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Max Ginsburg Demo & LectureLos Angeles June 23rd
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The California Art Club 102nd Annual Gold Medal Exhibition and Sale
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| Candice Bohannon Ice Flow oil 42.5" x 45" FINE ART CONNOISSEUR'S AWARD OF EXCELLENCE SOUTHWEST ART'S AWARD OF EXCELLENCE |
Currently on view at the University of Southern California in Los Angeles, is the California Art Club's 102nd Annual Gold Medal Exhibition and Sale. The show, on display in the Fisher Museum of Art until June 23rd, features over 200 works by more than 150 of the Club's members.
The California Art Club is one of the oldest and largest art organizations west of the Mississippi. It was founded in December of 1909 with the purpose of offering male and female painters and sculptors (from California and beyond) the opportunity for camaraderie while promoting the high standards of traditional, representational art. Though such art was not always popular during the last century, the CAC has staunchly stood by their founding mission goals, and over the past several years, as representational art has regained its prominence, so has the Club. The CAC is now stronger than ever before, and this annual exhibition reflects it.
The USC Fisher Museum of Art is located at 823 Exposition Boulevard in Los Angeles. The gallery is open from 12-5 PM Tuesday through Friday, and from 12-4 PM Saturday and Sunday. It is closed on Mondays.
A catalog for the show is available for purchase at the CAC store. The entire show can also be viewed online. For more information, please visit the California Art Club website.
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| Ruo Li Golden Light oil 28" x 48" GOLD MEDAL FOR BEST PAINTING |
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| C.W. Mundy All Along the Boulevard oil 24" x 36" FRANZ BISCHOFF AWARD FOR BEST STILL-LIFE |
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| Cindy Jackson Yo-Yo Man resin 52" x 45" x 42" GOLD MEDAL FOR BEST SCULPTURE |
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| Clyde Aspevig Aspen Pond oil on linen 30" x 60" EDGAR PAYNE AWARD FOR BEST LANDSCAPE |
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| Dennis Doheny Awaiting the Warmth oil on linen 20" x 24" THE IRVINE MUSEUM GOLD MEDAL AMERICAN ART COLLECTOR AWARD OF EXCELLENCE |
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| Warren Chang Figurative Arrangement oil 40" x 59" DEAN CORNWELL AWARD FOR BEST MULTI-FIGURATIVE WORK |
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| Tim Solliday Old California pastel on paper 2o" x 30" |
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| Max Ginsburg Crossroads oil on canvas 26" x 40" |
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| Mian Situ A Day in Laguna Beach oil on canvas 24" x 36" |
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| Michael Situ Heisler Park - Laguna Beach oil on canvas 24" x 48" |
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| W. Jason Situ Afternoon Light, Malibu Creek State Park oil 30" x 40" |
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| Simon Lok Sycamore oil 9" x 12" |
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| Philip Starke Overlooking Santa Barbara oil 30" x 36" |
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| Jesse Powell Afternoon at the Isthmus oil 16" x 20" |
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| Gregory Hull Embrace oil 40" x 30" |
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| Ryan Wurmser The Tree of Life oil on linen 40" x 40" |
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| Gabor Svagrik Ruby Fall oil 16" x 20" |
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| Glenn Dean The Coming of Spring oil on canvas 32" x 40" |
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| Joseph Paquet Rural Electrification oil 24" x 30" |
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| Frank Lennartz The 5th Season oil 9" x 12" |
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| Lynn Gertenbach After the Rain oil on canvas 24" x 30" |
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| Douglas Paul Morgan Quiet Lake oil 14" x 18" |
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| Mark Boyle Bart's Riffle oil 20" x 24" |
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| Frank Serrano L.A. River Hues oil 5" x 10" |
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| Liliana Simanton Romancing the Bridge, Pasadena oil 12" x 24" |
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| Thomas W. Schaller From Granville Island, Vancouver watercolor 30" x 22" |
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| Rita Pacheco Sunlight Through the Pier oil 18" x 24" |
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| Junn Roca Pescatore di Venezia oil 9" x 12" |
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| Brian Stewart A Home in China oil 8" x 10" |
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| Béla Bácsi Sharing Space Italian statuary marble 15" x 17" x 9" |
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| Tony Pro Last Train Home oil on linen 36" x 66" |
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| John Asaro Adagio oil on canvas 20" x 32" |
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| John Nava C. Standing oil on panel 60" x 60" |
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| Ignat Ignatov Green Feather oil 18" x 14" |
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| Jim McVicker Portrait of the Artist Andrew Daniel oil on linen 48" x 36" |
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| Kyla Shackelford A Time Gone By oil 58" x 36" |
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| Meadow Gist Flapper oil on canvas 38" x 18" |
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| Scott Burdick Cappadocia Eyes, Turkey oil 30" x 30' |
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| David Kassan Letter to My Mother oil on panel 49" x 32" |
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| Dan Schultz The Chase oil on linen 24" x 24" |
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| Sherrie McGraw An Afternoon Encounter oil 11" x 11" |
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| Adrian Gottlieb An Old Life oil 26" x 20" |
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| Zhiwei Tu The Eyes in Shadow oil 24" x 20" |
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| William Stout Captain James T. Hook ink and watercolor 14" x 9" |
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| Scott W. Prior Gamblin' Man oil 8" x 16" |
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| Sarah Freeman Still-Life with Red Background oil 20" x 16" |
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| Peter Adams St. Paul; The Light of Ephesus oil on panel 30" x 24" |
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| Kate Sammons Apples oil 8" x 10" |
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| David Leffel Ancient Chinese Cooking Pot with Birdfeather oil on canvas 21" x 18" |
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| Joseph Todorovitch Games oil 26" x 32" |
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| Calvin Liang Catalina Island oil 18" x 24" |
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| David Jenks Storm Surge oil 24" x 48" |
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| Ray Roberts Midday Light at Little Harbor, Catalina Island oil on linen 30" x 40" |
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| Richard Humphrey Point Lobos, Morning Light oil 36" x 36" |
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| John Burton Point Lobos Cypress oil 40" x 30" |
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| Laurie Kersey Dunes at Sunset oil 24" x 30" |
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| Charles Muench Endless Waves of Autumn oil on linen 9" x 12" |
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| Jean LeGassick First Light, Wheeler Crest oil 9" x 12" |
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| Kim Lordier Autumn's Glory pastel 27" x 40" |
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| Andrew Dickson Chocolate Mountain Morning - Salton Sea oil 32" x 48" |
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| Michael Obermeyer Trail Dust oil 14" x 18" |
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| Ray Hunter Cat Nap watercolor 12" x 18" |
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| Aaron Westerberg Stella oil 12" x 9" |
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| David C. Gallup The Burden of Abundance oil on linen 43" x 56" |
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Sneak Peak: Maxwell Alexander Gallery "How the West was Won"
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| Logan Maxwell Hagege The Rising Clouds oil on linen 60" x 60" |
In its continuing mission to mainstream contemporary Western Art into urbane Los Angeles, the Maxwell Alexander Gallery is hosting a new exhibition titled How the West was Won. The show features western-themed works from six of today's young artists working in the genre, including Glenn Dean, Logan Maxwell Hagege, Jeremy Lipking, Ed Mell, Bill Schenck, and Tim Solliday. Each artist has contributed at least two pieces, most of which can be viewed in the show's online catalog.
How the West was Won will remain on view through July 6, 2013.
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 the sales manager, Beau Alexander, at 310.839.9242.
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| Tim Solliday The Watering Hole pastel on paper 7" x 10" |
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| Bill Schenck Waiting for the Herd oil on canvas 30" x 40" |
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| Ed Mell Flat Wash oil on linen 11" x 14" |
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| Jeremy Lipking Monument Atmosphere oil on linen 6" x 8" |
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| Glenn Dean Monoliths oil on linen 30" x 40" |
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2013 GCA Figure Drawing Winners Announced
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| Joshua LaRock |
The Grand Central Academy in New York City has recently announced the winners of the 2013 Figure Drawing Competition. First place went to Joshua LaRock, who earned the title "Apelles" - in honor of the 4th century BCE Greek artist - and a $10,000 cash prize. Second place, the title "Protogenes," and a $3,000 cash prize was awarded to Katie Whipple. Adrienne Stanger took Third place, and a $2,000 cash prize (there is yet no Greek artist's name associated with Third place).
The competition was open to all artists, both students and professionals. This year, 44 artists applied for entry to the competition, from which 10 finalists were chosen. Those artists were then given 40 hours - 8 hours per day for 5 days - to each draw from the same figure. At the end of the week, judges Jacob Collins, painter and director of The GCA; painter and instructor Travis Schlaht; and Perrin Stein, Curator of Drawings at the Metropolitan Museum of Art; chose from the finished drawings the top three prize winners. The drawings were evaluated during two consecutive rounds based on a 5-point criterion which assessed proportion, natural gesture, an understanding of anatomy, consistent modeling/finish, and the correct observation of lighting effects. During the judging rounds, the names of the competitors were all kept anonymous.
This August, The GCA will host another competition, this one dedicated to the art of alla prima portrait painting. Each participant will be tasked with painting six portraits in three days, with their work being judged as a group. First place will take home $1,500, while Second receives $500. The deadline to apply is July 1st; there is no application fee.
For further details on the upcoming Portrait Sketch Painting Competition, or to see the drawings by the remaining seven finalists, please visit The Grand Central Academy's blog. To see the drawings from this year's Figure Drawing Competition in progress, please visit the GCA on Facebook.
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| Katie Whipple |
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| Adrienne Stanger |
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Upcoming Casey Baugh Demo in NJ
On June 22nd, renowned artist Casey Baugh will be presenting demonstrations in both charcoal and oil paint at the Jerry's Artist Outlet in West Orange, New Jersey. The event begins at noon with an introduction of Baugh to the audience, followed by an hour-and-a-half drawing demonstration. After a break with refreshments, Baugh will resume at 2:30 PM with a demonstration of alla prima oil painting from the model. The day will end with a question and answer session from 4:00 until 5:00 PM.
The orignal event sold out quickly, but sponsors Rembrandt Paint and Canson have announced today that they have expanded seating to accommodate additional guests (they are hoping to hold the demonstrations outside - so hope for good weather!). Tickets are a non-refundable $10. Please contact Jerry's Artist Outlet at 973.669.0995 to make reservations.
Jerry's Artist Outlet is located at the Essex Green Shopping Plaza, 495 Prospect Avenue, in West Orange, New Jersey.
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Summer in February
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| Sir Alfred James Munnings The Morning Ride - 1912 (a portrait of Florence Carter-Wood) oil on canvas 20" x 24" |
The film adaptation of Jonathan Smith's novel Summer in February opens in Great Britain in just a few days, and after watching the movie trailer, my biggest complaint is that it is not set to open concurrently in the United States. Set against the backdrop of the Cornish coast, Summer in February tells the tragic and haunting tale of the love triangle between artist A.J. Munnings (later, Sir Alfred), Florence Carter-Wood, and Gilbert Evans, the land agent in charge of the Lamorna Valley estate where the Lamorna members of the Newlyn School lived and painted. Smith's story, which has been republished nearly a dozen times since it debuted in 1995, is a true story based on the diaries of Evans, which his son David discovered years after his father's death. I cannot wait to see it!
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Out and About with Munnings
This is a busy summer for British painter Sir Alfred J. Munnings (1878-1959). Not only is he one of the main characters in the film Summer in February - opening tomorrow in Great Britain - he is also the subject of a retrospective exhibition currently on view at the National Sporting Library & Museum in Middleburg, Virginia. The show, Munnings: Out in the Open, features 68 of the artist's outdoor compositions, including paintings of gypsy life, livestock, the English countryside, and, of course, equestrian life. And one section of the exhibition is specifically dedicated to works created by Munnings between 1912 and 1914, the time period which coincides with the storyline of Summer in February. The works in the show which are not part of the museum's permanent collection, are on loan from private collectors; the Pebble Hill Plantation in Thomasville, Georgia; the National Museum of Racing and Hall of Fame in Saratoga, New York; The Yale Center for British Arts in New Haven, Connecticut; and the Sir Alfred Munnings Art Museum in Dedham, England. It is the largest exhibition of Munnings' work in the United States in the past thirty years, and many of the paintings on display have never before been seen in this country.
Munnings: Out in the Open is on view until September 15th, 2013 (admission is free). A 136 page color catalog accompanies the show, and is available at the National Sporting Library & Museum store for $30 plus shipping. For more details, please visit the museum's website.
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| Dan Stevens (Gilbert Evans), Emily Browning (Florence "Blote" Carter-Wood), and Dominic Cooper (A.J. Munnings) in a still from Summer in February. |
Thank you to Suzanne Lago Arthur and Jill Banks.
Read more about Munnings: Out in the Open on Armand Cabrera's blog, Art and Influence.
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Workshop: Ryan Brown in Vancouver
Ryan Brown will be teaching back-to-back, 5-day workshops next month, and there are only a few spots available for interested students. The first workshop, running from July 8th through the 12th, will concentrate on landscape painting, while the second, from the 15th through the 19th, will focus on the portrait. Both workshops are being held at the Northwest Fine Art Studio in Vancouver, British Columbia.
While studying illustration at Brigham Young University, Brown found that his interests in 19th century Academic and Naturalist working methods were not being satisfied. So in his senior year, he entered into a private study with William Whitaker, a figure painter renowned for his immaculate technique. But when Brown received his degree in 2002, he felt he had only just scratched the surface of his assimilation of traditional methods, and he decided to move to Europe to finish his training. Over several more years of intensive study, he eventually completed the rigorous drawing and painting program offered by the Florence Academy of Art in Italy.
Since returning to the Untied States, it has been Brown's goal to pass on the training he received in Academic art to a new generation of artists. He has taught many classes and conducted many workshops throughout at the country, including teaching regular courses at his alma mater, BYU. Several years ago, he opened his own school in Utah, the Center for Academic Study and Naturalist Painting (CAS), which offers a 5 year, full-time program.
In a recent interview, Brown had this to say about taking workshops:
Workshops can be great fun and a great resource for information for students. It’s a great opportunity to expand your thinking and experience other working methods. But for all the good workshops offer, they do have their limits.I think there are a couple of things students can do to prepare for and take advantage of workshops.First, if possible, have a home base for your training. If you have a program or respected artist close to home that can provide you with a stable curriculum to follow that will help you build a solid foundation, this will help tremendously when branching out to experience different approaches. It grounds your learning and gives you a context by which to compare and understand other methods.Secondly, spend as much time as you need learning to draw. Perhaps the most important and the most common critiques I give to workshop attendees have to do with the correction of drawing errors. Nothing will make your time in any workshop more valuable than having developed strong drawing skills. Drawing is the fundamental first step towards being a good painter. Having said this, I don’t believe you have to be a master draftsman before you take a workshop; it’s just a good idea to always be working on your drawing skills, and the more you do so, the more I believe you will be open to learning in any given workshop.
Lastly, have realistic goals when attending a workshop. Don’t put undue pressure on yourself to create something amazing. Disconnect your desire to create from your desire to learn. Remember that the real prize you’ll bring home from a workshop is new information and knowledge.
One of the most important pieces of advice I can share with any student is to be fair with themselves. Learning cannot be rushed. It takes as long as it takes. Don’t allow your impatience to overcome your determination to improve. Develop the discipline and patience that you need to succeed.
And don’t be afraid to communicate your hopes with the instructor. A good instructor should want to know what you hope to learn and help you towards it.
The Northwest Fine Art Studio is located at 8091 Williams Road, Unit 14, in Richmond, B.C., just 15 minutes south of the Vancouver Airport. For more information on their workshops, please visit their website.
Brown will also be offering a condensed 3-day portrait painting workshop in Miami this September. For more information on that workshop, please contact the Old Masters Atelier.
See the earlier Underpaintings post on the making of Ryan Brown's painting,
The Loneliness of Waiting, by clicking here.
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Auction Preview: Christie's Important Victorian & British Impressionist Art
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| Edmund Blair Leighton The Dedication (1908) oil on canvas 55 X 43 in. |
With its upcoming auction of Important Victorian & British Impressionist Art, Christie's Auction House in London has indicated that they expect good sales due to the recent global success of the exhibit, Pre-Raphaelites: Avant Garde (now in Moscow, after stops in London and Washington, D.C.). Though there are several nice pieces in the auction done by members of the Pre-Raphaelite Brotherhood - in particular, Love Among the Ruins by Sir Edward Burne-Jones - the sale appears to be much stronger in other areas of 19th century British art. The impressionist canvases of the Newlyn School are among those very well represented with pieces by Sir George Clausen and his followers, but, to me, the stand-out artwork in the auction is that of Edmund Blair Leighton, whose painting The Dedication is a recent re-discovery of a piece which had not been seen on the open market for over seventy-five years.
Christie's sale of Important Victorian & British Impressionist Art will take place on July 11th, at 2:30 PM at the auction house's King Street location. For those able to visit, previews of all lots in the show will accessible to the public from the afternoon of July 7th through the morning of July 11th (dates and times are listed below). The full catalog is also available for online viewing by visiting Christie's website.
VIEWING TIMES
July 7, 12PM - 5PM
July 8, 9AM - 4:30PM
July 9, 9AM - 8PM
July 10, 9AM - 4:30PM
July 11, 9AM - 12PM
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| John William Waterhouse Day Dreams pencil and watercolor, heightened with body color, on paper 17.75 X 10.375 in. |
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| John William Waterhouse Sketch for 'A Mermaid' oil on canvas 27.75 X 17.75 in. |
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| Sir Lawrence Alma-Tadema The Poet Gallus Dreaming oil on panel 9.5 X 6.5 in. |
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| Sir Lawrence Alma-Tadema Una Carita oil on board 4.25 X 3.25 in. |
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| Henry Scott Tuke The Orange Jersey (1913) oil on canvas 17.25 X 24.75 in. |
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| Edward Seago Fishing Boats - Honfleur oil on board 20 X 25.875 in. |
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| John William North The Grass of the Field (1880) oil on canvas 52.5 X 74.5 in. |
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| Sir Alfred James Munnings Western Hunt, Zennor Hill (1912) oil on canvas 19.75 X 23.75 in. |
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| Sir Alfred James Munnings December Morning, Cornwall oil on canvas 20 X 24 in. |
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| Arthur Wardle A Fairy Tale - "All seemed to sleep, the timid hare on form." – Scott oil on canvas 45 X 65.25 in. |
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| Sir Edward Coley Burne-Jones Love Among the Ruins watercolor and bodycolor on paper 38 X 60 in. |
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| Harold C. Harvey Fishing by a Woodland Stream (1906) oil on canvas 24 X 20 in. |
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| Sir George Clausen The Barn Door oil on canvas 30 X 25 in. |
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| Frank Bramley Fireside Tales (1896) oil on canvas 23 X 23.25 in. |
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| Glyn Warren Philpot Portrait of Ellen Borden Stevenson oil on canvas 32 X 24 in. |
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| Augustus Leopold Egg Contemplation oil on board 13.75 X 11.125 in. |
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| Sir John Everett Millais Sisters (1868) oil on canvas 42.5 X 42.5 in. |
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| Anna Lea Merritt Eve (1885) oil on canvas 30 X 43 in. |
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Auction Preview: Bonham's 19th Century Paintings London
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| John William Waterhouse The Courtship (Sweet Offerings) oil on canvas 24 x 12.5 in. |
On July 10th, Great Britain's Bonhams Auction House, will be hosting a sale of 19th Century Paintings, Drawings , and Watercolours at their London salesroom. Among the 134 lots up for bid are several by well-known European artists, among them Alfred de Bréanski Sr., Benjamin Williams Leader, Frederick Morgan, John Simmons, John Atkinson Grimshaw, Jean-Baptiste-Camille Corot, Eugène Delacroix, Jean-François Millet, Ignacio Zuloaga, John William Godward, Henry Herbert La Thangue, Sir Frank Brangwyn, Stanhope Forbes, Henry Tonks, Henry Scott Tuke, and Sir William Russell Flint. But the most intriguing pieces in the auction are by two English contemporaries, John William Waterhouse and Sir Edward John Poynter. The works by both artists were only recently re-discovered - Waterhouse's Sweet Offerings was known by name only; and Poynter's celebrated Ionian Dance was documented through engraved reproductions, but was feared lost forever. It will be interesting to see how the works are received on the auction block.
Prior to the sale on July 10th, Bonham's auction of 19th Century Paintings will be available for viewing at the auction house's salesroom on New Bond Street. The preview times are as follows:
July 7 11:00 - 15:00
July 8 09:00 - 16:30
July 9 09:00 - 16:30
July 10 09:00 - 12:00
Bonham's will also be holding a special American viewing of Sir Edward John Poynter's The Ionian Dance at their New York City salesroom from June 21st through the 26th. Please contact the New York City facility for times.
The full catalog is also available for online viewing by visiting Bonham's website.
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| Sir Edward John Poynter The Ionian Dance - Motus doceri gaudet Ionicos, Matura virgo, et fingitur artibus (1895) oil on canvas 15.25 x 20 in. |
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| John William Godward A Beauty oil on canvas 20 x 16 in. |
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| Franz Xavier Kosler Nada, jeune Beduin, Sinai oil on panel 14.25 x 8.25 in. |
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| Rubens Santoro In the Gondola, Venice oil on canvas 20 x 15 in. |
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| Vittorio Emanuele Bressanin Breaking the News (1886) oil on canvas 27.25 x 43 in. |
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| William Teulon Blandford Fletcher Feeding Time oil on canvas 20 x 16.125 in. |
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| Terrick John Williams The Market Under the Trees (1900) oil on canvas 20 x 30.125 in. |
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| Henry Tonks After the Bath (1911) oil on canvas 42 x 38 in. |
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| Stanhope Alexander Forbes Out Into the Dark and Silence (1900) oil on canvas 31.5 x 38.25 in. |
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| George Cole Early Morning on the Tamar, Devon (1872) oil on canvas 34.25 x 48 in. |
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The Court Martial of Billy Orps
In October of 2009, a diminutive, white-haired gentleman walked into the oversized halls of the Old Royal Naval College in Greenwich, England, carrying a large painting under his arm. The picture, which the gentleman had inherited from his uncle, had hung on the living room wall of his modest home for many years, but there was still much mystery surrounding the work. He knew that the painting was a copy - in fact, it said so on the back of the canvas - and he knew the original was part of the collection of the Imperial War Museum in London. But the painting in his possession was just too skillfully done to dismiss it as a mere reproduction, and he wondered if the copyist might be identified, and if his painting had any value. On that particular autumn day, the painting's owner hoped to get his answers by speaking to an appraiser from the hit BBC television program, Antiques Roadshow, which was filming an episode at the college.
After confirming that the painting was indeed a copy, appraiser Rupert Maas went on to disclose the true story of the picture, and to rekindle interest in a saga that had once appeared in newspapers around the world, but that most of the art world had since forgotten.
When Great Britain entered World War I by declaring war on Germany, there were many young men in England eager to do their part for the Allied forces, among them a thirty-six year-old, gifted draftsman and painter called Billy Orps. A graduate of London's famous Slade School of Fine Art, Orps had been making a good income and good connections as a portraitist to high society when he volunteered for the Army Service Corps, a surprising decision for a man of whom his friends considered neither particularly political nor patriotic. Relying on the aid of a then-current sitter, Sir John Stephen Cowans, the Quarter-Master General to the Forces, Orps was commissioned as a Second Lieutenant and installed in the Adjutant's office at Kensington Barracks.
Orps was miserable. Having attained his position through connections rather than through training, he was neither well-suited to a be a soldier nor a clerk. Though considered a hard-worker, he spent much of his time in the office drawing caricatures, mostly of himself, which he sent to his patrons back in London. In one infamous cartoon, he drew himself being dressed-down by a Colonel who shouts, "What can you do? What can you do?" To which the dejected figure of Billy replies, "Nothing, Sir, I'm an artist."¹
When an opportunity to leave Kensington presented itself to Orps, he once again used his society contacts to negotiate his way through the military. With the help of General Cowans, and that of Field-Marshall Douglas Haig, a friend of one of Orps' patrons, Billy was made an official war artist. In the space of a single day, Orps was promoted to the rank of Major, and was sent to France, where he was given a Rolls-Royce, a chauffeur, and a rare, open-ended ticket to remain overseas for as long as he wished.²
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In 1917, British war artists were under the auspices of the Department of Information, which in France meant that Orps had to report to Major A. N. Lee, whose responsibility it was to censor all artworks and photographs being sent back to England. Orps had arrived in the spring, and by the end of summer, his conspicuous lack of productivity attracted the attention of Major Lee, who reported the matter to his own superior, Colonel A. H. Hutton-Wilson. Hutton-Wilson was livid, and admonished Orps for spending his time in France simply "looking round,"³ and demanded that the artist report to him directly and regularly. Balking at these orders and at the idea he would have to travel 110 miles roundtrip each week to show the Colonel his progress, Orps went to Field-Marshall Haig to register his dissatisfaction with the new arrangement. Within weeks, Lee had been reprimanded, Hutton-Wilson had been removed from his post, and Orps was on his way to General Headquarters to paint the Field-Marshall's portrait.
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Haig was, of course, a busy man, with little time to sit still and have his picture painted. During a brief moment when Orps was given access to the Field-Marshall, Haig made a suggestion to the painter which Orps was to take to heart. "Why waste your time painting me?" asked the Field-Marshall. "Go and paint the men. They're the fellows who are saving the world, and they're getting killed everyday."⁴
Essentially free from the scrutiny of Major Lee, Orps followed Haig's advice and travelled to the front lines to paint the enlisted men. It was a decision which would forever change his life.
If Orps had any plans of merely recording the war, those ideas were dashed upon his reaching the battlefront. He was, of course, a portraitist, and as such, also a humanist - a lover of life and of people. His focus, therefore, was always personal. Rather than paint the army, he painted the soldier; the smaller tragedies instead of the greater good; the vulnerabilities and frailties of the individual rather than the strength of a nation. And with so many particular stories to tell, Orps soon amassed a large portfolio full of drawings, paintings, and watercolors depicting the intimate travails and horrors of war.
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Towards the end of 1917, it was suggested that an exhibit of Orps' work be shown in London, and still in the midst of battle, Orps began painting additional works to send back to England. It was during these preparations that Orps once again found himself the focus of Major A. N. Lee, and soon thereafter, at the center of a potential, international scandal.
As a prolific painter, Orps should have been the ideal choice as an official war artist, but his overwhelming compulsion to paint almost proved to be his downfall. His artworks, which were to be sent back to Agnew's Gallery in Bond Street for the show War, still had to be cleared by the Department of Information before leaving France. If Orps had limited his paintings to wartime subjects, this would not have presented a problem, but among the body of paintings he had created in France was a private work that should not have been included; it was a portrait of Orps' mistress, which the artist had named, mischievously, The Spy, in hopes that the title might somehow allow the painting to pass by the censor and be included in the show.
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Rather than pass unnoticed through Major Lee's office, however, a painting with the provocative title, The Spy, raised red flags throughout the Department of Information. In the wake of the executions of Edith Cavell, a nurse who had helped Allied soldiers escape from German-occupied Belgium, and Mata Hari, the exotic dancer accused of committing espionage on behalf of Germany, the issue of publicly disclosing the identities of spies was a particularly sensitive issue for the British Government. Orps was immediately recalled to London to explain himself, and to face the possibilities of a court martial and charges of treason.
Back in London, Orps stood by the backstory he had concocted for his painting. That tale, as printed in the May 11, 1919 issue of The New York Times went as follows:
a beautiful Hungarian, Frieda Nieter . . . was caught and sentenced to be shot . . . (and) on the morning of her execution, she appeared in the courtyard of a famous French château, and made the request that she be allowed to choose her own costume for the ceremony. Her request was granted; she withdrew and returned shortly muffled in a blue velvet coat. . . . as the officer in charge of the execution counted, 'one - two - ' she dropped the coat and stood before the firing squad nude and beautiful. It was, of course, necessary to the safety of the allied cause . . . that she be shot anyhow.⁵
No one in the War Office believed Orps' fiction, especially when faced with the evidence that, after the supposed event, witnesses had seen the woman, identified as Yvonne Aubicq - daughter of the Mayor of Lille - walking about Paris on the artist's arm. Orps was forced to retract his story, and change the title of the painting to The Refugee. But, once again, thanks to politically powerful friends, including the Minister of Information, Lord Beaverbrook - who had organized the exhibit of War at Agnew's - Orps escaped any repercussions from his actions, that is, save one; he was banned from returning to France.
Never one to take authority too seriously, however, Orps snuck back to General Headquarters in Montreuil, seated himself in the Intelligence office, and in the presence of Major Lee, made telephone arrangements to dine with Field-Marshall Haig that evening. Seeing he was beaten, Lee decided not pursue any penalties against the artist, and, surprisingly, in time, the two men became great friends.
In June of 1918, it was announced that Orps, who had every right to privately sell the work he created as a war artist, had donated "all the studies, drawings, portraits and canvases"⁶ done in France (including any finished works that had yet to be done from his sketches) to the British government, with the provision that the collection was kept intact. For his services to the war effort and the nation, Billy Orps, perhaps better known as Irishman William Orpen, was created a Knight Commander of the Order of the British Empire.
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The War had changed Orpen. When peace was finally declared, he was commissioned to paint the Peace Conference, but he never finished the series of paintings he intended in commemoration of the event. He grew disgusted with the politicians and diplomats - whom he termed "frocks"⁷ - who laughed and patted each other on the back while signing the peace treaty, and did so without showing any honor for the soldiers who actually fought the battles. He returned to London, where he became an ever-more-important portrait painter, earning the modern-equivalent of more than a million dollars per year for his efforts. But unable to forget the horrors he had seen, and possibly suffering the effects of syphilis contracted during his time in France, Orpen turned increasingly to alcohol to numb his senses. In failing health, he was committed to a nursing home in London, and on September 29, 1931, he passed away, aged only 53 years.
The portrait which was brought to The Antiques Roadshow in 2009 was a copy of Sir William Orpen's The Refugee, the infamous painting originally titled The Spy. What was most surprising about the copy, was that it was done by Orpen himself. According to appraiser Rupert Maas' research, personal letters to Lord Beaverbrook from Orpen reveal the existence of the second version, painted in 1920, as a "thank you" to the Baron for saving the artist from disciplinary action in 1917. Maas considered the latter version to be warmer and more desirable than the original, and estimated the portrait's value to be £250,000, making it one of the most valuable paintings yet discovered by the television program.⁸
² Orpen also had a personal secretary and a batman (valet), both of whose services he paid for himself.
³ Orpen, Sir William, An Onlooker in France 1917-1919, (Williams and Norgate, London, 1921), p. 22.
⁴ idem.
⁵ James, Edwin L., "The Original of Orpen's Spy," The New York Times, May 11, 1919, as retrieved June 8, 2013 from [http://query.nytimes.com/mem/archive-free/pdf?res=F7071EFC3D5E157A93C3A8178ED85F4D8185F9].
⁶ Upstone, p. 40.
⁷ ibid., p. 43.
⁸ Adams, Stephen, "The WWI 'Copy" That's Worth £250,000," The Telegraph, May 8, 2010, as retrieved June 26, 2013 from [www.telegraph.co.uk/culture/art/art-news/7691212/The-WWI-copy-tahts-worth-250000.html].
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Workshop: The Frank Reilly Method in NJ
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| Neilson Carlin |
I love those moments in life when I stumble across something, and before I realize what I am doing, the expression, "Wow!" slips from my lips. It probably happens most often when I see, for the first time, a painting which simply blows me away. Sometimes it may be a scene from nature that elicits that response; other times, a beautiful piece of music, a clever turn of phrase, or a wonderful and personal story. These moments do not happen often enough, so I treasure that flitting heart-skip each time.
I was not expecting to utter "WOW!" while reading a description about a series of art workshops, but that is what happened nonetheless. And "Why?" I am sure you are wondering: I cannot believe the low fee that is being asked for the level of training being offered. It works out to be as low as just $3.49 an hour! $3.49 an hour to learn the Frank Reilly Method of painting from two direct descendants of his training is, well . . . kinda crazy. And did I mention that the palettes and paints are being provided by the workshop host as part of the tuition? Wow.
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| John Ennis |
Frank Reilly has been mentioned several times before on this blog. He was a successful illustrator who developed a structured system of drawing and painting that he passed onto his pupils at the Art Students League of New York during the 35 years he taught there. Among the artists who can claim lineage to Reilly are Ted Seth Jacobs, Michael Aviano, Tony Ryder, Jacob Collins, Jeremy Lipking, Fred Fixler, John Asaro, James Bama, Tony Pro, Jeffrey Watts, Morgan Weistling, and Marvin Mattelson (from whom I learned about Reilly's techniques). Whether or not these artists still make use of Reilly's system, each, in their own way, has been influenced by his teaching lessons; and the results are obvious.
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| John Ennis |
Teaching the seven Reilly-based workshops offered at The Lyceum Hall Center for the Arts in Burlington, NJ, are two former students of Michael Aviano - Neilson Carlin and John Ennis. Neilson is an award-winning painter, best-known for his liturgical paintings done for the Catholic Church, while Ennis is an award-winning illustrator and portrait painter who is also the inheritor of Reilly's original teaching notes (see the earlier post on The Frank J. Reilly Papers). Both are internationally-acclaimed, busy artists, and that they are offering these classes shows how sincerely dedicated they are to carrying on the legacy of their teachers.
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| Neilson Carlin |
The workshops being offered as part of the A.R.T.I.S.T.S.! (Aviano & Reilly Traditional & Inspirational Summer Training Sessions!) program are:
THE TONAL STUDY with John Ennis
July 14, 10am - 6pm
$35
"Creating a monochromatic, translucent oil study to serve as an under-painting for a full color painting is a technique used for centuries by the masters. The knowledge and skill sets taught in this class will be applied to still life exercises, lessons in value, edge modeling, and the wash-in technique.
This technique will be revisited from workshop to workshop and is an excellent starting point for artists of all levels."
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VALUE AND COLOR MIXING with John Ennis
July 28, 10am - 6pm
$35
"If you find yourself guessing what colors to buy and how to mix them to achieve great results, this workshop is an opportunity to master the art of mixing color. Following the instructor’s demonstration, students will learn to distinguish value, hue, chroma (color intensity), and identify which paints will yield the desired effect of light and shadow. Students will paint small still-life items as they learn the relationship between value and color."
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COLOR THEORY AND PRACTICAL APPLICATION with Neilson Carlin
August 18, 10am - 6pm
$35
"The first step to successful painting is understanding the contents of your paint box and the full extent of what those contents can do. This workshop focuses on organizing your colors according to the Munsell Color System, creating a comprehensive color wheel, and applying the wheel to basic color exercises.
Make no mistake this is not your average 'make-a-chart and paint color swatches' color theory course. Everything taught in this class will be applied to actual picture painting exercises, designed to fine tune your color knowledge and help you achieve better results on your own, no matter what medium you work in."
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THE SIMPLE AND ADVANCED CHROMATIC STILL LIFE (2 DAYS) with Neilson Carlin
July 24 & 25, 10am - 6pm
$55
08/24 "This workshop puts the organizational principles of the Munsell color wheel into full gear while tackling a simple, high intensity still life. Lectures include color analysis, palette preparation, painting procedure, and their applications to a basic still life situation."
08/25 "Building on the lessons from the previous workshop, we fully explore the advantages of an organized color wheel. From start to finish, we dive into a complex, multi-hued still life of varying intensities and values."
* Due to the nature of this workshop attendees must attend the 08/24 workshop to be eligible to attend the 08/25 workshop. Work done the previous day will carry over into the next day's lessons.
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BEGINNING THE PORTRAIT: PORTRAIT DRAWING & THE WASH-IN with John Ennis
September 8, 10am - 6pm
$35
"Students will utilize the under-painting technique learned during the first workshop as a basis for creating a portrait. Topics will include: value, lighting, proportions of the head, placement of features, and use of edges.
If you plan to attend the portrait painting workshops on August 14th and 15th, bring your wash-in from this workshop. The wash-in created during this workshop can be used as the grisaille under-painting for the fully rendered portrait."
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PORTRAIT PAINTING (2 DAYS)
PALETTE CREATION AND THE PORTRAIT STUDY with Neilson Carlin & John Ennis
September 14 & 15, 10am - 6pm
$55
09/14 'Using the Munsell color wheel, this workshop covers the basics of portrait painting and the application of a controlled palette to the creation of beautiful flesh. Beginning with a discussion of the variations in skin color and complexions, we progress to laying out a comprehensive flesh palette, drawing the head, and blocking in a full color portrait study. This portion of the workshop will be taught by Neilson Carlin."
09/15 "Following a successful lay-in of color, students will learn to capture the models complexion, employ distinctive brushwork technique, and use edge modeling to great effect. This portion of the workshop will be taught by John Ennis. The wash-in from the previous workshop, Beginning the Portrait, to be held on August 8th, can be used as the grisaille for further development during this 2 day workshop."
*Due to the nature of this workshop attendees must attend the 09/14 workshop to be eligible to attend the 09/15 workshop. Work done the previous day will carry over into the next day's lessons.
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REILLY EN PLEIN AIR (2 DAYS)
THE LANDSCAPE PALETTE, PLEIN AIR PAINTING, AND PAINTING FROM REFERENCE with Neilson Carlin and John Ennis
October 5 & 6, 10am - 6pm
$55
10/05 "Learn to use a landscape palette that will allow you to master atmosphere, overcast and sunny days, and moonlit nights. This workshop, held indoors at the Lyceum will fully prepare you for painting out doors on location! This portion of the workshop will be taught by John Ennis."
10/06 "Building on the information from the indoor landscape workshop, we apply the principles and organized palette to painting in the field. This portion of the workshop will be taught by Neilson Carlin."
* Due to the nature of this workshop attendees must attend the 09/14 workshop to be eligible to attend the 09/15 workshop. Work done the previous day will carry over into the next day’s lessons.
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Enrollment can be per class, or for the entire series. Students who register for the entire series before July 1st will receive a $55 discount, making the final cost $250 (instead of $305). For more information, please contact Shaun Stipick by email at sstipick@burlingtonnj.us or by phone 609.969.3248. To see the press release, click here.
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| Neilson Carlin |
About the Lyceum Hall:
The Lyceum Hall Center for the Arts is a unique multi-media venue that specializes in exhibiting local, national, and international talent of the highest quality. A municipal project of the City of Burlington, NJ, The Lyceum Hall opened its doors in 2010 with the intent of offering unique artistic opportunities not available at that time in the region. Since its inception, The Lyceum Hall has begun a revolution in regional visual arts education, including but not limited to a recent partnership with the internationally recognized and renowned Studio Incamminati as well as other State and nationally recognized organizations and artisans. www.burlingtonLyceum.com
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| John Ennis |
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Workshop: Scott Waddell in Texas
Scott Waddell, artist and instructor at the Grand Central Academy in New York City, will be conducting a Portrait Painting Workshop in Austin, Texas later this year. Hosted by the Austin Classical Art Academy, this one-week intensive class will run from September 23rd through the 27th at the Gemini School of Visual Arts. The cost is $550. For more information, or to register, please visit www.scottwaddellworkshop.blogspot.com.
Spend 5 days working with Scott Waddell as he teaches his comprehensive approach to painting the portrait. In this intensive workshop, Scott will thoroughly cover each step of his process from block-in drawing to finished painting. Proportion, structure, and perspective will be the focus of the block-in drawing phase. Color mixing and paint application will be addressed as Scott teaches and demonstrates his approach to painting form, and its expression through hue, value, and chroma.
And if you haven't seen it yet, don't forget to visit Scott Waddell's Sketchbook Blog to see his free instructional video, Webisode 7: The Conceptual Edge. It is an excellent tutorial with great visual descriptions of the principles of light and shadow.
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Documentary: Drew Struzan: The Man Behind the Poster
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Auction Preview: Heritage Illustration July 31
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| Gil Elvgren (1914-1980) Bare Essentials (detail) |
Heritage Auctions is holding a sale of Illustration Art later this month at their Dallas, Texas salesroom. The auction will be broken into two sessions, the first concentrating on Pin-Up and Pulp Art, while the second session will feature Golden Age and Classic Illustration. Both auction sessions will take place on July 31st.
Featured in the auction are many early and mid-twentieth century greats, including Howard Pyle, Charles Dana Gibson, Dean Cornwell, Harold Von Schmidt, Mort Künstler, James Avati, Tom Lovell, Haddon Sundblom, and Norman Rockwell. They are joined by several more recent illustrators including Darrell Sweet, Leo and Diane Dillon, J.C. Berkey, Frank Kelly Freas, Greg Hildebrandt, and Donato Giancola. Pin-Up art, a staple of the Heritage Illustration Auctions, is also well represented with works by Gil Elvgren, but, unlike in previous sales, there is a higher concentration of less-playful pin-up work, and more examples of racy and less-innocent images among the works from other artists representing that genre.
All lots in the sale will be available for previews from 10:00 AM until 5:00 PM, Monday July 29th and Tuesday July 30th, at Heritage's Slocum Street location. The bidding sessions will take place at 11:00 AM (Pin-Up & Pulp) and 3:00 PM (Golden Age & Classic) on the 31st. For more information, visit the HA website.
The full sales catalog can be viewed online as well, and as always, Heritage provides the option of viewing quite large images of the work, once you register with their site (registration is free).
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| Gil Elvgren (1914-1980) Bare Essentials (1957) oil on canvas 30 X 24 in. |
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| Gil Elvgren (1914-1980) Aiming High (Will William Tell?) (1959) oil on canvas 30 X 24 in. |
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| Gil Elvgren (1914-1980) Something New (1957) oil on canvas 30 X 24 in. |
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| Gil Elvgren (1914-1980) Poolside Fun (preliminary billboard painting, circa 1950) acrylic, oil, and gouache on board 12 X 15.5 in. |
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| Gil Elvgren (1914-1980) Her Seductive Look charcoal on paper 17.5 X 24.5 in. |
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| James Montgomery Flagg (1877-1960) Woman on the Rowing Machine (1936) ink on board 13 X 20 in. |
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| Henry C. Pitz (1895-1976) Christopher Columbus pen and ink on board 9.5 X 14.25 in. |
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| Howard Pyle (1853-1911) Sunday in Old Catskill (1879) watercolor and pencil on board 11 X 15 in. |
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| Charles Dana Gibson (1867-1944) The Ghosts pen and ink on paper 18 X 32.5 in. |
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| Douglass Crockwell (1904-1968) The Legend of Sleepy Hollow oil on canvas 18 X 21 in. |
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| Norman Saunders (1907-1989) Dream-Doll of Nightmare City (1949) oil on board 22 X 16 in. |
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| Edwin J. Prittie (1879-1963) illustration from Robin Hood oil on canvas 30 X 22 in. |
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| Frank McCarthy (1924-2002) Eyeing the Enemy (c. 1956) oil on board 18 X 21 in. |
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| Cornelius Hicks Men Reading a Letter Over Candlelight oil on canvas 28 X 34 in. |
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| Dean Cornwell (1892-1960) Fara Swears Vengeance (study for The Big Fisherman) (c. 1951) oil on panel 12 X 14 in. |
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| Jim Schaeffing Consoling Her gouache and tempera on board 16 X 16 in. |
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| Ken Kelly (b. 1946) Players of Gor (1984) oil on board 31.5 X 22.5 in. |
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| Leo (1933-2012) and Diane (b. 1933) Dillon The Abhorsen Trilogy (2003) mixed media on paper 21.5 X 14.25 in. |
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| John Conrad Berkey (1932-2008) Spartan Planet (1969) oil on board 17.5 X 10.5 in. |
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| Darrell K. Sweet (1934-2011) The Way to Dawnworld (1983) acrylic on board 23.75 X 15 in. |
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| Greg Hildebrandt (b. 1939) Sudden Danger (2000) acrylic on hardboard 28 X 24.5 in. |
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| Olivia De Berardinis (b. 1948) Bettie Page (Angel and Demon) gouache and watercolor on board 20 X 20 in. |
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| Robert McGinnis (b. 1926) Nude in the Garden oil on board 24 X 18 in. |
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| August Bleser Jr. (1898-1966) Night Bridge oil on canvas 39 X 28 in. |
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| Robert Maguire (1921-2005) Couple on the Plantation oil on board 34.75 X 25 in. |
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| William Dolwick (1909-1993) The Wishbone gouache and tempera on board 12 X 17 in. |
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| Tom Lovell (1909-1997) Couple Lounging oil on canvas 24.5 X 30.5 in. |
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| Edwin Georgi (1896-1964) Couple Walking Along the Beach mixed media on board 17 X 25 in. |
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| Mort Künstler (b. 1931) The Couple That Refused to Die (1967) gouache and tempera on board 12.75 X 18.5 in. |
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| Harold Von Schmidt (1893-1982) Roulette 20.5 X 35.5 in. |
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| Tom Lovell (1909-1997) The Dog Fight (1951) oil on board 17 X 12 in. |
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| James Avati (1912-2005) Chinese Warlords oil on hardboard 25.5 X 25.5 in. |
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| Ron Lesser James Bond, Agent 007 : Droghandlarna (1982) oil on hardboard 22.25 X 16 in. |
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| Duane Bryers (1911-2012) Hilda in a Green Pasture watercolor and gouache on board 15.75 X 11.75 in. |
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| Haddon Sundblom (1899-1976) Cashmere Soap oil on canvas 36 X 32 in. |
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| Norman Rockwell (1894-1978) The Family Doctor oil on board 21.5 X 7 in. |
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Auction Preview: Bonhams California and Western Art - August 6th, Los Angeles
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| Guy Rose (1867-1925) Windswept Pines oil on canvas 15 X 18 in. |
An auction of California and Western Paintings & Sculpture will take place in Los Angeles on August 6th. The event, conducted by Bonhams Auction House, features over 150 works of art, with a high concentration of paintings, mostly by the stars of California Impressionism. The Auction will begin with lot 1 at 6:00 PM PDT in Los Angeles, with simulcast bidding at the auction house's San Francisco location.
Prior to the sale, Bonhams will offer previews of all 152 lots (Lot 145 by Peter Hurd has been withdrawn) at both of their California salesrooms. Viewing times are from 12:00 PM to 5:00 PM, July 26 - 28 in San Francisco, and from 12:00 PM to 5:00 PM, August 2 - 4 in Los Angeles. The entire catalog can also be viewed online at the Bonhams website.
One of the interesting works up for sale is Skagway in 1898, a work privately commissioned in 1988, directly from the artist, Thomas Kinkade. Yes - that Thomas Kinkade, "The Painter of Light™." Though the piece does still show Kinkade's predilection for glowing light effects, the painting is a pleasant throwback to Kinkade's earlier, less saccharine images, and hints at the talents of an artist who has been largely dismissed because of the kitschy, commercially-popular images that fostered his fame. Kinkade painted the period piece to commemorate the Klondike Goldrush; it was composed from historic photographs, and from pictures Kinkade took during a chartered flight over modern day Skagway. The image of Skagway in 1898 appears at the bottom of this page.
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| Edgar Payne (1883-1947) Canyon Mission Viejo, Capistrano oil on canvas 24 X 28 in. |
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| Edgar Payne (1883-1947) Temple Crag, High Sierra Lake oil on board 9 X 12 in. |
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| Edgar Payne (1883-1947) Valley of St. Gervais oil on canvas affixed to board 12 X 16 in. |
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| William Wendt (1865-1946) Camp in the Mountains (1928) oil on canvas 25 X 30 in. |
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| Edgar Payne (1883-1947) View at Sabrina Lake, Inyo County oil on canvas 20.25 X 24.25 in. |
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| Edgar Payne (1883-1947) Brittany Boats oil on canvas 28 X 34 in. |
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| William Posey Silva (1859-1948) Green Water Cove, Carmel oil on canvas 25 X 30 in. |
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| Elmer Wachtel (1864-1929) View Along the San Gabriel Valley oil on canvas 29 X 45 in. |
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| William Lees Judson (1842-1928) Evening Glow oil on canvas 15 X 25 in. |
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| Marion Kavanagh Wachtel (1870-1954) Mount Whitney oil on canvas 30 X 40 in. |
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| Ferdinand Kaufmann (1864-1942) A Woodland Path (1937) oil on canvas 25 X 30 in. |
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| William Wendt (1865-1946) A Grove of Trees (1933) oil on canvas 25 X 30 in. |
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| William Wendt (1865-1946) Claremont Oaks oil on canvas 24.5 X 43.25 in. |
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| Franz Arthur Bischoff (1864-1929) Canyon Green oil on canvas 24 X 34 in. |
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| Maurice Braun (1877-1941) Hills at Lakeside, San Diego oil on canvas 38 X 48 in. |
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| David Chapple (b. 1947) After the Rains oil on canvas affixed to board 24 X 30 in. |
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| Paul A. Grimm (1891-1974) Standing Guard (1936) oil on canvas 31.5 X 37.5 in. |
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| Paul A. Grimm (1891-1974) Desert Beauties oil on canvas 30 X 40 in. |
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| Paul A. Grimm (1891-1974) Wind Etched Sands oil on canvas 24 X 36 in. |
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| Maurice Braun (1877-1941) Autumn Oaks oil on canvas 25 X 30 in. |
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| Hanson Outhuff (1875-1972) Spring Tenderness oil on canvas 30.25 X 40.25 in. |
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| William Lees Judson (1842-1928) California Dry Wash oil on canvas 20 X 30 in. |
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| William Lees Judson (1842-1928) Mustard oil on canvas 16 X 24 in. |
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| Dana Bartlett (1882-1957) Vista of the Pacific at Laguna Beach oil on canvas 20 X 24 in. |
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| Frank William Cuprien (1871-1948) California Coast, Whites Point oil on canvas 24 X 30 in. |
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| Frank Harmon Myers (1899-1956) Sea Gulls' Domain oil on canvas 25 X 30 in. |
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| Grafton Tyler Brown (1841-1918) Waterfall in Forest Interior oil on canvas 30 X 18 in. |
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| Tobias Edward Rosenthal (1848-1917) Interior of a Woodcarver's Shop (1905) oil on board 26.75 X 19.5 in. |
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| Joseph David Greenbaum (1864-1940) Portrait of a Man with a Green Cravat (1894) oil on canvas 19.25 X 15.5 in. |
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| Mary Herrick Ross (1856-1935) Daffodils in an Indian Basket (1893) oil on canvas 18 X 32 in. |
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| Gunnar Mauritz Widforss (1879-1934) Windswept Trees (1925) watercolor on paperboard 11 X 16.75 in. |
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| Granville Redmond (1871-1935) Clouds Gathering Above a Marin Landscape (1908) oil on canvas 24 X 28 in. |
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| Reynold Brown (1917-1991) Indian Hunting Party oil on canvas 22 X 30 in. |
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| Alson Skinner Clark (1876-1949) Portal, Mission San Gabriel (1919) oil on canvas board 12 X 16 in. |
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| Percy Gray (1869-1952) Oaks Near Ranch, Carmel Valley watercolor on paper 16 X 22 in. |
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| Emil Jean Kosa, Jr. (1903-1968) Good Fishing, Albion, California (1964) watercolor on paper 22 X 30 in. |
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| H. Raymond Henry (1882-1974) San Juan Capistrano oil on canvas 38 X 50 in. |
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| Thomas Kinkade (1958-2012) Skagway in 1898 (1988) oil on canvas stretched over board 30 X 48 in. |
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DVD Pre-Order: Indirect Oil Painting with Sadie Valeri
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| Sadie J. Valeri Anchor in the Gale oil on panel 8 X 8 in. |
San Franciscan artist and teacher, Sadie J. Valeri is just about to release a new DVD detailing her method of indirect painting, and there is still time left to order the video at its pre-sale price. The film, shot in HD, will be 3 hours long when complete, and will follow Valeri as she creates one of her award-winning still life paintings, complete with one of her signature wax-paper "waves." All aspects of the painting process will be covered, from the line drawing through to the finishing touches, with a running voice-over narration by Valeri. The final sale price of the DVD will be $95 USD upon its release in August, but if it is pre-ordered, the special discounted price is $75, including free domestic shipping.
The DVD, Indirect Oil Painting, can be ordered now at the Sadie Valeri Atelier website. While at the site, be sure to visit Valeri's blog, which she started in 2006 to record her development as a professional fine artist. It is filled with insights and recommendations including suggestions on lighting, wall colors, studio furniture, and where to buy plaster casts and human skulls.
Valeri is also profiled in the latest issue of International Artist magazine (#92 August/September). In the article, she offers a simplified step-by-step explanation of the making of Anchor in the Gale, the painting featured in her upcoming video. Excerpted descriptions are included below.
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| Sadie's husband Nowell, an experienced filmmaker, is currently editing the upcoming instructional video, "Indirect Oil Painting." It is due for release next month. |
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| STAGE 1: CONTOUR DRAWING "Working from life, I block in a very accurate line drawing of my composition in graphite pencil on trace paper. I try to solve all the drawing, composition and proportion problems now, so later I can just focus on painting." |
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| STAGE 2 : TRANSFERRING FROM TRACE PAPER TO PANEL "I scribble on the back of my vellum drawing with soft graphite, and then use a hard graphite pencil or stylus to trace my drawing onto the gessoed panel support." |
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| STAGES 3 - 6 (beginning clockwise from upper left corner) STAGE 3 : OPEN GRISAILLE UNDERPAINTING "Using only burnt umber, I scrub in the basic values. I use a lean medium made of linseed oil and odorless mineral spirits, working with a very dry brush. I use the white of the gesso ground for lights, working very dry and transparent." STAGE 4 : CLOSED GRISAILLE UNDERPAINTING "I mix a range of neutral values, from dark to light, using ultramarine blue, burnt umber, and titanium white. I paint the whole painting in grayscale, usually two to three layers to refine all of the values." SATGE 5 : LAYERING "Moving into full color, I use a palette of warm and cool primaries to mix strings of all the colors I will need for the day. Using smaller and smaller brushes, I paint additional layers, refining and adjusting every layer. Each layer has more control and precision so I can get a high degree of realism." STAGE 6 : FINISHING AND GLAZING "In the final stages I use my smallest brushes to add the tiniest details, and I use transparent glazes to make subtle refinements. Glazing is paint thinned with medium, used to adjust the color and values to very precise shades. It is the stage that all the hard work of the earlier layers are relied upon, and I have a lot of fun finally getting to refine the details that drew me to the subject at the start." |
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| MATERIALS USED BRUSHES : White sable brushes, #1 rounds, #1 and #4 filberts. SUPPORT : Handmade chalk ground gesso, 5 sanded coats, on panel MEDIUMS : Lean Medium (for first two layers) - 2 parts refined linseed oil, 1 part odorless mineral spirits Fat Medium (for color layers and glazing) - 1 part refined linseed oil, 1 part stand oil ARTISTS' QUALITY OIL : Titanium White, Cadmium Yellow, Yellow Ochre, Cadmium Orange, Cadmium Red, Permanent Alizarin Crimson, Burnt Umber, Ultramarine Blue, and Cobalt Blue. |
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| Anchor in the Gale in process. |
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The Many Faces of César Santos
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Those of you familiar with the works of César Santos have seen his face many times; the Cuban-born artist frequently uses himself as a model in his paintings. But there are more faces to Santos than can be seen on his canvases. In a recent interview for Miami's Univision Channel 23, reporter Arlena Amaro explored Santos' varied interests and talents. That news segment - with English subtitles provided by Santos himself - appears below.
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2013 Art of the Portrait: Day 2 The Awards Banquet
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| Judith Carducci having fun, doing what she loves! |
The weekend's events began at 8:30 AM, unless you were a member of the Cecilia Beaux Forum, in which case your day began at the early hour of 7:00 AM. The Forum, headed by chairwoman Judith Carducci, is a section of the Portrait Society of America formed with the specific goals of strengthening the roles of female artists in the art world, and of increasing the public's awareness and appreciation of artwork created by women. Each year, the Forum uses the Portrait Convention to hold its annual meeting to discuss upcoming plans and ongoing projects, such as the group's Mentoring Program, which aims to offer technical and aesthetic advice to qualifying, female protégés. After the annual meeting concluded, CBF members broke into smaller groups for roundtable discussions between experienced professionals, and those women just entering the field.
At 8:30 AM, Saturday's official program commenced when Everett Raymond Kinstler took to the podium for a program called "Pointing the Way II." Using his well-known, direct and no-nonsense manner, Kinstler used his time to offer interesting and informative critiques of artworks displayed on the grand ballroom's large projection screens. These paintings upon which Kinstler commented were submitted previously by Portrait Society members for this sole purpose, and this opportunity to have the paintings evaluated by an icon of American portraiture was a rare and valuable lesson, not only for the creators of the displayed works, but for the entire audience as well.
After a short break, Michael Shane Neal climbed the steps to the stage to introduce the demonstration by this year's People's Choice Winner from Thursday night's Face-Off. This year's winner was Jeffrey Hein, a good-sport who had agreed to be a last-minute substitute for Casey Baugh during the Face-Off, and who then found himself having to take to the stage after wowing the crowds with his opening-night painting. Though he had never before attended an Art of the Portrait conference, Hein ended up being one of the stars of weekend, and during his portrait demonstration of fellow-finalist Katherine Stone, Hein showed why he is such a popular instructor. In the fewer than two hours he had to execute his painting, Hein offered many great pieces of advice, including, "Don't treat your paintings too preciously - It is better to wipe out a painting 12 times to get 1 great painting, than to paint 12 bad paintings because of a fear of making corrections." Everyone appreciated his participation at this year's conference, and are sure to be looking forward to his return in the years to come.
During the lunch break, attendees who had pre-registered for the Faculty Lunch & Learn had the chance to sit down for an hour-long, face-to-face meeting with a faculty member of their choosing. Depending on the faculty member selected, these sessions ranged from very informal and personal, to structured and scholarly, but although certain meeting rooms may have given the appearance of austere corporate boardrooms, all of these lunch sessions were casual question and answer periods where registrants were afforded the chance to interact directly with the generous professionals involved.
Throughout the morning, James Gurney had been sitting in the shadows, officially sketching the onstage personalities, but in the afternoon, it was his turn to become the subject of a painting. In a program originally titled Legacy in Paint, Judy Carducci - standing in for the recovering Daniel Greene - created a pastel portrait of Gurney during this, the last demonstration of the day. Carducci, a diminutive, grandmotherly figure, had the audience roaring with laughter as she entertained them with semi-bawdy limericks while she worked. The first of these she recited was:
There was a young maid from MadrasWho had a magnificent ass;Not rounded and pink, As you probably think---It was grey, had long ears, and ate grass.
With all of the laughter and joy that can be created while producing a work of art, it is no wonder that so many non-artists think that what we do is only playtime - but those people would also likely misunderstand the hard work and practice that went into making such a production look so effortless.
Just before 5 o'clock, with the teaching activities done for the day, the attendees returned to their rooms to relax, and perhaps make plans for the rest of their evenings. Those holding tickets to the gala Awards Banquet that night, however, had little time to rest as they readied themselves for the big event of the weekend.
Wearing their best finery, and looking like works of art themselves, the artists in attendance entered the banquet hall promptly at 7:00 PM to hear who was the winner of this year's William F. Draper Grand Prize. Before any awards were announced, however, we were all treated to a delicious dinner prepared by the hotel's chef, which included a unique dessert with a Tequila lime-juice syringe, and a chocolate coin stamped with the Society's name. No sooner had the last dessert fork been placed aside, the award winners' names began to be read, and a parade of talented people began crossing the stage at a whirlwind pace better suited for a relay race than for an awards ceremony (to be fair - there were quite a few award winners to be announced, and still other presentations to go before the end of the evening).
First came the Portfolio Review Winners - who included Leslie Adams, Casey Childs, and Marina Dieul. Then came the Certificate of Excellence Winners: Jonathan Ahn, Garin Baker, Antonio Bedolla, Mia Bergeron, Melinda Borysevicz, Gregory Dearth, Lee Hutt, Stanka Kordic, Fongwei Liu, Leah Mantini, Andrea Mosley, Teresa Oaxaca, Katie O'Hagan, Aapo Pukk, Kishor Purekar, D.K. Richardson, John Schaeffer, Sara Sniderhan, Joel Spector, and Terry Strickland - of whom many, but not all, were in attendance. These were followed by the finalists who had earned an award of Exceptional Merit: T.J. Cunningham, Marina Dieul, Glenn Harrington, Jeffrey Hein, Alicia Ponzio, Mardie Rees, Mary Sauer, Ardith Starostka, Katherine Stone, and Jennifer Welty. Next came the Honor Awards recipients, Seth Haverkamp - who also won the People's Choice Award - David Kassan, Cheng Lian, Gregory Mortenson, and Richard Christian Nelson. Then came Lynn Sanguedolce, who took first honors, followed by Serge Marshennikov and Iliya Mirochnik, who placed Second and First respectively. Kerry Dunn climbed the stage next to accept his award for Best of Show, and that left only one award yet to bestow - the William F. Draper Grand Prize, which was given to Leslie Adams for her grand-scale, charcoal drawing of her younger self. After congratulations were passed around, Jack Richeson, who had presented the Grand Prize to Adams, next drew for the winner of the Richeson easel used by the faculty for their main-stage demonstrations; this year, the easel went to David Kassan, who comically tried to carry the apparatus away with him, and back to his dinner seat.
After the presentation of the individual awards, Michael Shane Neal returned to the podium to announce the institutional winner of the Excellence in Fine Art Education Award. This year the award was given to New York City's Salmagundi Club, and Claudia Seymour, President of the Club, was there to accept the honors. Reading aloud from the plaque presented to the club, Neal recited Salmagundi's achievements:
Standing amid America's most historic art organization, the club's esteemed membership is comprised of this country's most outstanding visual artists and creators. For over 140 years their exhibition and education programs have acted as a catalyst for artists' development and growth. Their achievements have extended from one century to the next, and the club is destined to continue its meritorious mission and dedication to the arts.
Ms. Seymour graciously received the award, and then briefly spoke of Salmagundi's renaissance in regards to the continuing renovations taking place at the club's historic brownstone mansion in Greenwich Village.
Ray Kinstler next stepped onstage to announce the recipient of the Portrait Society of America's Gold Medal Award, but before presenting that distinction to his long-time friend, Charles Reid, Kinstler had at least one more award to bestow. Kinstler, a member of The Players club in New York City, was responsible for selecting an artist to paint a posthumous portrait of actor Jimmy Stewart for the club's collection, and he announced at the conference that finalist Lynn Sanguedolce was the person chosen for that prestigious commission. He then presented an unexpected award to a shocked Evert Ploeg, in recognition of the outstanding portfolio the Australian had also submitted in consideration for the Stewart portrait commission. With those honors imparted, Kinstler then turned to his main purpose, which was to give Reid his medal honoring the watercolorist's body of work, and for his role as an inspiring teacher. Reid shared images of several of his paintings, and humbly accepted his accolade from Kinstler and the audience before returning to is seat.
The final presenter to take the stage was James Gurney, the keynote speaker of the 15th Annual Art of the Portrait Conference. Having already inspired the audience the previous day with a lecture and slide show about sketching portraits in everyday life, the renowned illustrator, artist, and educator motivated the audience anew with an entirely different presentation, this time on the role of imagination in painting. The applause at the conclusion of Gurney's speech was thunderous, and it took quite some time for the audience to settle, and to prepare to leave the banquet hall.
The Awards Gala had come to an end.
Afterwards, many of the banquet attendees, all dressed-up and too excited to retire for the evening, found their ways to the hotel lounge, to congratulate the night's big winners, and for one last chance to socialize with their friends.
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| Everett Raymond Kinstler offering critiques from the big stage. |
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| Kinstler suggested to the audience that they familiarize themselves with John Singer Sargent's landscapes. "Good landscape painting translates into good figure painting." |
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| "You must paint from life to understand selection," said Kinstler. "Don't just paint what is in front of you." |
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| While Ray Kinstler spoke onstage, James Gurney sketched his portrait from the audience. |
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| (Thank you to James Gurney for sharing this image with the Underpaintings blog) |
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| Hein prepping his pochade box before his demonstration. His model, Katherine Stone watches on with interest. |
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| "Demos never show what's going on in the brain." |
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| James Gurney setting up by the side of the stage to sketch Jeffrey Hein. |
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| Michael Shane Neal introducing Hein. |
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| "Paint slow and carefully, and you will be a faster than a painter who must make constant corrections," said Hein. "Always make a careful start." |
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| Hein reminded his audience not to be lazy; it does not take much to put out more paint on your palette when it's needed. |
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| "Paint like a sword fighter!" |
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| "Never let your (soft) brush touch the canvas. Don't scrub with your soft brushes; there should always be paint between the brush and your canvas. Scrub with your bristles." |
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| Hein is shown using a lightweight, aluminum, Strada pochade box made by plein air painter Bryan Mark Taylor of San Francisco. (Painter Thomas Jefferson Kitts offers a great review of the Strada Easel on his blog.) |
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| A spectator in spectator shoes (Shane Neal and Ed Jonas) |
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| Hein feels artists should experience their environment as they paint it. This is why he always paints from life. |
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| "Keep your palette clean; a clean painter is a good painter - unless you are Steven Assael (he's good no matter what his palette looks like)." |
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| "Shadows should be transparent; half-shadows should be half-transparent. This adds to form." |
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| During a model break, Hein turns his painting upside-down to check for errors, and to make sure the painting is interesting from all angles. "Make the painting beautiful, not just the subject." |
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| "Judiciously exploit color - push the chroma" |
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| Though Hein feels he gets more control with lead white, he uses titanium white for these rare alla prima demonstrations because of its opacity. Unfortunately, titanium white, he feels, is like "poster paint." |
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| "Warm and cool is relative. The shadow of an orange may be cooler than the light side, but the shadow is still orange. Don't paint it blue!" |
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| Gurney's sketch of Hein painting Kate Stone's portrait. (see James' post on this sketch at his blog, Gurney Journey) |
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| "Don't be timid. Don't be afraid to break the lines." |
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| "Craftsmanship is only the beginning. Then you must become an artist." |
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| "See past color into value. Too many people mistakingly see a color shift as a value change." |
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| Hein sometimes uses a bristle fan brush, not to blend colors, but because he can use it to draw fine lines, as well as to lay in broad swathes of color. |
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| After joking about how much his hands shook the first time he offered a painting demonstration, Hein slipped with his brush, and had only five minutes left to correct his mistake! |
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| "Never stop drawing. Never stop looking at your proportions." |
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| "The best students are those willing to work the hardest, not necessarily those who come in with the most talent." |
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| The audience crowded the stage after the demonstration to get a closer look at Hein's painting (The iPad was ubiquitous at this year's convention). |
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| Bart Lindstrom |
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| Jeffrey Hein |
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| Daniel Sprick |
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| Quang Ho |
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| Joseph Todorovitch |
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| James Gurney |
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| Michelle Dunaway |
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| Sam Adoquei |
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| Mary Whyte |
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| Aaron Westerberg |
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| Evert Ploeg shared a video presentation. |
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| Judy Carducci painting James Gurney |
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| Carducci laughing during recital of her limericks |
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| Jack Richeson speaking with James Gurney before the banquet doors opened. |
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| Finalist Serge Marshennikov |
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| Guests at the banquet. |
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| Organic Spinach and Arugula Salad |
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| Dessert! |
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| Dawn Whitelaw introduces the portfolio winners. |
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| Portfolio Winners |
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| Michael Shane Neal announces the winners of the Certificates of Excellence. |
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| This year's Certificate of Excellence Winners In attendance (l-r) D.K. Richardson, Leah Mantini, Antonio Bedolla, Mia Bergeron, Melinda Borysevicz, Lee Hutt, John Schaeffer, Terry Strickland, and Joel Spector. |
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| T.J. Cunningham - Exceptional Merit |
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| Marina Dieul - Exceptional Merit |
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| Glenn Harrington - Exceptional Merit |
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| Jeffrey Hein - Exceptional Merit |
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| Alicia Ponzio - Exceptional Merit |
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| Mardie Rees - Exceptional Merit |
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| Mary Sauer - Exceptional Merit |
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| Ardith Starostka - Exceptional Merit |
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| Katherine Stone - Exceptional Merit |
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| Jennifer Welty - Exceptional Merit |
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| Greg Mortenson - Honor Award |
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| Cheng Lian - Honor Award |
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| Richard Christian Nelson - Honor Award |
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| David Kassan - Honor Award |
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| Seth Haverkamp - Honor Award and People's Choice Award |
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| Lynn Sanguedolce - First Honors |
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| Serge Marshennikov - Second Place |
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| Iliya Mirochnik - First Place |
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| Kerry Dunn - Best of Show |
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| The elated Leslie Adams stepping onstage to accept her award. |
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| Leslie Adams, winner of the 2013 William F. Draper Grand Prize |
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| Jack Richeson announcing the winner of the Richeson Easel used in the weekend's main-stage demonstrations. |
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| David Kassan is congratulated . . . |
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| . . . accepts his prize . . . |
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| . . . and promptly attempts to leave the stage. |
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| Michael Shane Neal presenting the Excellence in Fine Art Education Award to New York's Salmagundi Club. |
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| Before introducing this year's Gold Medal recipient, Ray Kinstler announced his choice for The Players club commission to paint the posthumous portrait of actor Jimmy Stewart. |
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| Lynn Sanguedolce accepting the commission. |
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| A surprised Evert Ploeg was called to the stage in recognition of the portfolio he submitted to The Players. |
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| Everett Raymond Kinstler and Evert Ploeg |
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| Kinstler introducing Charles Reid |
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| Charles Reid |
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| Kinstler and Reid |
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| Edward Jonas introducing keynote speaker, James Gurney. |
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| The 2013 Art of the Portrait Finalists (not pictured: Iliya Mirochnik) |
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| The staff of the 2013 Art of the Portrait Conference |
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"Perception" - A New Timelapse Video from Michael Klein
Artist Michael Klein has recently returned to New York City from Argentina, where he has spent the last several months working diligently on a series of new paintings. The studio Klein keeps in Argentina is in Buenos Aires, near to his wife's family home, and was built by his father-in-law to Klein's specifications. With its rustic design and translucent roofing, the building echoes the studios preferred by the Naturalist painters of the late 19th century, who wanted to capture the lighting of an overcast day without the certain inconveniences of working out-of-doors. In this timelapse video Klein filmed in South America, viewers have a chance to absorb some of this modern-master's techniques, as well as have the opportunity to see the benefits of working under the conditions Klein has incorporated into his workspace.
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