Alla Prima Painting Still Life and The Figure with David Shevlino – October 3-6, 2019

by Grace Lucarelli | Oct 1, 2018 | Past Classes and Workshops

Alla Prima Painting: Still Life & The Figure with David Shevlino
Four Day Workshop: October 3-6, 2019, 9:30 – 4 pm
$600M/$635NM

This class is about painting alla prima (wet into wet) and the techniques used to create a fresh, direct response to our subjects.

Days one and two, will focus on the still life.
Days three and four, will focus on the figure.

On the first morning David will demo, then the class will paint. Students will learn to look at large, overall basic shapes and to simplify. Working on a toned ground, we’ll start by sketching and placing the subject on the canvas. Then we’ll block in two simple values: light and dark and then begin adding mid-tones. On day two students will continue to paint on their own with one-on-one instruction with David.
On day three there will be a morning demo on the figure. Students will then paint on their own with plenty of one-on-one instruction time with David.

By learning to simplify form, values and color, we begin to interpret and break down our subjects into more understandable tones and shapes instead of becoming distracted by details. This helps us to paint our subjects with greater clarity and directness. This class will be particularly helpful to students who wish to paint more loosely and to paint their subject with greater economy.

Materials list for this workshop is here.

About David Shevlino: David Shevlino studied at the Pennsylvania Academy of the Fine Arts (certificate ’84) and the University of Pennsylvania (BFA ’92). His work has been featured in national publications and he has exhibited his work and taught workshops throughout the U.S. He has also produced a series of videos and DVDs about his artwork and painting methods.

His exposure to art began as a teenager growing up in NJ near NYC. He began making trips to art museums in NYC when he was 15 and developed a love of traditional figurative painting. As a youth he found himself especially drawn to the old masters. Those early trips to the museum instilled in him a love of craft and a sense of where painting comes from. For most of his artistic career he has tried to take what he has learned about traditional painting and mold it into something he can call his own, which presently means exploring the place between traditional figurative painting and abstraction.

For more on David, visit his website.

WORKSHOPS: Cancellations by the student – more than 90 days: full refund. Under 90 days: $50 non-refundable registration fee is included in the workshop tuition. Deposit is non-refundable within 14 days of the start of the workshop.

Color Theory and Mixing Workshop with Devin Cecil-Wishing – February 8-9, 2020

by Grace Lucarelli | Sep 25, 2018 | Past Classes and Workshops

Color Theory and Mixing Workshop with Devin Cecil-Wishing
Two-Day Workshop: February 8-9, 2020, 9am – 4pm
$250M/285NM

Color is a complex topic that beginning, and even more advanced painters, oftentimes struggle with. In this workshop, using a traditional color palette, students will learn a logical approach to color mixing, which will eliminate much of the mystery and confusion surrounding the topic of color.

By systematically breaking down the subject in to its component parts, you can learn to focus on one element at a time and begin to think of color in terms of freely navigating through a “color space” rather than worrying about trying to memorize specific recipes of pigments.

This class will feature in depth discussions on color, light, and visual perception, as well as demonstrations showing how to actually apply these principles to real world painting scenarios. Students will spend time completing various color mixing and painting exercises on small still lifes, specifically designed to help them internalize the lessons on color that are being discussed in the lectures and demonstrations.

“Goodbye chalky or muddy colors”

This is a great opportunity for students to learn how to avoid some common pitfalls such as “chalky” and “muddy” colors, and learn how to pin down exactly what we’re talking about when we describe colors as “interesting,” “subtle,” “deep,” “rich,” “warm,” “cool,” etc.

By exploring the underlying principles of color mixing, students will discover that color is just as logical in its workings as anything else and that there is no reason for it to feel confusing, mysterious, or inaccessible.

Click HERE for the materials list for this workshop and scroll down for more information about the instructor, Devin Cecil-Wishing.

WORKSHOPS: Cancellations by the student – more than 90 days: full refund. Under 90 days: $50 non-refundable registration fee is included in the workshop tuition. Deposit is non-refundable within 14 days of the start of the workshop.

San Francisco native, Devin Cecil-Wishing (b. 1981), launched his art career at age 13 after discovering the work of underground cartoonist R. Crumb. He attended San Francisco School of the Arts High School where, at age 14, he was offered his first commission. The classroom teacher noticed Devin’s class “notes” were a rich assortment of well-developed doodles and cartoons. In an unusual offer, the classroom teacher offered Devin a “B,” if he could produce a poster for his band. A successful poster was created for the teacher and Devin’s early art career was launched.

Devin went on to attend the California College of Arts and Crafts where he graduated in 2005 with High Honors from the illustration department. It was during this time that Devin began to more seriously explore other forms and styles of art. His education helped him develop interests in 60’s poster art, surrealism – particularly the works of Dali, wildlife art and many other art styles. Following graduation, Devin traveled to Amsterdam to view works on display for the celebration of Rembrandt’s 400th birthday. It was during a trip to The Hague and a viewing of Rembrandt’s “The Anatomy Lesson of Dr. Nicolaes Tulp,” that Devin realized how much he loved traditional painting and desired to study it further. Returning to San Francisco, Devin began studying at the Atelier School of Classical Realism in Oakland CA. At the same time, he began working as an instructor, teaching traditional drawing to low-income high school students in an after school program. He discovered that not only did he love creating art; he also had a true love for teaching art. He quickly began to teach at several other Bay Area locations.

Wanting to push his skills further, Devin applied and was accepted to study under the direction of Jacob Collins at the Grand Central Academy of Art in New York City. Devin moved to New York and began his studies in the summer of 2009. In his fourth year as a student he was invited to begin teaching classes there as well.

Devin’s work has been featured in numerous publications including American Artist Magazine, The Epoch Times, Bay Nature Magazine, The New Criterion and the San Francisco Chronicle. His work has been exhibited in galleries and museums across the country. He has received numerous awards including a Stobart Grant, acceptance to the Hudson River Fellowship and first place in the Alfred Ross Prize for Excellence in Cast Drawing, and has been awarded in the prestigious Art Renewal Center’s annual scholarship competition. His work has also been featured in the Art Renewal Center’s Annual Salon multiple times.

In the summer of 2014 Devin was invited to South Africa where he went to teach a two week drawing intensive. In 2018 he launched an ongoing instructional video series designed to teach painting and drawing to those students who can not come to New York to study in person.

Devin currently lives in New York City where he paints and teaches at the Grand Central Atelier. He is represented by William Ris Gallery in Long Island and Sheldon Fine Art in Newport, RI.

To see more of Devin Cecil-Wishing’s work, please click here.

The Big Idea: Creating a Large Painting in the Studio with Joe Paquet, March 21-26, 2020

by Grace Lucarelli | Sep 25, 2018 | Homepage

The Big Idea Creating a Large Painting in the Studio

6-days: Saturday – Thursday, March 21-26, 2020
Hours: 9am – 4pm (1-Hour break for lunch)
$1250

Registration Open

Enjoy this 6-day workshop with Award-Winning Artist Joe Paquet!

Select Awards:
2007 Laguna Plein Air Invitational – Artist Choice and Collectors Choice
2008 Salmagundi Club of New York – Alden Bryan Memorial Prize
2008 Richeson 75 Artist Choice competition l – Landscape First Place
2019 14th Annual Art Renewal Center International Salon Competition – Plein Air First Place
2019 Laguna Beach Invitational – Award of Excellence

Paquet is a member of both the Salmagundi Club and California Art Club and is an emeritus member of the Plein Air Painters of America/

ABOUT THE CLASS

This will be Joe Paquet’s fifth time teaching this highly-effective workshop. You will have the opportunity to implement a workable strategy for approaching a large work successfully, indoors. Daily lectures will take you from concept to finish while making sound, personal choices.

The first morning will begin with a lecture to discuss materials, palette management, composition and show examples by some of the greats. (Be sure to have a notebook!)
Each day will begin with a 45-minute lecture to discuss concepts relevant to the day’s work ahead.

Reference Material: Optimum would be a color study from life or the field, supplemental drawings and/or an excellent photo printed to at least 8×10″. If you do not have studies from life to work from, be sure whatever photo image you choose has clear patterns of light & shadow. Choose an image which excites you!

Students should email Joe their image prior to workshop to make sure it is suitable. Joe can be reached at Joe@joepaquet.com (A week is a long time to work through a mundane image).

Feel free to call Joe with any questions about the class @ 651.485.5807

Joe was the subject of the October 1995 Washington Post Sunday Magazine feature article. He’s also been featured in the March 2004 issue of American Artist magazine and the July 2005 issue of PleinAir magazine.

Select Awards:
2007 Laguna Plein Air Invitational – Artist Choice and Collectors Choice
2008 Salmagundi Club of New York – Alden Bryan Memorial Prize
2008 Richeson 75 Artist Choice competition l – Landscape First Place
2019 14th Annual Art Renewal Center International Salon Competition – Plein Air First Place
2019 Laguna Beach Invitational – Award of Excellence

Paquet is a member of both the Salmagundi Club and California Art Club and is an emeritus member of the Plein Air Painters of America/

Learn more about Joe below.

WORKSHOPS: Cancellations by the student – more than 90 days: full refund. Under 90 days: $50 non-refundable registration fee is included in the workshop tuition. Deposit is non-refundable within 14 days of the start of the workshop.

Balance due February 1, 2020.

About Joe Paquet
Joseph Paquet was born in 1962 in Patterson, New Jersey to hard-working parents of immigrant stock. His father Jim was a railroad man, working as an ironworker, dock builder & mason who also painted and carved wood and stone. His mother, Theresa, was a homemaker and craftsperson who sewed and knitted.
His childhood was one of being outdoors: wondering, wandering and daydreaming. “It’s a great irony to now get paid for those things which got me into trouble when I was a kid,” Joe says.
He attended the School of Visual Arts in New York and credits artist-instructors John Foote, David Palladini, James McMullan with inspiring his deep love of drawing.
Later he studied with John Phillip Osborne in Ridgewood, New Jersey and was introduced to the Prismatic Palette. Joe states, “John opened a new world for me and set me on a path to painting outdoors – it was incredibly life changing.”
Paquet’s philosophy is one rooted in deep connection and sensitivity to his subjects. He says, “Because I work directly from nature, each painting is a chunk of my life – a piece of me and record of my experience on this earth.”

Joe was the subject of the October 1995 Washington Post Sunday Magazine feature article. He’s also been featured in the March 2004 issue of American Artist magazine and the July 2005 issue of PleinAir magazine.

Select Awards:
2007 Laguna Plein Air Invitational – Artist Choice and Collectors Choice
2008 Salmagundi Club of New York – Alden Bryan Memorial Prize
2008 Richeson 75 Artist Choice competition l – Landscape First Place
2019 14th Annual Art Renewal Center International Salon Competition – Plein Air First Place
2019 Laguna Beach Invitational – Award of Excellence

Paquet is a member of both the Salmagundi Club and California Art Club and is an emeritus member of the Plein Air Painters of America.

For more info on Joe Paquet, please visit his website. Follow Joe on Instagram and Facebook.

MATERIALS:

Notebook or sketchbook — for prepatory studies or sketches
1 Large Canvas or Panel — Examples: 18×24, 20×24 ,24×30, 30×40
3 Small Panels 8×10 or 9×12
(Joe recommends panels from New Traditions Art Panels). He uses Type 15 Claessens linen

Easel: Joe recommends a good quality French Easel (Example: The Original Julian Full Box)
It can handle up to 30″ in Height and up to a 40″ Panel if used with a Bungee Cord.
However, The Art Guild has metal easels that you are welcome to borrow. (Please note, we have somewhat low ceilings in our 340+ year old building, so a very tall vertical may be problematic.)

You will be able to leave your gear set up each night.

Paints:
White (Large Tube – 220 ml) Titanium or Cremation
Cad Yellow Lt (Old Holland, Rembrandt, Graham)
Cad Yellow (Windsor Newton) Note- Not WN Winton as these are under pigmented student-grade.
Cad Orange (Winsor Newton)
Cad Scarlet (Winsor Newton)
Cad Red (Winsor Newton)
Alizarin Crimson (Winsor Newton)
Manganese Blue (Old Holland)
Cobalt Blue (Winsor Newton)
Ultramarine Blue (Winsor Newton)
Ivory Black (Winsor Newton)
Raw Umber (Old Holland)

Mediums / Solvents:
Medium – Mixed 50/50, Coldpressed Linseed Oil & Gamsol in a small bottle.
(Be sure to have ONLY Gamsol as a solvent — it outgasses the least of all solvents and we will be close together in two large rooms!)

Palette Cup(s) Preferably with screw top
Palette Knife (Long Blade )

Brushes:
Long Bristle Flats or Filberts – Recommendations, Robert Simmons Signet, Raphael Series 359, Rosemary.
(Have at least 2 of every other size 2,4,6,8,10,12)

Retouch Varnish – Small Bottle 2.5oz: Winsor Newton Artist Retouch Varnish
Varnish Brush – 2″

Brush Washer: Metal Variety with a vacuum top lid for solvents
Bungee cords

Paper Towels
Garbage Bag

Humility & Patience (Not Optional)

The Still Life & Floral in Oil with Robert Johnson – July 13-15, 2018

by Grace Lucarelli | Jul 16, 2018 | Past Classes and Workshops

The Still Life & Floral in Oil with Robert Johnson
A Three-Day Workshop • July 13-15, 2018
$470M/$500NM

A rare opportunity to take a workshop with Robert Johnson in New York!

What makes a painting compelling and memorable? What imparts enduring beauty to a painting? What are the time tested principles underlying the creation of a successful painting? The answers to these persistent questions will be explored in depth in this still life and floral workshop. These enduring fundamental principles taught will be equally applicable to other genres of painting.
The workshop will include a demonstration which will illustrate and discuss the principles underlying a successful still life arrangement, the design of the painting in the beginning stage, and effectively and artistically carrying the painting forward to its conclusion. The importance of effective and descriptive brush strokes and creating and preserving fresh and compelling paint quality will be emphasized. As the demonstration progresses students will be able to observe the importance of the observation and depiction of relative values and edges and the importance of the preservation of the initial design while working.
Students will receive individual critiques and assistance as their paintings progress.
Some of the topics covered in the workshop, among others, will be:
-How one can identify, select and use effective color.
-The importance of having a compelling underlying design and preserving it throughout the painting.
-The critical necessity of understanding and using values for artistic purposes.
-The understanding of the importance of edges in the visual world of painting and how to use them effectively.
-The importance of the creation of the illusion of depth and solid form and how to do it with paint.
-How to use selective detail to create the illusion finished masses in the eyes of the viewer.
-How to recognize, create and preserve the beauty of fresh oil paint on the canvas.
While this will be a painting and not a drawing workshop the instructor will discuss the importance of effective drawing and a solid foundation for a compelling painting. The instructor will make recommendations for books and materials to move the student’s drawing skills forward, and will also use some of his own finished drawings to illustrate the concepts discussed.
All levels welcome.

Bio: Robert Johnson was born in Hopewell, VA, into a family that included a mother who loved to paint and his older brother Ben, who became a worldwide respected art conservator and connoisseur as well as an accomplished painter. Robert remembers that as a child he watched his brother painting for hours – “seeing the magic of three dimensional form, recognizable objects, and the illusion of space emerging from a flat canvas fascinated me then and has never ceased to excite and amaze me-even today.”

A love of athletics took him to Duke University on a football scholarship, and later an interest in law led him to Duke Law School. After graduation his life took an unusual turn as he went to live in Europe where he spent two years in a small German village traveling extensively, seeing the best art in Europe and drawing and painting on his own. His brother was a knowledgeable and caring mentor. When Robert asked him what he should do to become a real artist, Ben advised him to “learn to draw and compare your work only to that of the masters.” Robert feels that “drawing is the foundation of all we are trying to accomplish as artists. When our drawing skills improve, the quality of our paintings mysteriously take jumps forward.”

Upon his return to the US he began his serious studies at the Art Student’s League of New York painting with David Leffel; drawing with Robert Beverly Hale and Michael Burban; and learning sculpture with Barney Hodes. He later had the privilege of painting and studying in the studio of Hungarian-American master Lajos Markos.

Since becoming a full time [painter in 1987 Robert has won first place national juried awards in The Artists Magazine and Salmagundi Club (NY) and numerous other awards – including five awards from the Oil Painters of America, and the American Art Collector Magazine’s Award of Excellence. He has had twenty one-man shows in private galleries throughout the US. He is the author of On Becoming a Painter (Sunflower Press, 2001) in which he explores his experiences in becoming an artist and his thoughts on the fundamentals of the painting process.

His work has also been featured in the Best of Flower Painting II (North Light Books) and The Simple Secret to Better Painting (North Light Books, 2003). He is featured in Learning from The Masters by Cindy Salaski (North Light Books, 2014). His work has been featured in numerous magazines including American Art Collector, The Artist Magazine, Southwest Art, American Artist, and Art of the West.

He is represented by Trailside Gallery (Scottsdale, AZ, and Jackson Hole, WY), Sage Creek Gallery (Santa Fe, NM), Whistle Pik Gallery (Fredericksburg, Texas), and Brazier Gallery (Richmond, VA) and Anderson Gallery (Saint Simons Islands, GA).

He teaches painting workshops throughout the US and Canada and has produced seven instructional videos.

For more information on Robert, visit his website robertjohnsonart.com.