WORKSHOPS / SHOWS
24th Annual Art Competition / Amercican Artist Magazine / Enter by May, 1 2007.
Winners will be featured in the December 2007 issue of The Artist's Magazine.
Thirteen finalists will be featured in The Artist's Magazine's 2008 Calendar.
Ten finalists will be featured in the "Competition Spotlight" in The Artist's Magazine.
Twelve finalists will be featured as "Artist of the Month" on our Web site, and all winners and finalists will receive a certificate suitable for framing.
[ more info ]
 Figure It Out With John Kilroy
April 13-15, 2007
(Our Msss Advisor will be having a workshop)
This is a unique workshop opportunity to focus closely on painting the figure, working with a model. Procedural painting skills in the alla prima tradition will stress speed and accuracy with emphasis on mass, tonal values, relative texture and unity. Outdoor figure work in the landscape (weather permitting), indoor figure work with costuming and drapery and also painting the portrait are included. Areas that will be covered are: accurate drawing and drawing concepts, values, anatomy, understanding form, learning to work with the model in the most effective way, composition, design concepts, color harmony, flesh tones, light and its effects, light temperature and edges in your paintings. Website: http://www.lymeartassociation.org
Wayne, Pennsylvania Plein Air Competition
April 25 through April 28
The Wayne Art Center, in Wayne, Pennsylvania, will host a Plein Air Competition and Festival April 25 through April 28. This festival offers artists an opportunity to paint the landscape near Philadelphia, which includes rolling hills, townscapes, spring gardens, and historic train stations. For more information, and to download a prospectus, visit www.wayneart.org
 PROVENCE, FRANCE with g.a. Sheller
June 9-16, 2007
g.a. Sheller is presently teaching a painting course in Hilton Head, SC, having moved her studio to this location from Rochester, NY for the months of Feb. and March. She will be teaching a painting workshop in Provence, France from June 9 to 16, 2007. The workshop will take place as we have a suffiecient number of students signed up to participate. However, we can accommodate a few more students. I will also be teaching a workshop in Canandaigua, NY, one of the beautiful Finger Lake towns of upstate NY this summer. The dates are July 13 to 15, 2007. This is a plein air workshop with a wonderful rain location. One can't beat the Finger Lakes area of NY in July!
For more i nfo and join GA, visit her web site at http://www.gasheller.com/workshops.htm
Plein Air Easton Competition & Arts Festival
July 22- 29, 2007
Come witness the dynamic painting competition and festival that is "Plein Air - Easton!" Explore one of the most picturesque small art towns on the East Coast while interacting with some of the nation's top plein air painters. For more info see: http://www.pleinair-easton.com
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Some Famous Palettes
 Gauguin regularly used included Prussian blue, cobalt blue, emerald green, viridian, cadmium yellow, chrome yellow, red ochre, cobalt violet, and lead or zinc white. He believed in: “Pure colour! Everything must be sacrificed to it.” Yet, overall, his tones were muted, and quite close together.
Monet painted with Cobalt blue, cerulean blue, synthetic ultramarine, emerald green, viridian, chrome yellow, vermilion, and crimson lake. He also used touches of lead white and a little ivory black. No shadow was considered as being without color, and the deepest shadows are tinged with green and purple.
Lead white (modern equivalent = titanium white)
Chrome yellow (modern equivalent = cadmium yellow light)
Cadmium yellow
Viridian green
Emerald green
French ultramarine
Cobalt blue
Madder red (modern equivalent = alizarin crimson)
Vermilion
Ivory black (but only if you're copying a Monet from before 1886)
 Camille Pissarro (1830-1903) once said to Cézanne, "Never paint except with the three primary colors and their derivatives." Pissarro followed such a practice. His typical palette was: (1) white lead, (2) chrome yellow, (3) vermilion, (4) rose madder, (5) ultramarine, artificial, (6) cobalt blue, and (7) cobalt violet (Lane and Steinitz 1942, 24). As colorists know, a warm and coo1 version of each primary color is advisable for mixing pure secondary colors. Pissarro made such choices with the exceptions of yellow and violet.
Signac's watercolor world, cadmium yellow deep, naples yellow, cadmium orange (after c.1910), vermilion, cadmium red (after c.1915), rose madder, french ultramarine, prussian blue, cobalt green, sap green, burnt sienna, vandyke brown, payne's gray, and chinese white. Read more at http://www.handprint.com/HP/WCL/artist45.html
Turner’s palette included the new pigments chrome yellow and orange, cobalt blue, iodine scarlet, barium yellow, carbon black and Turner’s yellow. Many red lake colors were also found including one that was made in an unconventional way and was extremely fugitive (Hanson 1954, 162-173). Turner was apparently as unconcerned about the permanence of his palette as he was about the protection of his finished works.
 Zorns wonderful and warm palette consisted of a low chroma blue (ivory black), a low chroma yellow (yellow ochre), and a high chroma red (vermillion, or, today, cad. red light) and titanium white.
Harold Speed, for painting flesh spoke about starting with 2 colors, cold (blue) black for the cold and venitian or red light for the warm. Replaces the red for burnt sienna for olive complexions. You can learn a lot from this mixture! Later, you can add a yellow ochre for a full realization of the color of flesh.
More... Modern Palettes
Kenn Backhaus challenges his students with a limited palette of Permanent Rose, Ivory Black, Lemon Yellow and white. Who needs blue when Kenn is teaching you!
When working with a no-blue palette, try replacing ivory black with
Williamsburg's Cold Black. What a wonderful color!
Scott Christensan's palette is extremely limited -- white, 3 primaries (ultra Blue, Cad Red Med & Cad Yellow Pale), and 4 values of gray. He uses restraint and mute colors so that when you really need to punch an area, you can.
Kevin MacPherson challenges students to try black, yellow ochre, cad. Red light, Titanium white.) (b+w=blue, b+y=green, etc.)
Richard Schmid's complete list of the oil pigments he use today. "I don't use all of them each time I paint—my palette would have to be unduly large, and I rarely require such a huge selection for my paintings. An asterisk (*) marks those that are always on my palette (my basic color group). I use the others for colors in my subject that are beyond the range of my everyday needs:"
See http://www.richardschmid.com/faq.html
Windsor & Newton:
Cadmium Lemon*
Cadmium Yellow Pale or Aurora Yellow*
Cadmium Red*
Cadmium Scarlet
Cadmium Orange
Yellow Ochre Pale* (I add
Cadmium Yellow Pale to this.)
Terra Rosa*
Venetian Red
Permanent Alizarin Crimson
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Rembrandt (Talens):
Cadmium Yellow Deep*
Transparent Oxide Red*
Viridian*
Cobalt Blue Light*
Ultramarine Deep
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Gamblin: Alizarin Permanent*
Lefranc: Titanium White*
Schmincke:
Cobalt Violet Light (Transparent and Opaque)
Cobalt Violet Deep
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Help Change the Tax law
The U.S. tax system accords unequal treatment to creators and collectors who donate tangible works (e.g., paintings or manuscripts) to museums, libraries, educational or other collecting institutions. A collector may take a tax deduction for the fair-market value of the work, but creators may deduct only their ‘basis’ value—essentially the cost of materials such as paint and canvas. We urge Members of Congress to co-sponsor bipartisan legislation, S. 548 or H.R.1524, which would allow artists to take a fair-market value deduction for works given to and retained by nonprofit institutions.” (Necee)
"Please" send this to 'every single artist you know', even those who are not, but respect art, artists and being treated fairly. SIGN HERE X : http://capwiz.com/artsusa/issues/alert/?alertid=9521951
Tidbits
Drawn to white; Artists have discovered that one color can have many
Milwaukee Journal Sentinel, by MARY LOUISE SCHUMACHER
Colette Odya Smith has a fledgling theory."All artists have a God color,' " she says, sipping tea at her kitchen table one recent, snowy morning.
"You know, for (Paul) Gauguin it was that rosy red . . . for my friend Patrice (Herbst) it is definitely red."
The "God color," she says, is that color that infuses the creativity and work of an artist in almost every way, literally and metaphorically.
read more at: http://www.findarticles.com/
Palette pointers
One of the problems with talking about palettes is that those little blobs of paint are a moving target. What's happening one day may be replaced by something else the next. Further, pros are often able to make successful works out of practically any combination. Actually, the game of "palette handicapping" is a fun exercise and wildly energizing. You play "PH" with any screwball colours and, by hook or by crook, you make them work. Read more at http://clicks.robertgenn.com/palette-pointers.php
Trevor Chamberlain
 Trevor Chamberlain (born 1934) was the son of a Hertfordshire painter and decorator. He began painting at age seven, and at 12 enrolled at the Ware Evening Institute in painting classes under Alfred Wright, who taught Chamberlain oil painting and fostered his love of painting outdoors. He also took architectural drawing classes in the offices of Eadred Lutyens, but essentially taught himself to paint. He worked as an architectural draughtsman in London (1949-1964, with a two year stint in the armed forces), then quit to pursue painting full time. He joined the Wapping Group of Artists in 1969 and the Royal Institute of Oil Painters in 1972. He made his first painting trip abroad (to Venice) in 1970, and subsequently painted on every continent except Australia. He spent the entire year of 1974 teaching himself how to paint in watercolors ("through sheer perseverance and much experimenting," and careful study of past watercolor artists), emulating in particular the "fluid, wet" style of Jack Merriott (1901-1968). He made his first extensive painting tour of England in 1977.
[ read more ]
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Healing Sleep Retreat in Costa Rica
with Michael Krugman
March 3-10, 2007
Spaces are still available for the Healing Sleep Retreat with Michael Krugman at Guaria de Osa in Costa Rica from March 3-10. We would love to have you join us.
WEB: http://www.taoretreats.com
Ireland Art Workshops and Vacations
INFO HUB, Specialty Travel Guide
Instant Art Studio
 The MetroCabin is Transportable Architecture; a distinctive pre-fab structure built in a factory and assembled by you or a handyman service on your site. It's a livable getaway cabin, a studio, an extra room, a cabana, or a mountain retreat. More info at http://metroshed.com
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GREAT DEALS ON PRINTS
We first introduced our fine art reproduction services since in 2002. It has been a great success here at Colossal Image Printing. The reason of our success is that we understand the printing process as well as the art itself. We have been reproducing original paintings as small as 4”X6” to as large as 120”X130”(yes, that’s almost 11ft tall!).
WEB: http://colossalimage.com
Please tell them where you found this!
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IRELAND: Staying in Achill
Achill Island, with its wild Atlantic landscape, soaring mountains and ever-changing sky, has inspired artists for generations. Among them are the Irish landscape painter Paul Henry, the American Robert Henri, Sean Keating, Derek Hill, Charles Lamb, Percy French and the contemporary artist Camille Souter. Óstán Oileán Acla provides the perfect base for a painting trip to Achill Island and, with its conference and seminar facilities, is particularly well-suited to accommodate group visits. With a number of local art schools able to provide tutors and expert advice, we should be delighted to arrange a painting retreat for your art group.
see http://www.achillislandhotel.com/
Self-Study Painting Courses: Visual Poetry & Music
Web-delivered (Online)
Begin your course any time — In this course you will learn how to take into account both the abstract and representational aspects of a painting. A painting consists of visual poetry combined with visual music. The poetry of a painting is what the artist is trying to communicate to the viewer through his or her painting, and the emotion that is elicited from the viewer. The music of a painting is its sensuous, non-intellectual part. It derives from the physiological pleasure the human brain gets from making visual order out of the visual chaos of nature. Combine the two in the right way and you have a very powerful painting. Website: Virtual Art Academy® art instruction. See http://www.virtualartacademy.com/
THE QUAN YIN EXPERIENCE WITH SHARON SMITH AND TIFFINY FYANS
JULY 14-23, 2007
AN EXCLUSIVE RETREAT FOR WOMEN
TAO GARDEN HEALTH RESORT
CHIANG MAI, THAILAND
Visit www.taoretreats.com for further information and registration
or call 888-293-6771 in the US
or 212-243-6771 outside
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We're slowly creeeping back out to paint. The weather has been more mild and there hasn't been much rain in the North East. I went on a Winter Workshop a few weeks ago with Kenn Backhaus up in Greenville NY. I was apprehensive about the weather but as it turned out we were blessed with a couple of nice days. There were a few days where it was cold beyond belief. The night just before our workshop ended we got 18" of snow. I want to thank the Greenville Arms for taking such good care of us and feeding us with the best food in the Catskills! Photos from artworkshops.com.
