Still Life Lessons

Pair of Oranges, L. Daniel, 9 x 6

My last session at the Weekend with the Masters was a still life class with Quang Ho. Ho is a great painter, teacher, author, and just an incredible thinker overall. Listening to his ideas about painting and creativity is inspirational. He encourages artists to strive for "maximum randomness"... to look for variety and complexity in each area of a painting. Most importantly, he experiments. He is always open to new approaches and simply knows how to play when he works. "Play" is a really good goal and so easy to forget. 

In these two paintings, I tried to experiment with color and edges. The top one was my second attempt and favorite (I was definitely in play mode).

Fruit Toss, L. Daniel, 9 x 12

Glorious Morning 2

Glorious Morning 2, L. Daniel, 6 x 8, SOLD 

As the sun rises just above the horizon, there is a moment or two when the sky turns prismatic in color. Painting it en plein air can be a challenge because it all morphs so quickly. I began by blocking in the shapes on the horizon while it was still dark(er), and then focused completely on the the sky as the colors began to emerge. I committed to a moment in time, which meant I was soon painting from memory and NOT chasing the changes in color and light. (Hard to resist, but necessary!) This is the second of my series of three small sunrise paintings. 


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Lessons from the Colorists

Mission Light (finished piece), L. Daniel, 12 x 9

Mission Light (color block-in/start), 12 x 9

Daniel Pinkham Workshop - Block-in Process Notes:

Squint down to see at least three large masses in the darkest value.

Compare differences between each massin color and temperature.

With turpentine color washes - block-in large masses.

Repeat for mid-values and lightest values until canvas is covered.

Hold onto the values and temperatures as color is added.

(Wow - that sounds so logical, but easier said than done!)

  

I spent two days at the Masters Weekend studying with teachers from the Colorist tradition. Daniel Pinkham studied with Russian master Sergei Bongart; and Camille Pryzewodek studied with American master Henry Hensche (who studied with Charles Hawthorne). Both of these traditions find their source in Impressionism, specifically in the work of Claude Monet. It would be impossible to sum up each of these approaches so I will simply relay how they got us "started", both with a painting and with learning to "see" color. These two painters have devoted their artistic pursuits to understanding the color of light and the color of air (light filters through air and both affect everything we see). Please click on their names above and see their work - you will love it.

  

Mission Color (finished piece, palette knife), L. Daniel, 9 x 12

Mission Color (color block-in/start, palette knife) 9 x 12

Camille Przewodek Workshop: Block-in Process Notes:

Sketch composition with light blue pastel pencil.

Observe patterns of light and shadow - organize into flat planes.

"Hues on first" - paint spots of color in correct temperature and value.

Keep color spots separate until canvas is covered.

Compare and correct temperature, value and hue relationships.

When relationships are correct, add color nuance and subtleties.

Bring shapes together; retain value & temperature of large masses.

(Palette knife is important for avoiding detail too soon!)