I’ve been away for several weeks on a painting trip and to attend a workshop in Oregon at Art in the Mountains, taught by Sherrie McGraw. If you’ve seen Sherrie’s work, you know how simply beautiful it is. She is also a wonderful teacher who gives freely of her thoughts and insights.
Months ago, I stumbled on Sherrie’s interview at Artists Helping Artists. Her artistic approach to make something beautiful struck a chord and resonated with my own desires. She mentioned she would be teaching at the workshop. I knew I had to learn from this woman.
Converging with this goal was a scholarship award from Oil Painters of America, which was not only a huge honor for me, but helpful with the financial commitment of workshop costs.
Because I am mostly self-taught as an artist, I have missed some important instruction. Books such as Mayer’s “The Artist’s Handbook” have given me valuable information about art materials and archival practices. Not surprisingly, however, I have not managed to discover everything I need to know. I lacked personal feedback from master artists about what I was creating, and the opportunity to see them at work.
Consequently, I arrived at Sherrie’s workshop full of expectations and questions. I was not disappointed.
I especially loved watching her painting demonstrations and the way she handled the brush and paint.
Her comments regarding differences between drawing and painting may take me awhile to fully understand, along with other points she presented. Not because there was a lack in her explanations, but rather because I need time to process, understand, and put into practice.
Another point Sherrie taught during the workshop is that, “Shadows are warm, and lights are cool. Shadows have the quality of depth and transparency whereas the lights have the quality of cool opacity.”
Sherrie also stated that, “Flat reads. So within that flat area (all values virtually the same), temperature changes are what give the illusion that there is dimension within a flat shape.”
Sherrie’s painting approach is to keep the visual idea as the goal of a piece. A visual idea is different from most of my painting ideas of the past. I’ve thought more in allegorical terms about ideas for paintings: images which tell a story or portray an emotion. And while a story idea can be the vehicle for the visual idea, it is the visual idea that makes a painting interesting.
A question I’d been asking myself months before Sherrie’s workshop is how do I keep from putting in too much in a painting or drawing?… how to imply rather than describe. I’ve become more and more aware that I don’t need to portray everything.
Like much that is too graphic in cinema, painting can be too literal. During the past months, I’ve repeatedly wondered how to leave more to the imagination rather than painting everything I see. I still love detail, but I’ve been thinking that too much of it is simply not as intriguing as only a bit of it.
Seeing the Fechin exhibit in Seattle last June drove home many of the questions I’d been asking myself about detail. Sherrie’s workshop helped fuse these thoughts to some actual painting practice.
After Sherrie’s demo the first day of the workshop, participants chose still life objects to arrange and paint. Our helpful teacher gave each of us input on our set-ups.
As I worked, I asked myself if I was holding to my idea, and if the design was interesting from a distance, even in the rough stage.
I was only able to block in my composition before the end of the day. After all that preparation I wanted to stay for the evening and keep painting!
Unfortunately, the conference room where our workshop was held would be locked after workshop hours so I had to wait until the next day to finish the piece.
As I worked the following day, it felt like such a struggle to remember everything! Foremost in my thoughts was what I was trying to do with the visual idea. Next I wanted to try to use the brush and paint as Sherrie had demonstrated.
And, how to do less: to keep it simple rather than try to paint in everything I see…. to not copy everything there in my arrangement.
Sherrie’s demos for the costumed figure and also the nude were marvelously fascinating and enlightening.
Finding an angle for my own studies of these same model set-ups were a bit challenging in a room full of painters. We all managed to find a spot, however.
On breaks as I walked around the room, it was interesting to see how the various locations presented unique problems and visual joys for each artist.
Also, working with my little outdoor painting box under the florescent lighting in the room, fighting the overhead glare with the angle of my surface, and struggling with eyesight issues made it difficult to enjoy the painting experience. However, as the piece began to come together (and I eventually put on my reading glasses), I did have fun with it.
Struggling and then having some fun with the paint were to be pretty much the theme for me during the workshop: a dance of despair and hope.
Oil Painting
The Hand of a Master: Portrait Demo by Mian Situ
Just as significantly as seeing a quality artwork created are the intangibles communicated to onlookers, through the hairs of the artist’s brush directly into the minds and hearts of the spectators.
This is precisely what occurred on the occasion of Mian Situ’s June demonstration for the Orange County Chapter of the California Art Club at the Higbee Gallery in Costa Mesa, California. Fifty artists and collectors were treated to Mian’s process in creating a portrait of Linda Stern, wife of Jean Stern, executive director of the Irvine Museum.
“Show your soul—paint what you know.”Mian Situ
This night, Mian started with a delicate but deliberate drawing in charcoal, held at the very end as he blocked in the portrait with angular marks, some long, some short.
Then, using a dark earth color, he carefully placed the darks at the edges of the cheeks and nose, in the hair, and indicated the shapes of both eyes and eyebrows.
Medium-value flesh tones were laid in, with reds featured across the eyes, nose and cheeks. Mian’s intense observation created a complex system of grays in the skin tones, as he left highlights, blouse and jewelry for last. The way he handled the brush indicated deliberation in each stroke. Mian’s concentration was focused, his strokes confidently placed, his edge treatments considered and integrated into the whole. Even the background strokes were poetically applied, with a flourish and flick at the end of the stroke, to prevent smearing of completed passages. The blouse was created simply but masterfully with deft strokes of the palette knife.
What did we learn that night, from this master who taught without words?
• Compose with care
• Think and feel, then paint
• Make every stroke intentional
• Concentrate throughout the process
• Never lose sight of “the big picture”
• Love what you do
Perhaps most impressed with Mian’s work was historian, lecturer, juror and museum director Jean Stern—the model’s husband– who said at the portrait’s conclusion, “I’ve been in the art business since I was ten, and I’ve never experienced anything like that—that’s the most amazing thing I’ve ever seen!”
Art has that capacity: to amaze, to edify, to reveal the soul of sitter and painter—to everyone who sees and appreciates. That also is the power of the master: to bring the highest beauty to earth, to help all of us see what he sees within.
What About Women In The Arts?
I should start by telling you how I did it. First of all, I picked one of the most respected artists and teachers in the Los Angeles area, Sergei Bongart. I was in my early twenties when I started studying with Sergei. He had a thick Russian accent. His education was also in Russia. He was considered one of the best artists and colorist. His bold brushwork was highly thought of.
In order to pay for my lessons, I had to find a way to make money. I had been trained in high school to do scenery for stage plays so I did murals for the great sum of $35 a wall. I could do them fast using a dry brush technique. At this time, you could buy groceries for a week with $35. I worked quickly using acrylic and water-based paint. I had two small boys not yet in school. My mom helped to watch them on days I had murals. I also worked at night, whenever possible, so my husband could babysit.
One of the greatest things that happened to me was meeting Hal Reed. Not only was he a great painter, but he was a knowledgeable teacher. Hal saw my talent. He worked with me giving me a good education. I taught for the Art League of Los Angeles, a highly respected school founded by Hal Reed. I taught there for many years with full classes. Hal was always searching for new horizons. He saw the need for video teaching. He started Art Video Productions. I was one of the six teachers used. Hal made over 100 tapes himself, and I made 52 tapes covering landscape, seascape, portrait, figure and floral.
I also had several articles done by art magazines, Art of the West, International Artist, Southwest Art and The Artist’s Magazine. I worked with print companies such as Portal, Leaning Tree, Bentley House and Haddad and also a company in Great Britain.
My teaching took up most of my time. I worked for several schools. The two most important schools were Scottsdale Artists’ School and the Art League of Los Angeles. My teaching gave me little time to paint for galleries so I started doing traveling workshops. These took me all over the world. The good part about traveling workshops is they are done by the travel agencies. All I had to do was the teaching and enjoy the trip. When I started to produce paintings for galleries, I did well with thirteen galleries at one time.
This is only a part of what I did to achieve my art career. Most men get their education and go to commercial art to get started. Many then go to fulltime painting, leaving the commercial art world behind. Some women do the same. I couldn’t get my education first. I just didn’t have the money. I did it anyway; the hard way.
There are many great women artists out there who are alive today and many who did well that have passed on. The answer is talent. If you are good, that may be all it takes. We all know there have been many who were just lucky, not as talented but did it anyway.
Authenticity, Creativity and the Quest for a Singular Vision
Summary by Susan Blackwood OPA based on OPA 2013 National Exhibition presentation by Joe Paquet
Joe was our first speaker to kick off the fabulous weekend in Fredericksburg, Texas. His excellent, inspirational and powerful talk flew straight to the heart of the matter. It was a great way to start the 2013 OPA National Show and Convention.
“What is your goal as an artist?” This question was first presented to Joe by Don Demurs.
Joe has spent a lot of time thinking about this. Here is a brief summary of his thoughts and ideas and his reality of putting them into practice.
As artists, we make choices toward our goal or away from it. We want to be relevant and we want to be validated. Social Media seems to give us that — but does it? All that really matters is the last painting that you have painted.
Fact: we all may be artistic but are we all artists? It is all about our goal.
There are a lot of paintings “out there”. As an artist we need to only show paintings that edify and glorify ME, the artist….. then sell those paintings only. We need to bring something of worth to the world. We need to ask ourselves…. “Have I lost the connection and love in my paintings?”
Our lives are full of external pressure to produce. We are in a hurry. Are we missing the true path by not allowing our growth in our paintings to be organic and ripen on the vine. Fine Art is not really about the “packaging of our product” but about the growth of the artist. Life is a tightening spiral. With each choice one makes, the spiral of choices gets tighter and closer; Joe’s advice is to “know Yourself” and not your audience.
So, how does an artist be original with thousands of years of art history and artists that seem to have done it all?
First: Find out what skills you have and what skills you need to improve. Make a chart of the skills that you need to be proficient as a representational oil painter. On a scale of one to 10, how do your following skills stack up?
- Drawing
- Color
- Harmonies
- Design
- Brush strokes
- Values
Chart yourself adding up the dots. Your greatest weakness is the gap between the strongest and the weakest dot. (Unfortunately we identify ourselves with our strengths and not our weakness.) There are lots of good artists today. However, in today’s art market the good paintings don’t get noticed anymore, exceptional paintings do get noticed. Look at your weaknesses, embrace them, make them strong and become exceptional.
Second: Paint what you love. If you love to paint apples, then paint apples. Paint passionate paintings — not “workable” paintings. Feel a bold connection to your work. Feel alive when you are painting, not just putting in time. This is not the time to be clever in front of nature, be passionate. Be YOU.
When looking at a masterpiece, don’t be swept up in the Master painter’s gift of how to make a stroke or the harmonies of color. This is his gift. Find YOUR GIFTS.
Be visceral — smell the grass — and touch the core of the subject.
Third and most important: It is not about speed or concept. It is about being willing to take a risk. Don’t be afraid to make a mistake. Technique is like… whip cream on a cinder block… it’s still a cinder block. Don’t paint like others – see the world honestly and don’t be lured by the hook of a popular style. Become the IT guy or gal by not trying to be the IT artist.
Work on your skills. Surround your self with honest people. Show no fear. Paint often. Any canvas will be scary if you only paint once every two months.
Take time to study your subject. Be visceral — smell the grass — and touch the core of the subject. Creativity is natural to every human; use that basic instinct.
Maybe you get to paint for one hour a week in the basement after the kids are asleep. So do it with passion. Tell the world about what you love, with no apologies. Our own thoughts come back to us in majesty. Paint what you paint with passion.
“Trust thyself: every heart vibrates to that iron string.” This is generally stating that if you trust yourself, then you can truly be content in whatever you do or wherever you go. “What I must do, is all that concerns me, not what people think.” Emerson – Self Reliance
Pay attention to this!
Joe’s own journey
As he grew in his own direction and passion, his work became more specific to his personal passion. In his case, he discovered the more he painted his passion, it increasingly made it more impossible to make his galleries happy. Instead he realized that he needed a dealer to sell his work. Then he could paint what he loved. He started painting his passion: the old neighborhoods, industrial sites, etc. He painted with joy and love. The desire makes a difference and the single most beautiful reason that anyone should paint. Essentially, it’s a choice — one that requires courage and skill.
If you are painting landscapes, “Talk to the landscape” — Jack Larson
Be true to yourself, surround yourself with support that has your best agendas at heart. Your support system must understand your heart.
Likewise. Tell artists when you like their art. Don’t feel threatened or be afraid. Tell them and be graceful. Treat each other well. Everything that we do in our lives is important. EVERYTHING MATTERS. All negative thoughts count. Be honest about your art. Even Whistler became sullen one night, took a candle to his paintings and lamented, “I should have drawn more.”
Do you have unity in your work or is it all over the place? Is the growth of your paintings an organic path or is it sporadic growth?
Theme is irrelevant. Only paint that which brings you joy. Only show the world your best passionate paintings. Some paintings will be blessed and some will fall by the wayside. Always ask yourself, “how many of these paintings of mine should actually go out the studio door?”
Two years ago, Joe took this all to heart. He got off the treadmill and started only painting from his passion. He told us that sometimes, regardless of the passion, they don’t sell. That is when he needs his supportive people the most. Yes, he has hit deep holes and high pinnacles. We all do.
Put your vision out there, this is what is meaningful to people.
Put your vision out there, this is what is meaningful to people. Like music, paintings should have all manner of emotions but be easy on the “ears.” Speak the most profound intimate speech but with a common language. Uncommon beauty has the greatest growth and life.
Joe Paquet is a nationally recognized, award winning artist. He is a Signature Member of the Plein Air Painters of America, the Salmagundi Club and an Out-of-State Artist Member of the California Art Club. Click here for more information on Joe Paquet.
Thank you, Joe for an uplifting lecture. You inspired us all to grow. I know that I plan on reading the notes of your lecture often, so I will take them to heart!
Classical (Classic) Realism – Part 3
A three-part series that highlights the origins and resurgence of Classic Realism and its importance to the 21st century artist.
In this final part of the interview, our interviewees consider the importance of having a knowledge of art history and of the arts, how to encourage creativity, and why art students should attend their schools.
Why is it important for an artist to have a knowledge of art history?
Angel: Edmond Burke, the English 18th-century philosopher, wrote that those who don’t know history are destined to repeat it (‘s mistakes). Why waste one’s time re-living the failures that led to the understanding of compositional and technical principles? The paintings of the past are inspirational and instructive, and paintings are painters talking to each other over the centuries.
Aristides: It helps to have a context for human achievement. Being an artist is a very difficult calling (for all but a few). It is a source of real encouragement to see the artists of the past, not as gods, but as real people like ourselves with hardships and struggles. A knowledge of art history can brush away the dust of the past and help us see ourselves in a bigger picture.
Hardy: Art history gives us clues, as artists, of who we are, what we are, why we are, and how we got that way.
How can parents best aid and encourage the development of their child’s imagination and creativity?
Angel: Send them to a good school.
Aristides: Limit media, provide plenty of opportunities to be outside experiencing nature, and provide exposure to the arts. This is harder then it seems, parents are under a lot of stress – it is difficult to role model a life of imagination when so few of us have the time, resources and support to do so ourselves.
Hardy: By encouraging children, when possible and appropriate, to make decisions. Also by accepting, respectfully, childish outreach into the unknown by means of fantasy.
Can creativity be taught, if so, how?
Angel: Creativity cannot be taught, but it can be nurtured. All human beings are more or less creative. What modern artists need is technical instruction, philosophy and art history.
Aristides: I don’t think it can be taught as much as encouraged and fostered. The environment needs to be stimulating while providing space and time.
Hardy: By helping the individual to accept themselves and dare to make decisions.
Why are the fine arts (painting/sculpture) important?
Angel: Life without the arts – drawing, painting, theater, novels, films, dance – would be bleak indeed.
Aristides: It has many functions and is important for a multitude of reasons. The fine arts provide us a glimmer of an alternate truth – that there is more to a human life than progress or acquisition. We have an innate love of beauty, learning, challenge. and encouragement which can be provided through art. Fine art provides us with a different vision and something greater, something noble to strive towards that can last through the passage of time. It holds up a mirror to our society and is the expression of our culture and becomes a legacy for future generations.
Hardy: Because the fine arts are a part of the total human range of responsiveness with which we as humans are endowed. Not only are painting and sculpture important, but also music, dance, drama and literature are part of the gift with which we are endowed. Much like the fact that muscles grow and function more fully for us in proportion to being used, so our involvement with the fine arts becomes more enriched and rewarding when we open up to it.
Are art and beauty synonymous?
Angel: No
Aristides: I think we would be hard pressed to say that.
Hardy: I think this depends upon how we perceive art and how we perceive beauty. “Beauty is in the eye of the beholder”. Artists of the Ashcan School responded to the beauty of simple, everyday things and happenings. But that does not forbid me my love of the miraculous beauty of a rose.
How do you encourage and help your students find their own creative path?
Angel: We make them aware of the myriad paths within the discipline of Representationalism. We do this by teaching them technique, the play between Conceptualism and Empiricism, the dialectic between the real and the abstract and a study of art history. We also encourage the students to copy paintings (contemporary, as well as pre-21st-century ones) and explore (absorb?) these various voices.
Aristides: We have a fourth year in our Atelier – a thesis year, where students work with mentors (high achieving professionals in the field) as role models. Students put together an artist’s statement, formulate a plan for a body of work based solely on their artistic vision and have an academic year to create it. The work is then placed on exhibition. We then arrange for the graduates to have their first professional show within a year after leaving the program.
Hardy: Belief in and acceptance of one’s self is crucial, in my opinion, as a bedrock for creativity. Combine this with the daring to make decisions – to be able to choose the superior between two whatevers that are almost equal, almost identical, is also important. Sometimes it is better to replace “why” with “why not?” When planning student projects, I prefer to have students take responsibility and try out their ideas. If a certain set-up is not quite working. I suggest some possible advice, but it is up to the student to reach final decisions. Even if (very rarely) something doesn’t work, there is much that can be learned that will enrich future projects.
Why should art students attend your school?
Angel: I honestly think that we are one of the best. As well as thorough training, we have Florence and the rest of Italy to draw on (Rome is an hour and a half away by train, and Venice is three hours away). The atmosphere at Angel’s is convivial and friendly, while the quality of instruction is very high – all one has to do is look at the student galleries on our website: www.angelartschool.com/galleries.html. In addition, we are one of the very few academies that teaches the business side – professional painting means painting for a living – as well as the creative.
Aristides: Art students should attend some form of rigorous education to become challenged to produce their best work. There are many great schools out there right now. Aristides Atelier is located in Gage Academy: www.AristidesAtelier.com and as such we benefit from a lot of cross fertilization.
Hardy: Because we help and encourage students in how to be effective in their artwork, understand themselves better and prepare for today’s professional art world. We train champions. The core of good instruction, in my opinion, should be accessibility and effectiveness (another way of saying dependableness). In line with this way of thinking. I have in many instances invented my own ways of presenting time-proven traditional art technology. The School of Boston did not have a strangle hold on important art procedures and viewpoints. My training came down to me from the Julianne Academy in Paris, plus the Royal Academy in Brussels and the Superior Institute in Antwerp.