The Human Form - an unending challenge

I have taken several workshops from a wonderful French instructor by the name of Jacques Clement of Montreal. Most ateliers work in charcoal, pencil, etc......here in Jacques Clement's workshops we work in a studio situation with oil sticks, oil pastels, and oil paint directly from the model.

  

 

Why do artists continually paint from the live model.  I must tell you that I do not exclusively paint from the model - I create in other areas as well, but none are as challenging as being confronted with the model posing in an atmosphere of drama of light and shadow.  The technical difficulties of working with the oil sticks, are endless, but the possibilities of expression are great.

When confronted with the model,  you are communicating with your model and her gesture. Your drawing will be an experience that is unique to you.  If you are successful, your work with the model will evoke an aesthetic emotion....one that a good painting should bring forth, whether the subject is the human figure, a bouquet of flowers, or a plein air landscape.

Jacques emphasizes organization of pictorial space.  How you place the model on your paper can determine success.  You start with one big shape on your surface....and do not think too much...just do it.

  

    

The above photos are beginning steps for placing the model and first brush strokes of colour. Permission and photos taken by Libby Krul another of the workshop participants. 

An ochre background (light value) with a terre verte shape (dark value) for starters will work, making sure that you have interesting negative shapes and at the same time creating movement and beautiful color.  Here we work with oil sticks, graphite, and solvent, and wipe off with solvent soaked paper towels.  You can then draw a bit with oil pastel.  The rules of contrast come into play ie without a subdued part, the emphasized part will not be as brilliant.  

 Work with light and shadow.  Mystery in a painting is a powerful force.  I don't want to tell the whole story, a general mood will make me happy. I don't want to make anything that resembles a photograph.   For finishing techniques, you can scratch into your work for interesting effects.

We are very fortunate to have Jacques Clement here in Montreal, I invite you to visit Jacques Clement's most interesting website:    http://www.jacquesclement.com   If you e-mail him at info@jacquesclement.com, he will let you know when is the next live model Atelier.  I'm sure I will be there.

Inspired by Negative Space

I was fortunate to attend five separate workshops with Robert Burridge"Notable Wow" artist from California, which were held in Colchester, Vermont, the week of July 29 to August 02, 2008. Accommodations and workshops were sponsored by The Holbein Company and held at the Hampton Inn.

My absolute favorite was:  "Abstract Florals from Colorful Loose Splatters"..this certainly was not your ordinary vase of flowers placed on a table.  Here the technique of negative painting came into play after you splished and splashed with the paint.  What fun!  Still and all, you needed to design your bouquet according to good basic design principles.  Not a boring class to say the least.

Here are some thoughts and ideas from Robert Burridge:

Paint meaningful and believe in yourself.

Try communicating an idea in your painting and take risks.

Kiss of Death is when you worked the painting too hard.

Tip for finishing.  Stop painting at 90%.

A painting is never finished, it stops in interesting places.

I definitely was inspired by Burridge, but, as usual my style seems to emerge, which is a good thing.  I painted over the originals which were done in the workshop, but then painted again with my oils.

Wit and Whimsy

This posting is about my explorations and experimentations in Mixed Media collage. I felt the compulsion to create the layers,
I used the Zen approach "Heart versus Head" to create these mini collage paintings. They are created from the unconscious in a meditative way. 

Starting with a pile of different odds and ends ie ephemera from my collection, I set out to design a series of mini collages. In the collection of oddments are: fabric, paper, and textured paper of different weights, very odd sizes, nothing regular My initial aim was to assemble these small artworks in a pleasing way using all my design knowledge of positive and negative space. I then placed and glued them down and embellished. A word about my selection in this series.....

I somehow drifted to the Zen and Orient for inspiration. There are six small collages in the collection and are named aptly.

Nirvana - is defined as a state of bliss and described as the perfect peace with the world. The state of mind is that of free of anger and craving.

Nepenthe - is described as a magical potion that quells all sorrows with forgetfulness. In literature the effects of Nepenthe are similar to those of opiates.

Karma - Karma means "deed" or "act". If one does good or spiritually valuable acts, one deserves and can expect good luck

Mantra - or "chanting" can be defined as a repetitve sound or group of words. Some purposes of Mantra have included religious ceremonies to accumulate wealth, and avoid danger or eliminate enemies.

Geisha - is described as a female Japanese entertainer, whose skills include performing various Japanese Arts, such as music and dance.

Edo Lovers - centered in Tokyo during the period between 1680 and 1860. They are part of the "Ukiyo-e" genre of Japanese Art - "Ukiyo-e" means pictures of the floating world

A Passion for Painting in the Garden

A water lily painting “Le Bassin aux Nympheas” by Claude Monet recently sold for more than 80 million dollars at Christie’s Auction House in London.


Quotes by Claude Monet (1840 – 1926)


“Gardening was something I learned in my youth when I was unhappy, I perhaps owe having become a painter to flowers.”

“My garden is my most beautiful masterpiece.”

“ I can only draw what I see.”


“ Everything I have earned has gone into these gardens.”
“ Colour is my day-long obsession, joy and torment.”


“It took me time to understand my water lilies. I had planted them for the pleasure of it; I grew them without ever thinking of painting them”


“It's on the strength of observation and reflection that one finds a way. So we must dig and delve unceasingly.”
A good book to read on Claude Monet….
Claude Monet at the time of Giverny, published by Centre Culturel du Marais – Printed in France by Imprimerie Blanchard, 92350 Le Plessis-Robinson. I did buy this book in Giverny at the American Impressionist Museum on the rue du Claude Monet.

Imagine painting in the garden immersing yourself in the fragrance of the lilies, the blue of the delphiniums, and the sheer beauty of it all. This experience will surely inspire your artistic expression.


The roses and delphiniums are a challenge for me to paint – I will usually set up my easel in the late afternoon, when the shadows are long and the colour of deep blue mauve.


I am excited to start mixing the luminescent paint mixtures that Monet used. According to a letter written by Monet, his palette comprised of the following: lead white, cadmium yellow, vermilion, dark madder, cobalt blue and emerald green. To quote Mr. Monet, “The real point is knowing how to use colours.”


Gardens have always been a passion for me, especially while painting the model among the flowers in a white Victorian dress.


One of the most dramatic areas of my garden is the pond, with my Buddha sculpture reflecting in the pond along with the blanket roses in pink and red and the water lilies.
My intention is to paint the water lilies in my pond as soon as they bloom.

There are times I am wishing to be in my garden painting, but just not feeling up to gathering all the supplies needed to paint in oils. I had read somewhere on the internet about a “cigar box pochade” being used by painters.

If you go to Duane Keiser’s Blog, you can see exactly what I mean. It holds the squeezed out paint (limited palette), turps, etc. I started looking around my assemblage stash of cigar boxes – lo and behold – I have found exactly what is needed and will be outfitting my cigar box with a piece of glass to fit inside and experiencing this wonderful invention.

I think this might be the answer for me for painting in winter in my car.

Colours and Palettes

I received several requests asking for Milt Kobayashi's Japanese palette. Well, here it is.

Winsor Newton:

Raw Sienna, Jaune Brillant, Olive Green, Indigo.

Holbein:

Monochrome Tint Warm, Foundation Umber, Mars Orange, Coral Red.

Rembrandt:

English Red

Other colors:

Raw Umber, Yellow Ochre

As you can see, there are no Cadmiums, no White - Foundation Umber, which is a light beige, is used instead of white.

This workshop was held in April, 1997 for two weeks and we did work with this palette of colors.

What is interesting is that you mostly see Cadmiums on most artists' palettes, and for sure white. I have attended quite a few of Milt's workshops, and each time his palette was different. So that does tell you something. Work with your own individual set of colours and experiment and mix a lot.

Milt teaches every April/May at the Scottsdale Artist School, in Scottsdale, Arizona. Milt's workshops are with live models and every day he does a demo in the morning till approximately lunch time, and then we work. There are 2 to 3 costumed models each day.

The painting posted here is one that I did with the Japanese palette.

Memories

I wasn't planning to do a new posting today, but after seeing the comments which my last posting produced, I decided that I would like to share something about my former teaching studio, and my good friend
Carmi Cimicata.

After many wonderful years of hosting workshops, I had decided to close my Montreal teaching studio. The adventures and excitement of operating such a studio can hardly be conveyed. Those years were an especially satisfying part of my life, and I enjoyed sharing much of this with Carmi, and many others who came and participated in these workshops. People like Claudine Hellmuth, Gail Rieke, Sharilyn Miller,
Anne Bagby and many more too numerous to mention at this time, were some of the very talented artists who came to instruct and share their talent and skills.

Through the years, I came to know Carmi through the experiences of the workshops and her times spent in Montreal. We went junking together, even New York City several times, to visit international artist Patricia Nix at her fabulous home in the Murray Hill district. Another time we viewed an opening of Patricia Nix's assemblage exhibition in a beautiful old church in NYC. We dined (Asian-Fusion) food at an unforgettable restaurant by the name of Tao, decorated with a sixteen foot Buddah. We did have fun.

I watched as Carmi ascended the Art world with her own style of Artwork....watched her succeed creating on her website and blog. It made me very proud to know that somehow I had played a part in her development as an artist. I am proud of the countless art sessions and workshops we had worked at, creating an important presence on the Canadian and American art scenes - all while having a great time.

So, it was with great reluctance that I made the decision to retire from teaching and hosting workshops. I am dedicating this posting with a fondness and appreciation to all the teachers and students who graced my studio.

I still receive phone calls and e-mail from former students and artists who ask....what are you doing with all that time on your hands....well, here are the answers....I paint a lot in oils, mixed media, love shopping for junk, and creating assemblage as well. I have started traveling with my hubby, this summer we will do a Mediterranean cruise starting from Barcelona visiting, France, Italy, Greece and Turkey (Istanbul) and ending in Venice (my favourite Italian city)....that should prove very inspirational for me. I also do some gardening and play with my puppy Shirley ( who is the boss in my house).

I will be attending a workshop with Robert Burridge in Vermont, at the Hampton Inn Colchester, which will be hosted by the Holbein Paint Company. I will be looking over the surroundings to see if such an event will be feasible in Montreal. If so, hopefully we can persuade Carmi to instruct a very eclectic workshop for us.

The Alpha State

“Art, who comprehends her?
With whom can one consult concerning this great goddess?”
- Ludwig Van Beethoven –

This painting was done with a Japanese colour palette suggested by Milt Kobayashi, another of my great teachers. The title is "La Belle Epoche" and measures 24" x 18".

Sometimes while painting, I wish for someone to come and rescue me….a Muse, a Great Master, especially when it’s not going so great. What to do? Leave the painting for a few days turned to the wall. When you come back, it will be with “fresh eyes”.

Here is a very appropriate quote from J.Krishnamurti, philosophical and spiritual writer.: “you are the teacher and you are the pupil”.

When I am in my studio painting, I am alone with myself, listening to music, and it almost doesn’t matter what I am painting. It is the alpha state that I go into. What is the Alpha State? I did a search on the internet and found these answers:

The Alpha state is a state of being which:

Calms your body and mind while it maintains alertness.

Stimulates imagination, intuition and higher awareness

Creates detachment from the outcome and increases accuracy

Improves mental processes, concentration on clarity of thinking, decision making, memory

Frees up more of your potential, and helps you achieve the goals in your life

When I am in the studio painting, there are lots of people in there with me. My teachers, friends, the old masters, new masters, other artists who are my peers, and so on. If I am really painting in the Alpha state, and I am in a state of creativity, they all disappear for the moment, and come and go throughout my time of painting.

In order to get to the right frame of mind for painting and creativity, I try to clear my mind of clutter and try to relax so that my mind will be calm and receptive to the music and to whatever it is I am trying to say in my painting.

One of my great teachers and friend is Harley Brown, Pastellist par excellence. Here are some tips from Harley while painting.

Try and schedule your painting time with no disturbances
Take the phone off the hook
Have your art materials clean and orderly
Keep your brushes clean.
Squeeze out more paint than you think you will need
Make sure your lighting is state of the art.
Prepare all reference matter before you start to paint
Your studio is your oasis and sanctuary. Let everyone know it, including family members.

A good tip from me is:
If you can do it, before painting, try and go for a brisk walk, or turn on some disco or salsa music and dance by yourself .