2009 First 'demo'

I have always admired teaching artists who can demonstrate their work by painting from a live model and completing a work in one session.  And those who can avoid going into the 'painting zone' and actually talk while painting are exceptional.  As I sit and watch the work progress I want to ask questions and make comments on the work in progress, but I respect the teacher and do my best to hold my questions until later.
Earlier this year I missed a few classes and arrived at the last of 3 posing sessions by Barbara (shown).  So I was challenged to do my own 'demo' - that is I only had this one 3 hr session to complete the work.  I usually use a photo reference as a studio follow-up to a live session, but I did not bring my camera this time.  I am pleased with the resulting work and now wonder if this 'success' was a fluke.  I look forward to another opportunity and inspiration to try again.  This work is 16x20, oil on canvas paper.

2009 wetcanvas.com portrait challenge

A favorite online place for me is wetcanvas.com; a great source of inspiration.  Each month there is a portrait challenge - one or a few images to download and paint.  Participants upload work-in-progress images and exchange comments on them.  Here is the Feb09 challenge - the downloaded image is attached to my easel, upper left.  There is much to learn from painting the work of master painters -- these lessons are learned by observation, but enhanced by the painting process where the decisions are experienced.

2004 Looking glass

In 2004 I was working 4 days a week in New York State and renting an apartment; returning on Thursday night for a weekends at home.  I took private lessons with Robert Glaisek in Nyack during this period.  Bob suggested that I do a self portrait and I did this work at the apartment, using a mirror to see myself (no photo reference).  So this was how I saw myself as I painted - of course it is not how others saw me since this is a mirror image.  And my expression seems a little stern - is that really how I look?  Mirror mirror on the wall who's the sternest of them all!

2007 Something entirely different

First class with Scott Nickerson - figure painting in oils.  This is my first work painted in class with Scott at the Guild.  I admired Scott's work and wanted to learn about his technique that includes the extensive use of painting medium and glazing.  I remember this to be a work that was painted in 3 classes, exclusively with a live model.  Scott's work is done in a classic style that was new to me - no brush strokes showing?  Glazing like watercolor?  Using color to bring forth the shape of an object?  A 'new' pallet?  Transparent colors?  Wow - a lot of new things to absorb.  I really like the way I paint, using a limited set of primaries for my pallet and showing loose brush strokes.  As I worked with Scott I wondered how these new techniques would combine with what I liked about my existing style.  I am not certain that, even now, this has settle down.

1999 Feather Painting

Nicki Orbach taught me some anatomy for artists and many lessons in creativity and artistic perception.  In this class we were told to put away our brushes and we were given a small feather to use as our painting tool.  For preparation we made some 'random' marks and splashes of colored ink on watercolor paper.  Then the feather was dipped into india ink (a little diluted with water) and we were rushed thru a series of 10-20 quick works as the model posed for 30sec to 1 min poses with a great variety of music playing in the background.  We laughed and complained about the fast pace and learned what we each could do with quick gestures.  I saved the works and still enjoy looking at them and remembering the experience.  Now I wonder why I have never tried it again!

2005 Learning by Imitation

Took a class with Nancy Voitka at OCAG - portrait drawing.  We learned the basics of drawing a face by careful measurement of proportion and angles.  The class included a weekly assignment to copy a master's work - this had great value since it is one thing to look and admire a great work and an additional education to work at the recreation of the work and to deal with the issues involved - in fact share the process with the master.  One example is the sample on the left.  We also drew from models - here is my drawing of Charlotte.

2000 The Best Lesson

Here is a handout from a class by Robert Glaisek -- it illustrates the task of reducing or simplifying a face so that only three values (white, gray, black) are used.  Nine years ago I struggled with the execution of this idea and today it is the starting point for all my oil portraits.  This face is lit from a source from above the model.  There is enough information here to allow someone to identify the model - no need to worry about eyelashes, mouth form or any other feature at this point.  Later comes the refinement of the values within these three and the addition of color.  Thanks Bob.

2001 Hopper House

 Hopper House is located at Nyack NY - its the former home of Edward Hopper and is now a thriving art center.  I frequented its Tuesday night open studio for several years and there I met Dan Dugan.  Dan is an teriffic artist, teacher and moderator of these sessions.  This sketch was done in 20min at one of Dan's classes at Hopper House.  I like the hair in this one and the look of boredom and fatique that a model sometimes shows during a 2-3 hour posing session.  My thanks to all the models I have worked with over the years and my appologies to them for not properly recording their names on the back of my work.

2000 Model Did Not Show

Tuesday nights at The Art School at Old Church, Understanding Figure Forms (Robert Glaisek).  On this rare occasion we had a model no-show.  Fellow student, Ben, and several others posed for our group.  I saved this one because I liked the gesture and the light and shadow on the face.  I consider this both a figure drawing and a portrait - what do you think?