bold correction. Don't follow your previous lines.

6. If you get stuck, ask yourself, "What am I really seeing?" Imagine that you've never seen a figure before or that your subject is a pile of dough.

7. When necessary, use information you have about perspective and anatomy to support your observations - rather than letting this information lead you.

8. Keep hands and feet very simple at first (e.g. use a mitten-shape for hands). Then, when you have initial shapes established, you can break out the smaller shapes you see within.

9. For the head, use a simplified shape with only a cross to show what direction the head is facing (one line for the eyes and one following down the nose).

10. Just as you did for the figures, map out the head by looking for strong shapes and then pulling out the smaller ones. Resist the urge to draw things you know – the eyes, the nose, and the mouth. Just look for and render shapes of value. Squinting can help to simplify what you see.

¹Giarrano, Vincent, 10 Tips for Mapping out the Figure, "The Artist's Magazine," October 2011, Volume 28, number 8, (F+W Media, Cinncinati, 2011), p. 34.

↧

Workshop Database?

January 6, 2014, 9:00 am

≫ Next: Underpaintings at Auction

≪ Previous: Portfolio: Vincent Giarrano (b. 1960) Part 3

Image from a workshop with Jeremy Lipking (California, April, 2006)

I have been considering establishing an online database of art workshops on the Underpaintings blog. I attempted this once before, but the information I was trying to translate into an ongoing calendar quickly became too overwhelming for me to handle (admittedly, I may have also tried to include too much information on each workshop, leading to a work overload for myself). Eventually, the posts just faded away.

It's a new year, however, and I've decided to give it another go. To start, I will list the workshops in a similar manner to how I do the "What's on View" posts about current exhibitions, but I expect that will change over time. I may dedicate a separate page to the workshops later in the year, and over time, it would be nice if I could of course make cross-referencing the data easier (i.e. search by artist, search by state or region, search by price, etc.).

If you are an instructor with an upcoming workshop or a person who operates a facility where workshops are held, and you would like to be included in such a database, please send your information to me at underpaintings@innisfineart.com.

Wish me luck.

↧

Underpaintings at Auction

January 9, 2014, 12:05 am

≫ Next: Sketching and Drawing on Toned Paper with Stephen Cefalo

≪ Previous: Workshop Database?

This past holiday season, Underpaintings was given an extraordinary gift. Three artists – Teresa Oaxaca, David Gluck, and Katherine Stone– donated some of their original works to help raise funds for maintaining the blog. It was their way of supporting what I attempt to do here, while at the same time offering their collectors a great opportunity to acquire some seldom-seen, studio works. All four artworks are now up for auction on eBay, the proceeds from the sale of which will benefit Underpaintings.

I have had the works in my studio for the past couple of weeks, and I must admit, I will be very sad to see them go. They have been real motivators for me – a bit intimidating, truthfully, but they definitely make me want to be a better artist. Oh, how I wish they were mine!

Best of luck to all of the bidders, and thank you once again to Teresa, David, and Kate for your generous gift.

(Incidentally, Oaxaca, Gluck, and Stone will have a three-person show later this year at SR Brennen Gallery in Santa Fe called "The Uncanny." It promises to be an incredible show. I can't wait!)

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Katherine Stone
Sullen Art (study of Dory) (preliminary drawing)
signed "KS," lower left
25 X 19 in.
charcoal on paper

Listing # 121250971368

"Up for bid is an original, charcoal, preparatory drawing by Canadian artist, Katherine Stone (b. 1986). The piece, 'Craft or Sullen Art,' takes its name from a poem by Dylan Thomas ('In My Craft or Sullen Art'), and pictures Dorry, a skilled textile artist related to Stone. It is an image which reflects Thomas' own thoughts about laboring on one's art for the sake of the lovers of the world, instead of creating art to garner fame or money. An oil painting by the same title was later done by Stone from this study.

'Craft of Sullen Art' measures 25 X 19 inches, and is executed in charcoal on toned pastel paper. It is signed with the monogram 'KS' in the lower left-hand section of the image."

More information on the piece can be found here:

http://paintingstufftolooklikestuff.blogspot.com/2013/08/craft-or-sullen-art.html

Katherine Stone
Craft or Sullen Art
19 X 14 in.
oil on panel

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Teresa Oaxaca
Study of a Putto
signed "Esa," lower right corner
7½ X 5½ in.
ink wash on paper

Listing # 121251021419

"Up for bid is an original, ink wash drawing by American artist, Teresa Oaxaca (b. 1987). The piece, 'Study of a Putto,' represents one of the putti, clever little beings of Greco-Roman myth who helped Cupid/Eros facilitate secular love. The artist drew the picture from life, using one of her large collection of dolls as the model.

'Study of a Putto' measures 7.5 X 5.5 inches, and is executed in sepia ink on paper. It is signed with the artist's nickname, "ESA," in the lower right-hand section of the image."

More information on the piece can be found here:

http://teresaoaxaca.blogspot.com/2013/11/ink-drawing.html

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David Gluck
Day of the Dead (preliminary drawing)
signed "DLK 2013" lower right corner
30 X 22½ in.
charcoal on paper

Listing # 121251009621

"Up for bid is an original, charcoal, preparatory drawing by American/Canadian artist, David Gluck (b. 1979). The piece, 'Day of the Dead,' takes its inspiration from Dìa de los Muertos, a holiday of Mexican origin which celebrates the memory of departed friends and family. Often, festival celebrants will decorate their faces with a calavera (skull), an important symbol of the holiday. Of the subject, Gluck has said, 'I find something strangely beautiful about a face bearing a mask of death while simultaneously being graceful and celebrating those who have lived.' An oil painting by the same title was later done by Gluck from this study.

'Day of the Dead' measures 30 X 22.5 inches, and is executed in charcoal on toned pastel paper. It is signed with the monogram '20DLG13' in the lower right-hand section of the image."

More information on the piece can be found here:

http://paintingstufftolooklikestuff.blogspot.com/2013/10/gone-fishin.html

and here:

http://paintingstufftolooklikestuff.blogspot.com/2013/08/dotd-20.html

David Gluck
Day of the Dead
oil on linen

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Katherine Stone
Sisters (preliminary drawing)
signed "KS," lower left
19 X 25 in.
charcoal on paper

Listing # 121250987227

"Up for bid is an original, charcoal, preparatory drawing by Canadian artist, Katherine Stone (b. 1986). The piece, 'Sisters,' takes its inspiration from a line of poetry by Christina Rossetti, from her work, 'Goblin Market' : 'Golden head by golden head / Like two pigeons in one nest / Folded in each other's wings . . .' The drawing features the two characters from the poem, the sisters, Lily and Laura, one tormented by nightmares while the other offers protection. An oil painting by the same title was later done by Stone from this study.

'Sisters' measures 19 X 25 inches, and is executed in charcoal on toned pastel paper. It is signed with the monogram 'KS' in the lower left-hand section of the image."

More information on the piece can be found here:

http://paintingstufftolooklikestuff.blogspot.com/2013/11/sisters-part-i.html

and here:

http://paintingstufftolooklikestuff.blogspot.com/2013/11/sisters-ii.html

Katherine Stone
Sisters
22 X 14 in.
oil on DiBond

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↧

Sketching and Drawing on Toned Paper with Stephen Cefalo

January 10, 2014, 10:30 am

≫ Next: Workshop Board - Updated 01.12.14

≪ Previous: Underpaintings at Auction

Stephen Cefalo
Study for Self-Portrait

Strathmore Artist Papers recently teamed up with Arkansas artist and teacher Stephen Cefalo (b. 1976) to create a series of 15 minute videos describing how the artist works in black and white pencil on toned paper. The videos, which are intended to promote Strathmore's 400 Series of Toned Sketch Paper, are described as follows:

Toned paper with black and white pencil brings a whole new dimension to drawing. Since the middle tones are already in Strathmore 400 Series Toned Sketch paper, it is possible to work in both light and dark tones, creating an instant sense of relief from the page. Integrating white pencil with black can be scary, but knowing the pitfalls to avoid can make it easier. With shared photo sources provided by the instructor, this class will lead students through essential toned paper techniques from the quick sketch to a fully realized drawing. Tonal drawings make excellent studies for paintings or stand alone as beautiful pieces. Practice these concepts in your toned paper sketchbook and you'll soon be ready to take on any subject with confidence!

The videos can be seen at Strathmore's YouTube channel, along with other instructional videos showing the company's extensive product line, or in the embedded clips included below.

Kelsey
20 X 16 in.

↧

Workshop Board - Updated 01.12.14

January 11, 2014, 8:35 pm

≫ Next: Arcadia Contemporary at the L.A. Art Show

≪ Previous: Sketching and Drawing on Toned Paper with Stephen Cefalo

Christina Grace Mastrangelo

WHO: Christina Grace Mastrangelo

WHAT: 10-Day Still-Life Painting Workshop

WHERE: Wethersfield Academy for the Arts, Wethersfield, CT

WHEN: March 18-22 and 24-28, 2014

TUITION: $1230
CONTACT: www.wethersfieldarts.org
ARTIST'S WEBSITE: www.christinamastrangelo.com

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WHO: Christina Grace Mastrangelo

WHAT: 10-Day Still-Life Painting Workshop

WHERE: Springfield Museum, Springfield, MA

WHEN: June 2-13, 2014

CONTACT: www.springfieldmuseums.org
ARTIST'S WEBSITE: www.christinamastrangelo.com

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WHO: Christina Grace Mastrangelo

WHAT: 10-Day Still-Life Painting Workshop

WHERE: Academy of Realist Art, Boston, MA

WHEN: July 21 - August 1, 2014

TUITION : $1150
CONTACT: www.academyofrealistartboston.com
ARTIST'S WEBSITE: www.christinamastrangelo.com

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Matthew James Collins

WHO: Matthew James Collins

WHAT: 2 Week Sight-size Portrait Painting Course (60 hrs)

WHERE: Charles H. Cecil Studios, Florence, Italy

WHEN: March 24 - April 4, 2014

HOW (much): € 1850 (including cost of individual portrait models)
TUITION: www.charlescecilstudios.com
ARTIST'S WEBSITE: www.matthewjamescollins.com

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WHO: Matthew James Collins

WHAT: 4 Week Portrait Painting Course (120 hrs)

WHERE: Charles H. Cecil Studios, Florence, Italy

WHEN: July 7 - August 1, 2014

TUITION: € 3200 (including cost of individual portrait models)
CONTACT: www.charlescecilstudios.com
ARTIST'S WEBSITE: www.matthewjamescollins.com

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Eli Cedrone

WHO: Eli Cedrone

WHAT: Landscape & Figure Painting Workshop

WHERE: Tuscany

WHEN: September 27 - October 4, 2014

TUITION: $2850 (including food and accommodations - double occupancy)
CONTACT: Tuscany Arts Vacations or call Joan Hill at 508.255.7907
ARTIST'S WEBSITE: www.elicedrone.com

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WHO: Eli Cedrone

WHAT: Plein Air Workshop

WHERE: Bermuda

WHEN: June 6-8, 2014

TUITION: $295
CONTACT: Eli at 781.443.4014
ARTIST'S WEBSITE: www.elicedrone.com

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Deborah Paris

WHO: Deborah Paris

WHAT: Landscape Atelier

WHERE: Clarksville, TX

WHEN: March 31 - April 7, 2014

TUITION: $795 (includes 50+ page class notebook)
CONTACT: Deborah Paris 903.495.4440
ARTIST'S WEBSITE: www.deborahparis.com

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Michael Chesley Johnson

WHO: Michael Chesley Johnson

WHAT: Plein Air Landscape Painting Workshops

WHERE: Campobello Island, New Brunswick, Canada

WHEN: Multiple Dates
July 1-4 ; July 15-18 ; July 22-25 ; July 29-August 1 ; August 5-8 ;
August 12-15 ; August 19-22 ; September 2-5

TUITION: $300
CONTACT: www.paintcampobello.com
ARTIST'S WEBSITE: www.michaelchesleyjohnson.com

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WHO: Michael Chesley Johnson

WHAT: Plein Air Landscape Painting Workshops

WHERE: Lubec, ME

WHEN: Multiple Dates 2014
July 8-11 and August 26-29

TUITION: $300
CONTACT: www.paintcampobello.com
ARTIST'S WEBSITE: www.michaelchesleyjohnson.com

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WHO: Michael Chesley Johnson

WHAT: Plein Air Landscape Painting Workshops

WHERE: Sedona, AZ

WHEN: Multiple Dates 2014
January 21-24 ; January 28-31 ; February 4-7 ; February 11-14 ;
February 18-21 ; February 25-28 ; March 4-7 ; March 11-14 ;
March 18-21 ; March 25-28 ; April 1-4 ; April 8-11 ; October 21-24 ;
October 28-31 ; November 2-7* (Albert Handell Mentoring Workshop) ; November 11-14 ; November 18-21 ; November 24-26 ($225); December 2-5 ; December 9-12 ;
December 16-19 ; December 22-24 ($225); December 29-31 ($225)

TUITION: $300
CONTACT: www.paintsedona.com
ARTIST'S WEBSITE: www.michaelchesleyjohnson.com

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Additional workshops in Illinois, Indiana, Ohio, Maine, New Hampshire, and Texas

Please visit the artist's website for full list of dates and places.

-------------------------------------------------------------------------------

P.J. Lynch

WHO: P.J. Lynch

WHAT: 1 Day Portrait Sketch Workshops (monthly)

WHERE: KennedyArt, Dublin, Ireland

WHEN: Multiple Dates
January 25 and February 15

CONTACT: www.kennedyart.com
+353 (1) 475 1749
info@kennedyart.com
ARTIST'S WEBSITE: www.pjlynchgallery.com

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Natalie Italiano

WHO: Natalie Italiano

WHAT: Advanced Costume Portrait Workshop
(guest teaching appearances by Lea Wight, Steve Early, and Robin Frey)

WHERE: Studio Incamminati, Philadelphia, PA

WHEN: January 20-24

TUITION: $550
CONTACT: www.studioincamminati.org
215.592.7910
ARTIST'S WEBSITE: www.natalieitaliano.com

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WHO: Natalie Italiano

WHAT: Studio Incamminati "In Your Town" Traveling Workshop -
Oil Painting: The Portrait

WHERE: New Mexico Art League, Albuquerque, NM

WHEN: March 17-21

TUITION: $550
CONTACT: www.studioincamminati.org
215.592.7910
ARTIST'S WEBSITE: www.natalieitaliano.com

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Numael and Shirley Pulido

WHO: Numael and Shirley Pulido

WHAT: Classical Realism Still-Life Workshop

WHERE: Pulido Studio, Hancock, NH

WHEN: May 19-24, 2014

TUITION: $750 (+$35 materials fee)
CONTACT: pulidoshirley@gmail.com
603.525.4668
ARTIST'S WEBSITE: www.pulidostudio.blogspot.com

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WHO: Numael and Shirley Pulido

WHAT: Classical Realism Portrait Workshop

WHERE: Pulido Studio, Hancock, NH

WHEN: June 23-28, 2014

TUITION: $750 (+$35 materials fee)
CONTACT: pulidoshirley@gmail.com
603.525.4668
ARTIST'S WEBSITE: www.pulidostudio.blogspot.com

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WHO: Numael and Shirley Pulido

WHAT: Classical Realism Portrait Workshop

WHERE: Pulido Studio, Hancock, NH

WHEN: September 22-27, 2014

TUITION: $750 (+$35 materials fee)
CONTACT: pulidoshirley@gmail.com
603.525.4668
ARTIST'S WEBSITE: www.pulidostudio.blogspot.com

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Georgia Mansur

WHO: Georgia Mansur

WHAT: Italian Plein Air Workshop

WHERE: The Watermill, Posara (Tuscany), Italy

WHEN: August 16-23, 2014

TUITION: £ 1,310
CONTACT: www.watermill.net/painting-holidays
+44 20 7193 6246
ARTIST'S WEBSITE: www.georgiamansur.com

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WHO: Georgia Mansur

WHAT: Island of Korcula Plein Air Workshop

WHERE: Island of Korcula, Croatia

WHEN: September 2-11, 2014

TUITION: $2550 CAD ($2340 USD)
CONTACT: www.silkamilina.ca
ARTIST'S WEBSITE: www.georgiamansur.com

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WHO: Georgia Mansur

WHAT: Creativity in Mixed Media Workshop

WHERE: Oxford, UK

WHEN: September 28 - October 5, 2014

CONTACT: georgia@georgiamansur.com
ARTIST'S WEBSITE: www.georgiamansur.com

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WHO: Georgia Mansur

WHAT: 6 Week Painting Class

WHERE: Mudgee Australia

WHEN: October 8 - November 12, 2014

CONTACT: georgia@georgiamansur.com
ARTIST'S WEBSITE: www.georgiamansur.com

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WHO: Georgia Mansur

WHAT: Plein Air Provence

WHERE: Arles, France

WHEN: September 15-22, 2014

CONTACT: georgia@georgiamansur.com
ARTIST'S WEBSITE: www.georgiamansur.com

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WHO: Georgia Mansur

WHAT: Le Vieux Couvent Workshop

WHERE: Le Vieux Couvent, Frayssinet, France

WHEN: August 4-14, 2014
TUITION: $2860 (all inclusive)

CONTACT: www.levieuxcouvent.com
+33 565 245 013
ARTIST'S WEBSITE: www.georgiamansur.com

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WHO: Georgia Mansur

WHAT: Creativity in Mixed Media Workshop

WHERE: Perth, WA, Australia

WHEN: June 9-11, 2014

CONTACT: georgia@georgiamansur.com
ARTIST'S WEBSITE: www.georgiamansur.com

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WHO: Georgia Mansur

WHAT: Creativity in Mixed Media Workshop

WHERE: Broome, WA, Australia

WHEN: June 21-26, 2014

CONTACT: georgia@georgiamansur.com
ARTIST'S WEBSITE: www.georgiamansur.com

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WHO: Georgia Mansur

WHAT: Creativity in Mixed Media Workshop

WHERE: Port Hedland, WA, Australia

WHEN: June 28-29, 2014

CONTACT: georgia@georgiamansur.com
ARTIST'S WEBSITE: www.georgiamansur.com

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WHO: Georgia Mansur

WHAT: Artist in Residence - Emirates Wolgan Valley Resort & Spa

WHERE: Wolgan Valley, Lithgow, NSW, Australia

WHEN: May, 2014

CONTACT: georgia@georgiamansur.com
ARTIST'S WEBSITE: www.georgiamansur.com

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WHO: Georgia Mansur

WHAT: Artist in Residence - Cable Beach Club Resort & Spa

WHERE: Broome, WA, Australia

WHEN: July, 2014

CONTACT: georgia@georgiamansur.com
ARTIST'S WEBSITE: www.georgiamansur.com

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WHO: Georgia Mansur

WHAT: Carmel Plein Air Workshop

WHERE: Carmel, CA

WHEN: April 3-5, 2014

CONTACT: georgia@georgiamansur.com
ARTIST'S WEBSITE: www.georgiamansur.com

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Carlo Russo

WHO: Carlo Russo

WHAT: Still-Life Workshop (4 Days)

WHERE: The Art School in Sandy Springs, Atlanta, GA

WHEN: March 20-23, 2014

TUITION: $550
CONTACT: www.theartschoolinsandysprings.com
theartschoolinsandysprings@gmail.com
404.313.7356
ARTIST'S WEBSITE: www.carlorussoart.com

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WHO: Carlo Russo

WHAT: 3-Day Still-Life Painting Workshop

WHERE: Los Angeles Academy of Figurative Art, Van Nuys, CA

WHEN: May 31 - June 2, 2014

TUITION: $395
CONTACT: www.laafa.org
ARTIST'S WEBSITE: www.carlorussoart.com

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WHO: Carlo Russo

WHAT: The Art of Still-Life (5 Days)

WHERE: Studio Incamminati, Philadelphia, PA

WHEN: June 16-20, 2014

TUITION: $550
CONTACT: www.studioincamminati.org
215.592.7910
ARTIST'S WEBSITE: www.carlorussoart.com

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WHO: Carlo Russo

WHAT: Still-Life Workshop

WHERE: Anderson Fine Art Gallery, St. Simons Island, GA

WHEN: October 13-16, 2014

TUITION: $550
CONTACT: mand@mindspring.com
912.634.8414
ARTIST'S WEBSITE: www.carlorussoart.com

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Daniel Sprick

WHO: Daniel Sprick

WHAT: Painting and Drawing Workshop

WHERE: Studio Incamminati, Philadelphia, PA

WHEN: January 25-26, 2014

TUITION: $299
CONTACT: www.studioincamminati.org
215.592.7910
ARTIST'S WEBSITE: www.danielsprick.com

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Dan Thompson

WHO: Dan Thompson and Michael Grimaldi

WHAT: Advanced Artistic Anatomy Intensive II

WHERE: Bay Area Classical Artist Atelier, San Carlos, CA

WHEN: January 27 - February 7, 2014

TUITION:
CONTACT: www.bacaa.org
linda@BACAA.org
650.574.2210
ARTIST'S WEBSITE: www.danthompsonart.com

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WHO: Dan Thompson

WHAT: Painting the Portrait in Oil with a Controlled Palette

WHERE: Old Masters Atelier

WHEN: February 21-23, 2014

CONTACT: www.oldmastersatelier.com
oldmastersatelier@yahoo.com
954.993.8747
ARTIST'S WEBSITE: www.danthompsonart.com

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WHO: Dan Thompson

WHAT: Painting the Portrait from Direct Observation

WHERE: New Hampshire Institute of Art, Manchester, NH

WHEN: March 10-14, 2014

CONTACT: www.nhia.edu
866.241.4918
ARTIST'S WEBSITE: www.danthompsonart.com

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WHO: Dan Thompson

WHAT: The Portrait in Red Chalk

WHERE: Studio Incamminati, Philadelphia, PA

WHEN: April 5-6, 2014

TUITION: $325
CONTACT: www.studioincamminati.org
215.592.7910
ARTIST'S WEBSITE: www.danthompsonart.com

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WHO: Dan Thompson

WHAT: Painting the Portrait from Life

WHERE: The North River Arts Society, Marshfield Hills, MA

WHEN: April 21-24, 2014

TUITION: $515 (+ model fee TBD)
CONTACT: www.northriverarts.org
info@northriverarts.org
781.837.8091
ARTIST'S WEBSITE: www.danthompsonart.com

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WHO: Dan Thompson

WHAT: Portrait Painting

WHERE: The Art League, Alexandria, VA

WHEN: June 16-20, 2014

TUITION: $450
CONTACT: www.theartleague.org
school@theartleague.org
703.683.2323
ARTIST'S WEBSITE: www.danthompsonart.com

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WHO: Dan Thompson

WHAT: Long Pose Painting and the Human Figure from Life

WHERE: Academy of Realist Art, Boston, MA

WHEN: July 7-11, 2014

TUITION: $650
CONTACT: www.academyofrealistartboston.com
617.426.3006
ARTIST'S WEBSITE: www.danthompsonart.com

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WHO: Dan Thompson

WHAT: Chalk, Pen and Ink, Metal Point, and Pastel Drawing in Theory and Practice

WHERE: Studio Incamminati, Philadelphia, PA

WHEN: July 28 - August 1, 2014

TUITION: $599
CONTACT: www.studioincamminati.org
215.592.7910
ARTIST'S WEBSITE: www.danthompsonart.com

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Hunter Eddy

WHO: Hunter Eddy

WHAT: Figure Painting with Draped Model

WHERE: Anderson Fine Art Gallery, St. Simons Island, GA

WHEN: February 24-27, 2014

TUITION: $550
CONTACT: mand@mindspring.com
912.634.8414
ARTIST'S WEBSITE: www.huntereddy.com

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David Gray

WHO: David Gray

WHAT: Painting the Portrait from Life

WHERE: High Street Painters, Brattleboro, VT

WHEN: January 24-26, 2014

TUITION: $435
CONTACT: Andrea Scheidler
highstreetpainters@yahoo.com
ARTIST'S WEBSITE: www.davidgrayart.com

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WHO: David Gray

WHAT: Portrait in Classical Painting Technique

WHERE: Old Masters Atelier, Hialeah, FL

WHEN: February 7-9, 2014

CONTACT: www.oldmastersatelier.com
954.993.8747
ARTIST'S WEBSITE: www.davidgrayart.com

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WHO: David Gray

WHAT: Classical Portrait Workshop - CLASS FULL

WHERE: Foundry Art Centre, St. Charles, MO

WHEN: March 14-16, 2014

TUITION: $435
CONTACT: www.foundryartcentre.org
636.255.0270
ARTIST'S WEBSITE: www.davidgrayart.com

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WHO: David Gray

WHAT: Painting the Classical Portrait

WHERE: The Art School in Sandy Springs, Atlanta, GA

WHEN: April 3-6, 2014

TUITION: $550
CONTACT: www.theartschoolinsandysprings.com
theartschoolinsandysprings@gmail.com
404.313.7356
ARTIST'S WEBSITE: www.davidgrayart.com

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WHO: David Gray

WHAT: Painting the Portrait from Photographic Reference

WHERE: Sarah Cary Studio, Royston, GA

WHEN: May 23-25, 2014

TUITION:
CONTACT: sarah.cary@artistclasses.com
706.714.1215
ARTIST'S WEBSITE: www.davidgrayart.com

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WHO: David Gray

WHAT: The Portrait and the Draped Figure

WHERE: Flemish Classical Atelier, Brugge, Belgium

WHEN: July, 2014 (4 weeks)

TUITION: €2500
CONTACT: www.flemishclassicalatelier.com
+32 472.63.2588
ARTIST'S WEBSITE: www.davidgrayart.com

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WHO: David Gray

WHAT: The Portrait Sketch in Oil (alla prima)

WHERE: Cloud Castle Art Studio, Saratoga, CA

WHEN: September 12-14, 2014

TUITION: $680 (includes model fee)
CONTACT: Gabriel Coke at cloudartstudio@gmail.com
831.345.1845
ARTIST'S WEBSITE: www.davidgrayart.com

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WHO: David Gray

WHAT: Painting the Portrait

WHERE: Whidbey Island Fine Art Studio, Langley, WA

WHEN: October 6-9, 2014

TUITION: $550
CONTACT: www.whidbeyislandfas.com
info@whidbeyislandfas.com
ARTIST'S WEBSITE: www.davidgrayart.com

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Edward Minoff

WHO: Edward Minoff

WHAT: Still-Life in Studio

WHERE: Anderson Fine Art Gallery, St. Simons Island, GA

WHEN: November 10-12, 2014

TUITION: $550
CONTACT: mand@mindspring.com
912.634.8414
ARTIST'S WEBSITE: www.edwardminoff.com

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Sean Cheetham

WHO: Sean Cheetham

WHAT: Alla Prima Portrait Painting Workshop

WHERE: Bay Area Classical Artist Atelier, San Carlos, CA

WHEN: November 10-12, 2014

TUITION: $425
CONTACT: www.bacaa.org
info@bacaa.org
650.832.1544
ARTIST'S WEBSITE: www.seancheetham.com

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WHO: Sean Cheetham

WHAT: 4-Day Contemporary Painting Workshop

WHERE: Los Angeles Academy of Figurative Art, Van Nuys, CA

WHEN: March 27 -30, 2014

TUITION: $595
CONTACT: www.laafa.org
ARTIST'S WEBSITE: www.seancheetham.com

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Travis Seymour

WHO: Travis Seymour

WHAT: 8-Week Summer School Session
Cast Drawing • Portrait Drawing • Figure Drawing
Still-Life Painting • Portrait Painting • Figure Painting
(Subjects vary by week. See website for details.)

WHERE: The Old Bakehouse Studios of Art, London, UK

WHEN: July 28 - September 19, 2014

TUITION: £450 per week (or sign up for entire session at a reduced price)
CONTACT: info@oldbakehousestudios.com
+44 (0) 797 039 9810
ARTIST'S WEBSITE: www.oldbakehousestudios.com

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Lea Colie Wight