My Oil Painting Journey

Self Portrait Practice, using a Mirror

2012-02-13T14:47:00.001-05:00

Using a mirror I did this self portrait last night, as this was only drawing practice for me, I did it on a Fredrix medium texture canvas pad with burnt sienna oil paint.

Although I have a long way to go with anatomy and aligning the facial features correctly, I have become more aware of all the shapes, angles, shadows and highlights that make up the face.

I think this is the next best form of drawing practice from a life, when a live model isn’t available, and I will continue to practice using the mirror.

I do have one tip to give, mark the floor with blue masking tape so you stand in the same spot, because nothings worst the a model who won’t stand still !

This is the way I like to draw....with my paint brushes and a rag.

2012-02-11T09:33:00.001-05:00

Ok, now this is the way I like to draw....with my paint brushes and a rag. I start with a toned canvas and pull out the lights....its that simple, no line drawing required. I start loosely at first with the big shaped and gradually get to the details. Using a photo of John Maler Collier’s painting titled Lady Godiva as a reference. This under painting sketch took me about five hours to do.

For some reason I have much more control over shading and highlights with this method apposed to drawing over charcoal.

Anatomy drawing at the kitchen table...

2012-02-11T08:54:00.003-05:00

I've been practicing anatomy drawing at the kitchen table, by copying pictures from the book Anatomy for the Artist by Jeno Barcsay

Professor Barcsay (1900-1988), who taught applied anatomy at the Budapest Academy of Fine Arts, offers a detailed portrayal of the human body for the fine artist in 142 full-page plates, illustrating magnificently a subject that has fascinated artists for centuries. It contains anatomical terms, details of the skeleton, joints, form and function of muscles, bones of the upper limb, joints and movements of the bones of the upper limb, the form of the arm in general, muscles of the upper limb, muscular system of the upper limb and its function, similarly for the lower limb the trunk plus muscles of the neck, the neck in movement, the bones of the skull, connections and movements of the skull bones, the facial angle, articulations and movements of the spinal column and the skull, muscles of the head, eye, mouth, nose and ear, proportion of the parts of the body, osseous and muscular system of the human body, proportional differences of the male and female body, female breast, the centre of gravity, contrapposto, movements, simple delineations of movements.

Drawing from life is one of the most rewarding things for an artist and it merits more respect then working from photos. Because it’s a hell of a lot harder !

2012-02-11T08:25:00.000-05:00

So I’ve put down the paint brushes and picked up the charcoal for a while, and I have to say ...I really miss my paint brushes!!!!

The life drawing class that I‘ve been taking are great, the instructor has been very helpful and supportive as well as the other students, who all have a high level of talent. I’m learning a lot but the traditional method of line drawing seems to be a problem for me, along with foreshortening.

I’ve already spent many years drawing with my paint brushes, and it’s hard to teach an old dog new tricks but I’m trying.

Just for the record I’m reluctantly posting these life sketches because I think they suck. Soon I’ll post a John Maler Collier painting I started working on from a photograph which will clearly show my dilemma between drawing from life and drawing from photos.

Drawing from life is one of the most rewarding things for an artist and it merits more respect then working from photos. Because it’s a hell of a lot harder !

Getting the White Right by Robert Gamblin

2012-02-09T11:15:00.000-05:00

The most important color choice we make is the white we bring to our work.

The white we choose determines to a great degree what our experience of painting will be: how our colors will tint and mix, how they will feel under the brush or knife, and how opaque our paint layers will be.

There are important differences between whites. For example, Titanium White has an opacity and tint strength that influences color like no other. Being the best-known white does not make Titanium White the right choice for every artist. You might prefer a white that's more subtle in mixtures.

When I first started making color in my studio I began by making whites, there were three at the beginning. Over the last 30 years, we've expanded and refined our selection of whites. We now have seven to serve your needs across the spectrum of artistic possibilities. More

From left: Titanium White, Radiant White, Titanium Zinc White, Quick Dry White, Flake White Replacement, FastMatte Titanium White, Zinc White.

Woman Figure Study in Charcoal

2012-01-31T00:55:00.000-05:00

Perfection 1056 Faber Castell Pencil Eraser

2012-01-29T20:36:00.000-05:00

I practiced another figure drawing today using Art Models 3 on CD. I also used the same Grisaille method as before, but this time with the aid of a Perfection 1056 Faber Castell Pencil Eraser to pull out the small lights.

Grisaille charcoal drawing technique.

2012-01-29T03:05:00.000-05:00

Here are a couple of drawings I did at home from photo references, using what I’ll call a Grisaille charcoal drawing technique.

figure drawing class

2012-01-29T02:47:00.000-05:00

It was our first day with a model in figure drawing class and we started with some contour drawings without looking at the paper. Practice of this sort of blind drawing, is not meant to produce a work of art, its purpose is for building an eye for observation.

After that we did a series of really fast gesture drawings, really fast meaning 15 seconds, the trick is to capture what the model is doing as quickly as you can.

Finely we went on to a couple ½ hour poses. I found my self struggling as usual and the instructor suggested that I abandon the outlining approach and block in the models gesture with sweeping applications of the vine charcoal and work the basic shapes in with your fingers, adding and subtracting until the figures basic gesture and tonal values come together. I didn’t immediately figure it out in class, but I went home and practiced it with better results.

Im familiar with this type of drawing as its basically the Grisaille technique with charcoal instead of a burnt umber wash.

Life Drawing in Charcoal by Douglas R. Graves

2012-01-27T00:48:00.000-05:00

I’ve taken a break from oil painting for a while to brush up on my drawing skills. I’m taking a instructed figure drawing class as well as working through the lessons from a few good books.

This latest book Life Drawing in Charcoal by Douglas R. Graveshas teaches an alternative approach to drawing that better suits my oil painting mind set.

“Rather than building up a drawing from lines, this innovative method encourages students to begin with tonal masses. Suitable for experts as well as beginners, its step-by-step demonstrations feature over 200 illustrations. Topics include foreshortening, use of modeling to achieve added dimension, facial features, and other aspects of life drawing.”

Rick Steves: The Value of Travel

2012-01-22T10:14:00.000-05:00

I am American as my Jeep Cherokee and homemade apple pie !

2012-01-16T15:51:00.000-05:00

And to show off my versatility, after working on the Jeep, I made an apple pie from scratch. Lol !! What can I say, I like to build things.

2000 Jeep, cracked block

2012-01-16T15:04:00.000-05:00

Here's a few pictures of me messing around with my Jeep !!

The Natural Way to Draw, by Kimono Nicoladies

2012-01-16T14:51:00.001-05:00

Just a little up date on what I’ve been up to lately,

I’ve been reading a lot about academy art studies lately and the emphasis seems to be on developing good drawing skills. So in an effort to develop better drawing skills, I’m reading a book from a well known Art Student's League teacher, Kimono Nicoladies. The book is titled The Natural Way to Draw and the first assignment is to put a lot of time into drawing without looking at the paper, with the concept being to practice a constructive way to look at people and objects so that you acquire the most knowledge from your efforts. I’ve been doing this using Pose Manicas for my subject mater, drawing contour and gestures.

I’ve also signed up for a series instructed figure drawing classes at the Arts Guild of New Jersey, instructed by Mc Guire.

Other then that it’s been all work and little play lately. Oh yea I finely started working on my Jeep with the cracked engine. I pulled the engine out by myself, just have to order a new rebuilt and put it in. I haven’t really worked on cars in about 15 years, I forgot what a pain in the ass it is.... I would rather be painting.

Learning How to Paint Part 1 - Three Secrets to Success

2012-01-09T22:13:00.000-05:00

Learning about Oil Paint Mediums with Katie Blackwell

2012-01-07T01:47:00.000-05:00

Ten tips to learn how to paint from the Russian Practicum web site

2012-01-02T23:55:00.002-05:00

( Google’s Russian to English translation may be a little rough, but the advice is still good.)

1. Sketch

The first and most important point. Do at least 5-6 sketches per day. This rule works like this: the more the better. Use every opportunity to paint at home, at work, on the road. It develops a "hand", the sharpness and speed of perception, the ability to see the proportions and character. It is useful to draw storyboards for the film, comics step by step instructions. They have to control the movement of the characters, watching their recognizability. More

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2. Copies of Old Masters

Surrounded himself with role models, develop the taste. Make a copy of 3 months. It should be solid with good originals Study of the great masters (Michelangelo, Rubens, Holbein, Dürer, Repin, Serov, Feshin and others). Try to maximize how you can get closer to the source, studying not only the techniques of the master, but his biography, the material culture of the time. More

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3. Draw from memory

Even when working from nature, we work from memory. During a lengthy educational setting, in parallel sketches from memory, examining details, draws at home or that element. Developing visual memory, you will become not only a good draw, and write persuasively.

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4. Study and consult with the nature of

Explore nature at least 2 hours per day under the guidance of an experienced mentor. Principle: from simple to complex. For the fruitful development of professional skills necessary to have an individual plan of study or to follow the prescribed curriculum. Work in the studio combine to travel to the Picnic. Do not let yourself confused knock formal experiments. Trust your instincts and always compare theory with practice.

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5. Read the professional literature

All you need to know, has long been written - do not reinvent the wheel. Read a book a month. Technique and technology of materials, art history, anatomy, cromatics, tracts of old masters, artists' biographies, the physics of natural phenomena, the basis of perception, psychology, philosophy - read everything connected with the profession of an artist. Today, the Internet provides a global opportunity to get almost any material. But you can not trust everyone.

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6. Look for a mentor

Constantly look for a mentor, according to their professional growth. You have to completely trust his knowledge, experience and his creative activity should call the universal respect. Often, good artists can not be mentors. For this we need to have a methodical and academic talent. Give advice to small - need to participate in the life of a student, think of the job taking into account the personality and abilities. On the other hand, the teachers on the staff often perform supervisory functions, and have not practiced the art. Their shkolyarnye truth are without this skill and craftsmanship. Sometimes, only one meeting with a true master can change your whole future.

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7. Repeat mistakes

Usually, people are encountering the first obstacle - abandon the job. They are afraid of repeating mistakes. It did not work - start a new one! Do not be afraid to make mistakes - take a look at them closely. Perhaps it "speaks" your identity. Turn their disadvantages into advantages.

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8. Not Draw on photos

The temptation to simplify the work with nature can have irreversible consequences. Amateur painter, not realizing the intricacies of identifying shapes, wittingly or unwittingly falls in relation to view the world through the lens. He feels that this will bring it to nature. Believe me - it's not the case.

The camera can not replace the work your heart and mind to transfer the reality on the plane. And especially do not revise it creatively, which is particularly valuable. Only mustered sufficient experience and become a master can be used to collect material fotoappart and fixation point.

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9. Take breaks

Do not get hung up on one and the same - to know how to switch. Does not work - make a break, go for a walk. Start a fundamentally different picture, change the point of view, change the equipment, try new stuff. It is useful to have several simultaneous work with different tasks, using a new technique. Sometimes you just need to step back to look at ourselves.

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10. Engaged in creative work

Put it in front of a big goal. We must always remember why you decided to learn. Do not shelve plans for their artistic and creative ideas. Begin to implement them right now. Take part in exhibitions, competitions, regardless of the level of training and distance. Be an artist!

Russian ,Practicum web site

Giovanni Bellini’s Saint Francis in the Desert, a great demonstrations of art’s power to capture light, through the material of oil paint.

2012-01-02T11:38:00.006-05:00

An extreme close-up view of Giovanni Bellini’s Saint Francis painting shows that the oils Bellini used are miraculous at conveying light. Blake Gopnik deconstructs the famous work.

Giovanni Bellini’s “Saint Francis in the Desert,” at the Frick Collection in New York, is one of the greatest works of Christian art. It is also one of the first Italian masterpieces painted in oils. And for the duration of this summer, we’re being invited to view the Frick’s sacred treasure in a skylit space all to itself, near texts and multimedia that highlight a recent scientific study of it. The experts didn’t uncover much, but that doesn’t matter. The chance we now have to peer long and close at the picture (they’ve even placed a sofa in front of it) confirms that it may be more miraculous than anyone has realized.

Bellini’s “Saint Francis” was begun in about 1475, soon after oils were introduced into Italy, and more than most pictures it embraces the paradox of the new medium: That such a material substance, which can be thick as buttercream, can also be the ideal way to convey immaterial light. And here’s why Bellini’s picture gets at that paradoxical essence so peculiarly well: It tells the story of a moment when the immaterial light of divinity descended to earth, leaving its mark on the material body of a Christian saint. The new oil paint, that is, reveals the sacred story of spiritual light imprinting on matter better than ever before. But that sacred story is also the perfect pretext for telling the story of the new paint, and of how its matter reveals light.

The picture’s action is set in 1224 when, after years of devotion to Christ and His poor, the 44-year-old Francesco Bernardone—soon canonized as Saint Francis of Assisi—retired to a mountain in Tuscany. As he fasted and prayed, he was rewarded with a visit by divinity itself, which left the marks of Christ’s wounds on the holy man’s flesh, making him the first person ever favored with the stigmata. Traditionally, paintings of this subject had depicted a six-winged seraph floating in the sky in front of the saint, with magic rays extending out to pierce him. But Bellini leaves all that out. He uses his new medium of oil paint to show light alone doing the holy work of transmitting spirit onto flesh. (People once thought that maybe a seraph had been cut off or erased at the top of the painting, but the new study indicates that none was ever there.)

Saint Francis stares up into vacant space, as though in contemplation not of God in the abstract, or of a visible mystical presence, but of the sun that is streaming down onto him and everything else in the scene, and casting strong shadows behind them. Where a laurel tree gets between this divine illumination and the man it wants to touch, its branches seem bent by the force, while its leaves are so bright—thanks to the oil paint rendering them—that they look close to catching fire. The golden break in the clouds at the top left of the painting, which according to the latest research has received the painting’s thickest dose of oils, is a close echo, even in its shape, of the flaming seraph seen in earlier paintings. Like the rest of Bellini’s picture, that cloud break replaces the supernatural phenomena of the Middle Ages with a Renaissance notion that God is already and always active in the world, in the workings of nature. This painting is as close to pure landscape as it is to sacred storytelling. (Botanists can recognize almost all the plants depicted by Bellini, however obscure.) Take out the figure of the saint, and you still get a pretty coherent work of art, with plenty going on in it, as could never be said of earlier sacred pictures.

Francis’s stigmatization, you could say, isn’t a magical exception to the natural order of things, but, in Bellini’s telling, is part of what goes on in a God-infused natural world. God made that world visible and active by means of the light He created in the first moments of Genesis—and then Giovanni Bellini, something like 45 years old and eager to prove his mastery, captures that world and its light by means of his oils.

You could even say that, at a moment when the Church was encouraging Christians to identify directly with its holiest figures, the oil-wielding, light-creating Bellini is identifying with the divinely favored Saint Francis immersed in his light-filled natural scene. Imagine a painter making a live record of the view depicted in this picture—say working outside at a desk like the one behind the saint, which the scientists now say Bellini took extra pains with—and you’re imagining a figure set in nature and bathed in light just as Saint Francis himself is shown to be, in this very picture. There is almost a sense that Bellini, in 1475, is sanctified by Francis and the light in this scene in the same way that Francis himself was sanctified directly by the light sent down from on high in 1224. The painting, that is, yields a record of the saint’s holiness imprinting on Bellini, as a kind of artistic stigmata, just as Francis’s true stigmata showed divinity imprinting very directly on him. It can’t be an accident that a great painting whose subject is light’s power to sanctify the material world also counts as one of the first great demonstrations of art’s power to capture light, through the new material of oil paint.

In fact, more than in almost any earlier Italian painting, we only know about the natural world Bellini puts before us because of how he captures the light that falls on it. The tiny trill of water coming out of the rocks in front, the blocky massing of the castles in the background and the roundness of the clouds above them, the velvety surfaces of the donkey’s hide and of the saint’s robes and, most especially, the angled folds and crinkled edges in the scrap of paper that bears Bellini’s own signature—all of these only come into their own, as precisely what they are, because of the light that plays across them, or rather that Bellini’s oils make us think we see there.

If Bellini’s paints are responsible for that light, and for the world it reveals, then they are the ultimate source, you could say, of the holiness carried by light in this painting.

Click on the fallowing link for 11 close up pictures of Giovanni Bellini's Saint Francis in the Desert.

Click the following link to launch the Google Art Project and zoom into the Bellini painting in great detail (opens new window).

Art Quote of the day 2012

2012-01-01T09:11:00.000-05:00

We will open the book. Its pages are blank. We are going to put words on them ourselves. The book is called Opportunity and its first chapter is New Year's Day.”

-- Edith Lovejoy Pierce

New Year's Art Resolutions for 2012

2011-12-29T21:53:00.001-05:00

With the New Year right around the corner, this is the time I usually start soul searching for what I want, what I need, what I can do without and how to get it all done.

That’s right its resolution time and I always take it serious, aiming for self-improvement and happiness, while remaining clear- minded and realistic, making sure not to fall into that trap of setting the New Year’s resolution bar too high, only to fall short.... like so many seem to do.

I usually start out by making a list of all my grievances for the year, the type of things that I actually have some kind of control over, and can change with a little hard work and discipline. Apparently this has been a tough year as I’m already on my third page of gripes with no end in site. Guess I got my work cut out for me in 2012.

But with regards to my art for 2012, I would like to focus on the one thing that has frustrated me the most this year, rendering the human figure. Still enamored from my trip to Italy, the Italian masters have opened my eyes to artistic spiritually at its finest, with the human figure as a key component for expressing the passion in ones heart, nothing would please me more then to be able to capture that spirit in my work.

So as I was saying, it looks like I have my work cut out for me for 2012 !

Happy painting and New Year !

Photo Shop a place to let my imagination run amok.

2011-12-10T13:15:00.001-05:00

Sometimes I get into a funk and run out of creative ideas. One way I’ve found to elevate this trouble is to muddle around with Photo Shop. (which I'm not really good at but like to muddle anyway )

I like to think of Photo Shop a place to let my imagination run amok.

I usually start with a general concept, then in a collage like fashion I use my original photography mixed with an endless supply of material on the net, which I find far less taxing when exploring the depths creativity.

Eliminating the costs and confines of oil painting on canvas can be quite liberating, but the ultimate goal here is to inspire innovative imagination for the fabrication of uniquely creative oil paintings in the future.

The Academic Process (part 3 of 3)

2011-11-22T00:05:00.002-05:00

The Academic Process (part 2 of 3)

2011-11-22T00:04:00.002-05:00

The Academic Process (part 1 of 3)

2011-11-22T00:02:00.000-05:00

Art quote of the day

2011-11-20T18:02:00.000-05:00

It's so fine and yet so terrible to stand in front of a blank canvas.
-Paul Cezanne

The Psychoanalyst and the artist

2011-11-19T01:09:00.000-05:00

I picked up this interesting little book at the Westfield book sale last week and I have to say, for a little book it packs a heck of a punch.

Although I’m only half way into reading the book, I’m already quite intrigued as to the depths in which the Psychoanalyst will go to dissect the artist’s conscious and subconscious thought process.

Apparently there’s a lot more going on inside the subconscious mind of an artists then I could have ever imagined. And although I may not agree with some of the authors theories, there are many here worth exploring that may help to understand art in general and perhaps even unlock some creativity in my own work.

Here is a description of the book with a few passages I found insightful, pertaining to what it is to be an artist.

The major discovery of The Psychoanalyst and The Artist, which pursued clues Freud left us, was and is that human talent-genius configurations have the distinctly and exclusively human capacity - in an infinite number of ways - of 'turning a true dream inside out' and superimposing it and weaving it or interweaving it with the strands of the reality of our everyday life. Hence, in great art (or in quite another way in great science) we 'identify' and 'thrill to the comprehension at all articulate and inarticulate levels' of the thus .universalized dream presented in whatever medium of the seven arts and the innumerable divisions of human sciences.. .Talent has this ability in a dilute and occasional way. Genius possesses it in a steady torrent, though at times blocked and even twisted with frequently disastrous personal consequences, e.g. suicide.

Parallel to this distinction between intent and result is another distinction that must be drawn in the interest of defining what is treated here as art, the product of true artist. A true artist is an interpretive artist, consistently devoting his life to the exquisite and enduring expression of his own individual reality in relation to his world.

Yes you are an artist if you have an awareness of the unconscious and are sensitive to dreaming, above all aware of and sensitive to your own impermissible impulses and impossible ideas; if you Can quite shamelessly and vividly dream in symbols of great economic power; if you can weave together the radiances of those symbols (by design in what ever medium) in such a way and with such an interpretive relationship to reality that you create the elusion of something alive and something manifold so that each who comes to look at, listen to or touch your work feels himself caught in your dream-become-art; if he is stimulated and relieved via identification with your characters or symbolic objects, as you yourself were, in physical pleasures varying from relaxation to orgasmic experience, in spiritual enjoyment of the tragic , comic or contemplative.
But this answer is really only preliminary.

Still life in progress

2011-11-02T06:34:00.002-04:00

Just a few things I need to ask myself, while I'm oil painting.

2011-11-01T20:51:00.000-04:00

Why am I painting this?

What do I like about it?

What am I trying to say with this painting?

What story am I trying to tell?

What emotions am I trying to stir up?

Am I stepping back often enough to see what the heck I'm doing?

Am I painting the light?

Am I paint all the reflective light?

Am I painting the shadows?

How is the perspective?

Are the values correct?

Is the composition pleasing?

Does the painting read well?

Have I defined a focal point?

Is the color rich enough in the focal point?

Are my contrasts strong at the focal point?

Am I working the contrasts of hard and soft edges?

Am I working the contrasts of hot and cold color?

Am I working the contrasts of thick and thin paint?

Am I working the contrasts of opposite colors?

Am I working the contrasts of darks and lights?

Flip the painting upside down and take a good look at it, is it still balanced?

Look at it in the mirror, does it still look good or is something off?

Is my palette getting too muddy?

Are my brushes over loaded with paint?

Did I take this painting as far as I could today?

Should I stop before you mess it up?

Why the heck am I painting this again?

Still life shadow box

2011-10-22T09:52:00.001-04:00

To give more depth to my still life paintings, I’ve made a simple still life shadow box.

Using a 24"x 15" cardboard box, I spray painted the inside with a medium flat gray primer. The clamp on light can be moved around to create all sorts of interesting cast shadows which I believe give a painting its depth.

LWW Plastic Human Skull, Numbered-A21 Review

2011-10-16T12:14:00.000-04:00

To assist with my cast and anatomy drawing studies, I’ve decided to buy the LWW Plastic Human Skull, Numbered-A21. After reading all the reviews I got the impression that most artists were disappointed with the cheap skulls on the market, as they were poorly constructed with little detail and more suited for Halloween decoration then anatomy study. So its worth it to spend a little more for accurate anatomy.

I have to say the LWW Plastic Human Skull, Numbered-A21 is well constructed, has a good solid feel and weight with lots of detail. The teeth even look real. This is a medical study skull and definitely not a cheap Halloween prop. I got it at Amazon for $144.95 plus 11.50 shipping. Its made by Anatomical Chart Company and shipped by BBhealthy. It shipped quickly and it was very well packed.

Art quote of the day

2011-10-11T23:33:00.000-04:00

"Everything Worthwhile, Everything of Any Value, has a Price. The Price is... E F F O R T" ~Loretta Young

Reflecting on my trip to Italy, Saint Peters’s Basilica

2011-09-29T22:39:00.000-04:00

Saint Peters’s Basilica

And nothing I’ve seen up until this point in my life could have prepared me for what my eyes were about to see. Saint Peters’s Basilica at the Vatican is truly overwhelming.

My experience there was quite spiritual and a bit difficult to put into words but I’ll give it a shot.

Saint Peters’s Basilica is a place, where if the walls could talk they would speak volumes, but the voices weren’t coming from the walls. They were coming from with in my heart, as I could literally feel the presence of God flowing through the passionate labor and heavenly creations adorning this vast testament to the Catholic faith.

I slowly walked with trepidation trying to comprehend the enormity of my setting. Engulfed in such immense beauty is startling at first and my only mental reference for comparison, would be to have all the people I’ve ever loved and lost together in the same room.

A life time of their memories began to swirled inside of me. I miss them all so dearly and my heart grows heavy as I reflected upon their final days of suffering. Tears pooled in my eyes as I began to feel that big lump you get in your throat just before your about to cry. Then like a gift from heaven an enormous sense of relief washed over me, and I knew in my heart that they were all in a better place. With no more pain, they are at peace. A heavy weight was lifted from my heart replaced with a sense of joy..... I began to smile.

I may have appeared incredibly small walking through Saint Peters’s Basilica that day, but with each step I felt closer to divine knowing that in some small way, I too am part of God's immaculate plan.

I never felt more humbled.

I never felt more alive.

Oil paintings from vacation pictures, Italy

2011-09-18T08:11:00.000-04:00

I took a ton of pictures while on vacation it Italy with the good intention of producing some oil paintings from them, so while my other painting dries I thought it would be a good idea to get a move on in that direction.

I started this painting in a loose impressionist manner and I may break the brush strokes up even more but I think I’ll wait till it dries before I make my decision.

rendering with light, shadow and color

2011-09-17T11:15:00.001-04:00

I started a new painting this morning. After getting the basic idea for this painting, I worked out the composition with some small thumbnail sketches.This made it easier for me to sketch it out on the 16"x 20" canvas.

I’ve been reading Dan McCaw’s book this week “A Proven Strategy for Creating Great Art”. Dan’s method for rendering with light, shadow and color have been very helpful. I’m sure I will look at the development of my future paintings with his advice in mind.

Irene hits New Jersey

2011-09-04T18:04:00.000-04:00

Life gets in the way of art or should I say "Irene" got in the way this time . No water in the house just downed trees in my yard. One of my trees fell on my neighbors house and one of hers fell on top of the one that fell on her house....what a mess! I consider myself very lucky just minimal damage and a whole lot of clean up. So many people in New Jersey lost so much .

Natural directional lines

2011-08-14T13:53:00.000-04:00

In this painting I’m trying to emphasized the natural directional lines of the photo, along with the strong contrast between dark and light colors to draw the viewers eye into the canvas.

Lawrence Block

2011-08-13T14:02:00.000-04:00

Dreams are like stars...you may never touch them, but if you follow them they will lead you to your destiny.

Lawrence Block

Secrets of success in 8 words, 3 minutes

2011-08-10T21:08:00.001-04:00

Netherlands series of oil paintings

2011-08-07T21:41:00.000-04:00

I forgot to mention that this series of paintings will be from photographs my sister- in-law took while on a business trip in the Netherlands. ( Thanks Jenny, great camera work ! )

I started this painting incorporating the same techniques as the last.

Liquin to get a water color affect

2011-08-07T21:03:00.000-04:00

I used the Golden palette of colors with the addition of Daler-Rowney's Yellow Green and Terre Verde. I also uses quite a bit of Liquin which helped to get a water color effect. This is a small painting 6"x 17 1/2".

loose charcoal sketch directly onto the canvas

2011-08-07T16:25:00.000-04:00

I’ve been wasting a lot of time painting directly onto the canvas while continually correcting drawing errors with paint. This just go for it attitude has not been a very productive way for me to work at this point in time.

For the next series of paintings I’m going to do a loose charcoal sketch directly onto the canvas, then paint right over it. I figure with the drawing already worked out on the canvas, I won’t have to fuss with proportions. Then I can just dive right into the painting process.

Shut up and go paint something !!

2011-08-07T12:20:00.000-04:00

I’ve been checking out some artist blogs on line and I’m inspired yet dumbfounded by the amount of oil paintings some people are capable of producing.

There level of commitment and discipline to art is extremely intense. At times I question my own work ethic and often find myself stewing over the question....am I really doing all that I could ?

I can daydream of oil painting all day, but an 8 hour a day/ 5 day a week job has a way of draining the life out of my antistatic spirit.

By the time I stand toe to toe with the easel, that bolder sized motivation I had at the start of the day has been grinded down to a pebble, leaving me snow blind and confused staring into the abyss of a blank white canvas, forever having to rummage through the depths of my soul for the energy to lift the brush to the canvas....... Uhhhhh... Wait !.......

Lol..... I just read that back......too much drama, I should just shut up go paint something !!

Slow Art

2011-08-02T02:59:00.000-04:00

Arthur C. Brooks: The secret to human happiness is earned success

2011-07-30T09:13:00.000-04:00

By: Arthur C. Brooks

Part three in a three-part series.

People flourish when they earn their own success. It's not the money per se, which is merely a measure -- not a source -- of this earned success. More than any other system, free enterprise enables people to earn success and thereby achieve happiness. For that reason, it is not just an economic alternative but a moral imperative.

People think that they will be happier if they have more money, but quickly find out that they're mistaken. When people are asked what income they require for a satisfying life, they consistently respond -- regardless of their income -- that they would need an income about 40 percent higher than whatever they're earning at the time.

Benjamin Franklin (a pretty rich man for his time) grasped the truth about money's inability to deliver life satisfaction. "Money never made a man happy yet, nor will it," he declared. "The more a man has, the more he wants. Instead of filling a vacuum, it makes one."

If money without earned success does not bring happiness, then redistributing money won't make for a happier America. Knowing as we do that earning success is the key to happiness, rather than simply getting more money, the goal of our political system should be this: to give all Americans the greatest opportunities possible to succeed based on their hard work and merit.

This is the liberty our founders wrote about, the liberty that enables the true pursuit of happiness.

Earned success gives people a sense of meaning about their lives. And meaning also is a key to human flourishing.

It reassures us that what we do in life is of significance and value, for ourselves and those around us. To truly flourish, we need to know that the ways in which we occupy our waking hours are not based on the mere pursuit of pleasure or money or any other superficial goal. We need to know that our endeavors have a deeper purpose.

Free enterprise enables us to find meaningful work through free markets that match our skills and passions. In free markets, we can change jobs, work longer or shorter hours within reason, and take more or less vacation than other people.

Increasingly, we can flex our hours and jump into and out of the work force as our lives and our circumstances change. These free markets largely do not exist in Europe, with their mandated pay and vacation, cradle-to-grave systems of job security, and generous unemployment benefits.

Meaning at work comes from feeling productive. This is how we earn our success and what makes us happy.

People who feel they are productive in their jobs, regardless of pay, are about five times likelier to be very satisfied with their jobs than people who don't feel this way.

Of course, when we are being productive, we often get paid more. But the money is a nice side effect, not the cause of the happiness we enjoy.

Feeling productive does not mean being protected from competition. It means beating the competition through merit and hard work. It does not come from a collective bargaining agreement and the threat to strike, but from a job well done. And it certainly doesn't come from a welfare check. All of this explains why our free enterprise system produces happier workers than in most of Europe.

Americans prefer to find meaning in their jobs rather than through their after-work pursuits and to trade security of employment for the possibilities of earned success. The free enterprise system reflects these American priorities. The policies of the 30 percent coalition do not.

Free enterprise is not simply an economic alternative. Free enterprise is about who we are as a people and who we want to be. It embodies our power as individuals and our independence from the government. In short, enterprise is an act of self-expression -- a declaration of what we truly value -- and a social issue for Americans.

masters studies, to improve observation

2011-07-24T08:41:00.002-04:00

I haven’t posted any of my work in a while, so I thought I'd put this up. It started out as a quick masters study, a free hand sketched using burnt sienna oil paint. But after reviewing it the next day it looked awful. So I added white to make some corrections but I still didn’t get it right.

I can see the importance in masters studies, following in the artists footsteps should put you into his mind somewhat and you can focus in on his observation shills first hand.

I’m going to try to do some more masters studies, hopefully with this practice my observation and drawing skills will improve.

Art Mentor......

2011-07-18T18:31:00.001-04:00

I had a really strange dream last night that I was being judged unfavorably for my youthful ways by of all people my old high school art teacher..... Like I said it was a really strange dream.

But then I got to thinking ...... I never really had an art mentor as I child.. No one ever took me under there wing and gave me the guidance I needed grow. Sure my parents yelled at me “do this ! don’t do that !” but no one ever really sat me down and said “so you like art do ya kid ? Well here’s what you should be doing, let me show you."

Nope.....I had non of that growing up, not even from my old high school art teacher.

“Who incidently I looked up on Rate My Teachers.com and was not surprised to see he got a very bad review.” Lol !!

So as I try to make sense of this wacky dream, I look back on my youth and I see a kid with a ton of creative energy but little guidance to develop. I was taught nothing about drawing and painting growing up. I had to figure things out on my own and not always with favorable results.

Its taken me a long time to get where I am and I feel I’ve only scratched the surface. With a good artist mentor in my life I wonder where my art would be today. Don’t get me wrong I’m not feeling sorry for myself. But at “forty something” I feel like I’m still painting with the artistic training wheels on !

Anyway..... I guess my point here is if you have an opportunity to share your artistic talents with an aspiring young artist, then by all means do so. It’s a gift worth giving and it guarantees that you’ll never get a bad review on Rate My Teachers.com !

PS

Anything is possible if you believe in yourself, despite your crappy old high school art teacher.

The Barnes Foundation, an interactive tour of some of the old museum’s highlights.

2011-07-11T17:14:00.000-04:00

The Barnes Foundation, an extraordinary collection of art amassed by Albert C. Barnes, has been one of America’s strangest art museums from the day its doors opened in 1925. Barnes’s unique juxtapositions of paintings and objects were intended to help the viewer learn to look closely at art. The original building, in Merion, Pa., closed at the end of June — the collection will be relocated to a new one in Philadelphia next year — but The Times has created an interactive tour of some of the old museum’s highlights.

Gesture sketches to loosen up

2011-07-04T23:05:00.000-04:00

With life drawing classes starting up soon, I was thinking that I better get busy doing gesture sketches to loosen up.

I remember feeling rushed the last time in class, as a five minute pose can go by in a flash. This I’m sure is due to a lack of practice.

I have to start thinking of the body in terms of shapes like ( cylinders, cones, boxes, barrels, slabs, wedges, circles and eggs ) to give my drawings life.

All the sketches below were done quickly using photo reference. Not to much detail, I’m just looking to capture the pose.

Arts Guild of New Jersey

2011-07-04T11:21:00.000-04:00

Inspired by all those Italian Renaissance Masters on my Italy Vacation, I signed up for open studio life drawing classes at the Arts Guild of New Jersey.

The ability to draw from life determines the artist's skill. This is why live drawing classes have always been at the top of the curriculum for properly structured academic workshops. ( Igor Babailov )

LINEA: The Journal of The Art Students League of New York ( PDF FILES )

2011-07-02T10:53:00.000-04:00

Publications of The Art Students League - Linea

LINEA is the Art Students League's journal of art and ideas. Published twice a year, each issue contains exhibition reviews, interviews and topical essays of special interest to artists. Also featured is news about the school, its instructors, members and students, as well as information about the ASL Vytlacil Campus in Rockland County. LINEA is distributed to all members and maintains a national circulation to art schools, universities, libraries, museums, art galleries and the press. Click the link below to read the latest edition of LINEA:

I’ve just returned from an amazing vacation in Italy !

2011-06-26T09:13:00.004-04:00

It took airplanes, trains , busses ,taxies, ferry boats and a heck of a lot of walking around, but I got to see Salerno, Pompeii, Naples, Capri, Sorrento, Ravello, Amalfi, Positano, Rome, Siena, San Gimignano, Montecatini, Tuscany, Pisa, Florence and Venice !!!!

I made sure to go into every Church, Basilica and museum I could find and I walked out of every one in sheer awe of the talent and passion of the Great Renaissance Masters.

You can read all the art books in the world and it will never prepare you for the colossal size and impeccable detail of Renaissance Art.

As I humbly stood in front of Michelangelo’s last judgment, I found myself over come by a surge of emotions, caught between tears of joy and a profound spiritual awakening... I’ve never felt more alive.

Ancient Roman statue of Venus visits US capital

2011-06-09T17:24:00.000-04:00

WASHINGTON (AFP) – One of the best known ancient Roman sculptures, the Capitoline Venus, went on display Wednesday in a museum in the US capital, the statue's first trip ever across the Atlantic.

The nearly two-meter tall (six foot, six-inch) beauty is intact except for the nose, some fingers, and one hand that broke off and was reattached.

"This is the first time we loan a statue so important," said the Director of the Capitoline Museum in Rome, Claudio Parisi Presicce, who accompanied the statue to Washington. "It never went out of the museum voluntarily."

Presicce said that Napoleon Bonaparte took the statue in 1797 and put it in the Louvre museum in Paris, but it was returned in 1816 after Napoleon's downfall.

The full-scale female nude statue was unearthed in the 1670s, where it had been buried beneath a large garden in the remains of a building in Rome.

The statue is also known as the Modest Venus because she attempts to hide her nudity with her hands.

Museum curators have become cautious about displaying nude art since a woman in April attacked a painting by French impressionist Paul Gauguin because she felt it showed nudity and homosexuality. The painting, "Two Tahitian Women," was protected by a transparent acrylic shield and sustained no damage.

"We do have guards posted. We feel assured it will be safe," said National Gallery of Art spokeswoman Deborah Ziska.

The Capitoline Venus will be on display at the National Gallery of Art in the US capital until September 5. It will be in the West Building Rotunda, an area with a design based on the Pantheon in Rome.

"The visitor can walk entirely around the sculpture. It can be seen from any perspective," said the National Gallery's Chief of Exhibitions, Dodge Thomson.

The mayor of Rome, Gianni Alemanno, was also in town to sign a sister-city relationship agreement with Washington DC Mayor Vincent Gray.

The Venus exhibit is part of a broader show of art from Roman museums that will be on display through 2013 in major US cities including San Francisco and New York, as well as Toronto, Canada

Rome Travel Guide

2011-05-30T23:28:00.000-04:00

Florence, Italy: Uffizi Gallery

2011-05-30T23:03:00.000-04:00

The Frankenstein of Easels

2011-05-29T13:22:00.000-04:00

I’ve been wanting to paint out side for a while now, but I never got around to getting one of those fancy french easels.

My art instructor ( Ray Horner) gave me a great idea a while back , for making a simple hinged easel on a budget.

I scrounged around my basement for the materials needed and in about an hour I assembles the Frankenstein of easels for my yard.

No frills and no cost, with old wood, an old door hinge and a piece of left over plumbing pipe (for a brush holder) I was off and painting in the yard in no time.

I like this easel because I don’t have to worry about it, I can just leave it outside and it’s there when I need it.

Making stretched canvases with left over materials

2011-05-28T09:32:00.000-04:00

Now that most of the home repairs are finished, I might as well put some of those handy home repair tools to use for creating art.

With some small pieces of canvas left over from a project and some scraps of wood from all the home repairs, I thought I would recycle them into a few small custom sized stretched canvases.

Van Gogh study oil painting

2011-05-22T16:34:00.000-04:00

The purple irises in my yard are in full bloom, so I thought I'd loosen up a little and do a study in the style of Van Gogh.

Art Students League of New York

2011-05-22T02:04:00.000-04:00

A glimpse into a class at the Art Students League of New York.

Pink Flowers, Oil Painting

2011-05-21T22:03:00.000-04:00

I worked on this painting a little more in class Wednesday, Using Golden’s palette of colors and Liquin as my medium.

I’m trying to paint in a brighter more vibrant fashion.

Frank Frazetta study, still working on it

2011-05-21T21:04:00.002-04:00

I got up early this morning and decided to work on the Frank Frazetta I never finished.

Good thing I keep this blog, because I had to go back to see what palette and medium I used. I guess its been a while sicnce I worked on it.

I use Golden's palette of colors and the medium was walnut oil , Demar varnish with terponoid.

The Art Students League of New York

2011-05-21T20:33:00.000-04:00

The Art Students League educates students in the language and process of making art in an environment where anyone who wishes to pursue an art education can realize his or her full potential. Classes are based on the atelier system in which a working artist trains students in a studio setting. You can register and start classes at any time. The average cost of a full-time, five day-a-week class (18.75 hours per week) is just $200. Part-time evening classes (two nights a week) are just $100 to $115 a month. The 2010-11 Regular Session of League classes opened September 7.

Summer classes start Monday, June 6 and registration opens May 2. Click the link for more information and to access a schedule.

There Are No Entrance Requirements or Examinations to Begin Classes at the League

Students are not required to have had any previous art experience. Instructors in some advanced classes may require an interview prior to class admissions. Come to the League office at 215 West 57 Street (between Seventh Ave. and Broadway) and see what the League has to offer or call (212) 247-4510. You can start classes today.

Areas of Instruction – Drawing, Painting, Sculpture, Printmaking

Students can select from varied classes and workshops in six key areas of concentration. Classes and workshops are taught by working artist–instructors who represent a wide range of artistic philosophies and techniques and are practiced in working with students of all skill levels. Students also learn from their fellow art students. The Art Students League of New York also offers art classes for children. Click on a discipline below for a schedule of League classes in that area.

Painting

A wide array of approaches from realism to abstraction

Drawing

Artistic anatomy, drawing from life, design

Sculpture

Clay, carving in wood and stone, assemblage and casting

Printmaking

Etching, lithography, wood block, silkscreen and photo-etching

Mixed Media

Three-dimensional composition combining various materials

Welding

Oxy-acetylene, MIG and TIG welding, plasma cutting

Bronze Casting*

The lost wax process, investment mold making and finishing techniques

Seminar: The Literature of Art

Exploring some classic books about art and artists

Children's Classes

Children eight years of age and above may register in the children's classes, which are held on weekends and during the week in summer. During the week from September through May, no student under the age of 18 may be registered for morning or afternoon classes at the League unless permission is obtained from the administration.

*In addition to classes that teach bronze casting, The Art Students League of New York offers bronze casting services to currently enrolled sculpture students.

Tuition

Monthly registration and the League’s commitment to low tuition help students receive the best training available without accumulating debt. There are no prerequisites for enrollment.

http://www.theartstudentsleague.org/Classes.aspx

Pink flowers, oil painting in progress

2011-05-14T16:36:00.000-04:00

Here I am three session into a still life assignment for class.

Degas at the Metropolitan Museum of Art

2011-05-04T23:45:00.001-04:00

Degas

Some of my favorite paintings from the Met

2011-05-03T21:04:00.001-04:00

The Metropolitan Museum of Art permits photography of there permanent collection, but you will get a stern warning from security if you use a flash. I know better then to use a flash in a museum ,but there’s always a few that don't know the rules.

Hiking to the Metropolitan Museum of Art

2011-05-02T22:57:00.003-04:00

Usually on a Sunday morning you can find me running/ hiking the trails in one of Jersey’s State Parks, but yesterday I tried something different.

I hopped on a New Jersey Transit train to Manhattan and hiked from 33rd street up to 82nd street to the Metropolitan Museum of Art and loved every minute of it.

After I parked my car at the New Jersey Transit parking lot ( for only five bucks ) I jumped on the 10:14am train and in 40 minutes I was walking out of Penn Station up 7th Ave.

I walked up 7th Avenue for a few blocks then cut over to 5th Avenue . I like walking up 5th Avenue because its lined with mature trees and it parallels Central Park ( very peaceful ). In about an hour I was at the steps of the Met. It’s that easy.

If walking’s not your thing, you can always take a cab, bus or the subway from Penn Station to the Met. But I enjoy the exercise.

I don’t have too many friends that can keep up with me either, Between the walk back and forth to the museum and the five hours of walking around looking at art. I logged a total 7 hours of non-stop walking. I usually run /hike 2 to 4 hours in the woods so all in all it was a good work out.

Sunday morning has got to be the best time to hit the Met. Neither the train or the museum were crowed. As usual I snapped a bunch of pictures of my little journey. I hope you enjoy them.

If you love art as much as I do, I encourage you take advantage of mass transportation and get out to the Metropolitan Museum of Art. People come from all around the world just to go to the Met. Were very fortunate to have it so close.

Museum Address

1000 Fifth Avenue at 82nd Street

New York, New York 10028-0198

Information: 212-535-7710

Museum Hours

Monday: Closed (Except Holiday Mondays)

Tuesday–Thursday: 9:30 a.m.–5:30 p.m.

Friday and Saturday: 9:30 a.m.–9:00 p.m.

Sunday: 9:30 a.m.–5:30 p.m.

Cupid and Psyche

2011-04-20T23:12:00.000-04:00

Mary Alice Lee taks about Cupid and Psyche which hangs in the Henry Hunter stairs of the Tasmanian Museum and Art Gallery:

Sunflowers, planting to paint

2011-04-17T21:11:00.000-04:00

I was in Target today and these sunflower seeds caught my eye. I thought it might be nice to have fresh flowers in the yard for a summer series of floral paintings.

Art Books

2011-04-10T23:35:00.000-04:00

Westfield and Montclair had two good book sales this weekend. I got this stack of art books for only thirty five bucks !

1942 Indian Motorcycle Oil Painting in Progress

2011-04-10T11:56:00.000-04:00

Oil Painting Study of a White Bag

2011-03-30T23:51:00.001-04:00

Our Wednesday night art class assignment was to paint a shopping bag and a box, using only three colors red , blue ,yellow and white of course.

I’ve painted bags in class a few times and they can be frustrating with all the crinkles and folds, but it really is a good practice to develop an eye for seeing values.

Tango Oil Painting, in Progress

2011-03-30T00:16:00.000-04:00

This is part two in my Tango Series. I’m still working on it, but I thought I’d throw it out there for the heck of it.

The color palette for this series goes with my new furniture so I may frame them and hang them in my living room. Well see.

Japan, Expression of Hope Oil Painting

2011-03-28T00:45:00.001-04:00

Our Wednesday night art class assignment was to paint a modern art piece.

Well...... modern art is not really my thing but I thought to myself, “hey I was just at the Dali Museum about a month ago...so that should help.

As the instructor laid out some random objects in a pile on the table, our directive was not necessarily to render what was there but to use our imagination and work from the shapes of the objects .....I’ll admit I was perplexed ....what do you do with a few odd looking boxes, some plastic flowers, apples and a plastic eggplant on top of it all ?......strange !

After some thought and a few thumb nail sketches in my pad, all I kept seeing was a heap of junk on a table, it was a mess.

So I drew my thoughts inward for a moment and all I could think of was the horror in Japan.

With the earthquake damage and Sunimi devastation weighing heavy on my mind, I started to wonder if I could express that emotion on canvas.

I looked hard at the set up and the boxes became homes, the flowers trees, the apples people and the eggplant on top of it all was a black surge of water.

With a modernistic, minimalist approach. I drew from only the most powerful shape, the black surge of water....A.K.A. eggplant.

Using the colors of the Japanese sun disc flag I twisted the shapes to represent a surge of turbulent sea.

To the right is the Japanese word for hope, as this is the only word I can comprehend for the tragedy cast upon the Japanese people.

Assassination Tango, Inspired Oil Painting

2011-03-27T20:11:00.017-04:00

Every thing is fair game when your trying to be creative, even late night movies !

This oil painting was inspired by the 2002 romantic thriller "Assassination Tango" staring Robert Duvall and his wife Luciann.

I now have a new appreciation for the tango, unfortunately my two left feet restrict me to painting rather then performing it.

Water Pitcher with Pears, oil on canvas

2011-03-15T20:43:00.000-04:00

Before I ate these pears I wanted to paint them, so I set up a little still life with an old water pitcher and a kitchen towel.

Motivated by my last art class painting of the trees, I broke out the palette knives and used lots of paint.

Florida House, Oil Painting

2011-03-13T13:42:00.000-04:00

Me and my dad drove past this gorgeous house while on our way to the beach in Florida.

I thought it would make for a nice little painting, So he took a few quick pic’s for me from the car.

Free art history lessons on WNYC

2011-03-13T10:35:00.002-04:00

I like to multi task and get free art history lessons while I paint, with the Leonard Lopate show on WNYC .

WNYC offers many great pod casts on art history and the current art scene. It’s definitely worth checking out .

http://culture.wnyc.org/tags/visual_arts/

Art Notes

Art Beat

Guitar Heros at the Met

2011-03-13T08:38:00.000-04:00

Guitar Heros

In the late eighteenth century, Naples was the largest city on the Italian peninsula and one of the largest cities in all of Europe. It had a vibrant musical culture, including a thriving operatic tradition, and had been a center for the production of harpsichords for two hundred years. By mid-century, Neapolitan luthiers were also gaining prominence; families such as the Gaglianos were among the most important in the manufacture of violins, while the Vinaccia and Fabricatore families introduced innovations to the construction of guitars and mandolins. Naples remained the most important center in Italy for the production of stringed instruments through the nineteenth century.

Around the turn of the twentieth century, millions of Italians immigrated to the United States. This mass migration was triggered by the economic situation in Italy, following the political and social turmoil of unification. These immigrants, the majority of whom were from agricultural regions, settled in metropolitan areas such as New York in enclaves known as Little Italys. Metropolitan New York became the major Italian American center, home to a large number of immigrants from southern Italy who brought with them their culture, including their music and musical instruments. In 1880 an ensemble of folk musicians from Spain called The Spanish Students toured the United States playing the bandurria, a small plucked instrument. The group caused a sensation, but their bandurrias were misidentified by the public and the press as mandolins. Italian musicians soon capitalized on this situation by forming their own ensembles and touring the country imitating the Spanish troupe, and a craze for mandolins soon swept America. Between 1880 and 1920 thousands of mandolins were imported from Italy and many luthiers moved to New York and began manufacturing the instruments locally.

New York City and nearby New Jersey, Long Island, and Westchester County have been home to a vibrant Italian American population since the late nineteenth century. Within this community, a remarkable tradition of lutherie (stringed-instrument making) has flourished. Italian American craftsmen have produced an enormous variety of musical instruments, from traditional European-style violins, mandolins, and guitars to newer American instruments such as archtop guitars and mandolins and even electric guitars. Since the 1930s, makers from this tradition in the New York region have become especially well known for their extraordinary archtop guitars. This exhibition examines the work of three remarkable craftsmen from this heritage—John D'Angelico, James D'Aquisto, and John Monteleone—their place in the extended context of Italian and Italian American instrument making, and the inspiration of the sights and sounds of New York City.

Happy Trees

2011-03-12T13:02:00.001-05:00

This weeks assignment was a landscape, which I decided to put down quickly and aggressively to capture the movement of the trees and sky.

I started by washing the whole canvas with a thin layer of burnt sienna, then I pulled out the drawing with a rag

Once satisfied with the composition I put in the trees with heavy paint using a palette knife.

With a mixed blue and a big hogs hair brush I put in the sky, the cloud is titanium white blended into the blue sky on the ends.

I washed a thin layer of paint in the foreground, then whipped it with a rag and the back of a brush.

Golden Palette of colors, no tube greens here.

2011-03-05T15:34:00.000-05:00

This weeks class assignment was to do a landscape study from a photograph.

I used a calendar picture of a hiking trail. To liven up all that green I added the woman from another reference picture.

I mixed all the greens from the Golden Palette of colors, no tube greens here.

I wasn’t interested in rendering an exact copy of the photo, I liked the color and composition of it but I wanted to put my own twist on it. Thick and sloppy palette knife paint in the foreground, with thin washes of Liquin diluted paint added in to get a water color affect.

After it dries I’m going to try to get more detail in the woman’s face.

Art Class Portrait Study

2011-03-05T14:50:00.000-05:00

We were fortunate to have a student in class bring in her brother-in-law ( Ray ) to model for the class. One long 2 hour pose, he was great...didn’t move an inch..... best model I ever had ! Lol ! Unfortunately I forgot my camera and this was all I could get down in 2 hours.

The Museum of Fine Arts in St Petersburg Florida

2011-02-27T01:16:00.001-05:00

The Museum of Fine Arts of St. Petersburg, Florida has the only comprehensive art collection extending from antiquity to the present on the Florida west coast.

It’s like a little New York Met. and I have to stop in every time I visit my dad in Clearwater Fl.

Photography is permitted for the permanent collection, so I took the liberty of snapping a few shots.

Thought of You - by Ryan Woodward

2011-02-12T01:24:00.002-05:00

Visual art to music by Ryan Woodward

Louvre Museum Cartoon

2011-02-12T01:08:00.000-05:00

Baseball Glove Oil Painting

2011-02-11T17:25:00.000-05:00

I worked on this painting some more in class on Wednesday night. Ray Horner /jedi master suggested I move away from the dark side and paint a little bit lighter. So I got out of my dark comfort zone and started to lighten it up a little bit.

It was the general consensus of the class that I put down the brushes, sign it and call it a day. But I want to think about it for a while before I sign it. Because the house rules are “ After you sign it, you can’t keep working on it.”

Date Night at the Met

2011-02-11T14:15:00.000-05:00

Editorial assistant Nadja Hansen expounds on why the Met is a great place for a date.
http://www.metmuseum.org/connections/date_night/#/Complete/

" Joni Mitchell " Famous people who paint

2011-02-07T00:43:00.000-05:00

Think of Joni Mitchell and think primarily of her incredible career as a singer, songwriter, musical innovand trailblazer. Much has been written and discussed of her musical career - much less so of her life as a painter. She created the artwork for each of her albums, and in 2000 described herself as a "painter derailed by circumstance." A blunt critic of the music industry, Mitchell stopped recording over the last several years, focusing more attention on painting, but in 2007 she released Shine her first album of new songs in nine years.

Here is the link to Joni Mitchell's paintings.

Baseball glove oil painting

2011-02-06T10:42:00.000-05:00

I found some time to work on this painting yesterday, and got up early this morning to correct the shadow under the foreground base ball. I moved the ball from one side of the glove to the other for a better composition, but I just couldn’t get the shadow right. I was making it to big and the ball looked like it was floating in the air. After beating up the canvas for a while I decided take a picture of it and work it out in Photoshop. I’ve done this before and it can be a real time and paint saver.

I’m thinking about putting in a few baseball bats to add interest to the composition, but I don’t want to over do it. I’ll just leave it alone for now. I want to bring it back to class Wednesday for a critique.

Primary Color Mixing

2011-02-06T00:46:00.000-05:00

One of the problems lies with the old conception of the Color wheel. When asked what the primary colors are, one will usually answer, “red, yellow and blue.” However, not any red yellow and blue is in fact a primary Color. Cadmium red, for instance, contains a lot of yellow and if mixed with blue, will make a dirty purple. Similarly, French ultramarine contains a lot of violet, and if mixed with yellow, would result in a muddy green.

In terms of printing ink, the primary colors are yellow, magenta and cyan. In terms of oil paint, these colors are not similarly labeled, but cadmium yellow (pale), permanent rose and phthalo blue are close. These colors are the closest approximation one can get to a true primary Color in oil paint, and will usually produce clean mixes.

Darkening a color might be a challenge for the beginner, and the automatic reaction might be to mix the color with black. In fact, the best way to darken a color is by the introduction of its complimentary. A complimentary color is the opposing color to a particular color on the color wheel.

Red, for instance, is the complimentary to green; violet, is the complimentary to yellow, and so forth. From this, one can avoid black altogether, for in fact, black will often deaden a color and it is best omitted from the artist’s palette if the intention is to create clean color mixes.

Smack the Pony- Art Gallery

2011-02-05T00:50:00.000-05:00

A simple Value Scale shows figure-ground relationships

2011-02-04T18:53:00.000-05:00

Figure-Ground is the condition in which backgrounds tone or hue changes the visual impact of the figure resting on it. The same hue or value appears to be a different depending upon the contrast of tone or hue of the background upon which it is placed. Conversely, two different tones or hues appear to be the same when placed on contrasting grounds. Each will have an impact on how believable your art will be perceived by the viewer. Most people have difficulty perceiving “figure-ground” relationships. When the same medium toned figure is placed on varied light and dark backgrounds, it will be perceived to be as a different value.

Example: When a medium gray is placed on a near black background, the mid-gray tone appears very light. When the same gray tone is placed on a near white background, it is perceived to be very dark. But when a mid gray tone is placed on a similar value background, the contrast is minimal. Note how the same mid-tone value patch looks different when placed on backgrounds of contrasting values.

Wednesday night art class

2011-02-02T23:17:00.002-05:00

Here’s a study in progress of a few baseball gloves that a student had in the trunk of her car. I like painting spontaneous stuff because it makes you think. You never know what’s going to come up in art class.

We started with a small thumb nail sketch to develop the composition, then our instructor Ray Horner told us to start with a blue under painting and work out from there, allowing the under painting to show through.

I have to say it helped a lot by setting up a good mid tone to work from. Pulling out lights in the beginning with a rag / brush and adding dark’s as needed all along blending into the blue and shaping the painting.

If you notice I moved the lower baseball to the other side of the black glove because I thought it gave for a better composition.

I took some reference pictures of this still life in class and I would really like to bring the painting to a finish. If I can find the time this week I may work on it at home, but with " Superbowl Sunday " coming up I doubt it.

Art Humor

2011-01-30T15:22:00.000-05:00

Posemaniacs

2011-01-25T00:40:00.000-05:00

What’s this training for?

This is a thirty second drawing tool to support gesture drawing. You will improve in recognizing aspects of figures in a short amount of time, and be able to draw accurately with minimum lines. Drawing a large number of sketches in a small amount of time may be good exercise especially for beginner. This training will easily become your daily routine.

Procedure

Get ready in front of the screen with a pencil and a paper. Press the start button. The models shown will change every 30 seconds. Your skill will surely improve if you do this training every night and day, with 2 sets of 5 minutes(10 poses).

Here is the link to the Posemaniacs Page.

Jose De Ribera Study

2011-01-23T01:31:00.001-05:00

As I continue with my drawing practice, I decided to do a charcoal study of Jose de Ribera's oil painting Martyrdom of Saint Philip.

Art Quote of the Day by , Rebecca Guay

2011-01-22T14:18:00.000-05:00

Words of wisdom by Rebecca Guay

“I have always believed that life in the pursuit of art is never easy. It challenges the soul , makes you resilient to rejection, pushes your limits and offers no guarantees whatsoever. But after all is said and done , what serious pursuit in life is an easy path? Meanwhile the journey is quite glamorous and one filled with grandeur and limitless possibilities that come with creating a completely new and unique object of beauty to offer to the world.”

Cast Drawing Study, Iron Fence

2011-01-17T20:35:00.001-05:00

I remember getting this piece of old iron fencing at the Lambertville Flea Market many years ago. I liked the scrolling shape of it....just never really knew what to do with it...... till now. It makes for a good cast study and it gives off crazy shadows. I may incorporate it into a painting in the future.

Boston KS Pencil Sharpener

2011-01-17T18:09:00.000-05:00

My electric pencil sharpener worked good for about a month, then it quit on me after I tried to sharpen a few pastel pencils. Good thing I didn't chuck out my good old Boston KS American classic. This thing will sharpen nails !!

Cast Drawing Practice

2011-01-17T17:48:00.000-05:00

I found this old bell in the basement and thought it would work for a quick cast study.

Practice,Practice,Practice your Drawing,Drawing,Drawing !!!

2011-01-16T15:23:00.001-05:00

Time to brush up on the drawing skills. I’ve been spending too much time correcting drawing errors in my paintings, so it’s clear that I have to get back to the sketch book to pay my dues.

I reorganized my art studio and set up a little corner for cast sketching. I’ve rummaged through the basement and attic for whatever casts I could find. I also set up an adjustable light stand.

I’ve been searching around on line for anatomy cast. They can get a little bit pricy but they are a necessary study tool for accurate seeing and drawing. Here are a few of the sites I’ve been looking at that have quality casts.
AnatomyTools.com

The Guist Gallery

Art lecture by Mel Leipzig: The Changing Face of Reality/Realism in Art

2011-01-10T00:18:00.000-05:00

Thursday night at the at the Arts Guild of New Jersey, Mel Leipzig shared his wisdom on the philosophical and sociological implications of the world portrayed in a work of art and the aesthetic vision of the artist. From ancient Greek and Renaissance artists to modern American artists, realism is never easy to categorize from the surface quality alone. In his presentation, Mel opened our eyes to the world behind the artwork.