Tuesday, May 26, 2015

PAITNING WORKSHOP WITH MAX GINSBURG - day six


The last day of the workshop was a Saturday.  I was so sorry to see it end.  Max set up a difficult pose for the model, Pat, who somehow managed to hold it all day with a few breaks. Max asked him to pose as if he were just getting up out of the chair.  This meant that Pat couldn't relax at all, but had to keep his muscles tense all of the time.  I'm not used to working on the same alla prima piece for an entire day, but I did it that day and the result please me.  Afterwards, we all went out to eat at a Greek restaurant in Astoria, Queens.

Saturday, May 23, 2015

PAINTING WORKSHOP WITH MAX GINSBURG - day five


Pat was our model for an all day pose.  I think I did ok with this one except for the torso being a little short.  Or maybe the thighs are a little to long.  It is really important to look carefully and work these things out in the beginning rather than trying to correct them later on.

Tuesday, May 19, 2015

THE STORY BEHIND A PAINTING

COLLATERAL DAMAGE - 42"x34"
 I have been asked to write something about the story behind this painting - COLLATERAL DAMAGE - so here it is.  I frequently attend painting groups here in Northern Vermont.  Painters get together and pool their resources to hire a model, which few of us can afford on our own.  The model showed up with his own prop - an American flag, which someone tacked to the wall and he sat down in front of it.  THEIRS NOT TO REASON WHY is the study I did that day.  It was just chance but the painting turned out to represent, for me, some poor innocent boy who was being sent off as cannon fodder.  I chose the title from the Kipling poem "The Charge of the Light Brigade".  At about the same time, I was practicing painting faces by copying pictures I saw in books and magazines.  RED, WHITE AND BLUE  was done in this way.  The magazine picture was of one of our senators. (I'n not saying which one)  The two pictures just seemed to go together.  I thought the politician was duping the young man into going off to fight a useless war that would somehow benefit the privileged classes and the rich and powerful.  I had two of my friends pose together so I could get the pose right.  I found the image of the gun on the internet.  The two children are kids I know and the grieving mother, I made up.  I wanted the background to somehow represent the USA, so the "amber waves of grain" became the stars and stripes.  Et voila. I think that it all turned out pretty well but there are still some changes I would like to make.
THEIRS NOT TO REASON WHY  12"x10"


RED, WHITE AND BLUE 8"x6"

Sunday, May 17, 2015

PAINTING WORKSHOP WITH MAX GINSBURG - day four


We spent the morning in Manhattan at the Hispanic Society of America, looking at the paintings of Joaquin Sorolla - a Spanish bravura painter who is a particular favorite of Max's. Then, in the afternoon back at the studio in Long Island City, we worked on head studies of Pat.  This is mine at the beginning and at the end. At this point, I began to feel that I was getting somewhere in learning to paint.

Monday, May 11, 2015

PAINTING WORKSHOP WITH MAX GINSBURG - day three


On the third day, we had an all day pose.  In the first picture, I am working out the drawing.  After correcting a few errors, I completed the painting as can be seen in the second picture. I think I did pretty well with this.  I certainly learned the importance of slowing down and looking closely at the model and getting the proportions and angels right at the start - so much easier than trying to correct them later.  With this taken care of, I was able to go ahead and add color - warm and cool.  This is as far as I got that day.

Saturday, May 9, 2015

PAINTING WORKSHOP WITH MAX GINSBURG - day two


On the second day of Max's excellent workshop, we had an assignment. It was to make two quick oil sketches that included the entire body - no cutting off the feet allowed.  After Max helped me correct the drawings, I think I did pretty well.  One thing I learned was to make the lower legs darker and more purplish by using a little alizarin crimson. Pale skin is difficult for me, but by concentrating on tone and big forms, I think I did ok.

Monday, May 4, 2015

PAINTING WORKSHOP WITH MAX GINSBURG - day one

I recently attended a six day workshop at the Long Island City studio of Max Ginsburg. On the first day, after watching Max's demonstration, we attempted two head studies. 
In the first one, I think that I failed to capture the model's thin and frail look. It is all a learning experience, though. I rubbed this one out.

My second attempt was much more successful, I think.  She was delicate and I think I got that on the second try.  I was learning something every minute that I was working with Max.