tag:blogger.com,1999:blog-24774460810635400552024-03-18T20:35:24.649-07:00The Boston School Of PaintingThis blog is about the Boston School of Painting and the art of those studying and attempting to paint in this style--Including me! The Boston School is the longest continuing tradition of painting in American art. Its roots go back to R. H. Gammell, Edmund Tarbell, William McGregor Paxton, Jean-Leon Gerome, Paul Delaroche, and Jacques Louis David.Sandra Galdahttp://www.blogger.com/profile/15569976623389281955noreply@blogger.comBlogger33125tag:blogger.com,1999:blog-2477446081063540055.post-19181279350722605822023-07-10T07:33:00.001-07:002023-07-10T07:33:40.936-07:00<p> Here are some recent works: (If you would like a more frequent updates, please see my Instagram under my name, or my FB under my name, where I am much more active).</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2kQGbnP-KHaV5StTcfo7pdvvDJACzJqESN1y18SmzfaXLJv8IvAxwD2BajspPK5oxCdFgUEWxn5O62Iy1P9lg2mc0tK5QtUQDgOiJVsmJt4PnKmUw4Rl9kAP_6OySe_wK6gkskLvRy9FMMEYmNmRxgYxV4hx6V7I_564p3lHcVqRJUUCOJN6SxPp4Ewzk/s1757/The%20Empty%20Vase%2018%20x%2024%20by%20sandra%20galda.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1336" data-original-width="1757" height="243" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2kQGbnP-KHaV5StTcfo7pdvvDJACzJqESN1y18SmzfaXLJv8IvAxwD2BajspPK5oxCdFgUEWxn5O62Iy1P9lg2mc0tK5QtUQDgOiJVsmJt4PnKmUw4Rl9kAP_6OySe_wK6gkskLvRy9FMMEYmNmRxgYxV4hx6V7I_564p3lHcVqRJUUCOJN6SxPp4Ewzk/s320/The%20Empty%20Vase%2018%20x%2024%20by%20sandra%20galda.jpg" width="320" /></a></div><div style="text-align: center;"><br /></div><div style="text-align: center;">"The Empty Vase," by Sandra Galda, 18 x 24 inches, oil on canvas</div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg83PSUllWxZ0mKfwcg9JQxG_GpNs-ZTnoZ1uYOBF_HAgfFv_KbxnAWzn7Y7MGgLqHFW7ckXRc7zJU9PNj4AkKtYLlK1WYJeXOcW1K5yKCDcSKkqCdWecAfG7BVzepFx0p_WuMsGR7ch1DY6gRu_2ohsL25B5nnoosKCrZBpDR1aK0Xy3XRyl0d7hm9Im0J/s1434/Me%20with%20award%20winning%20The%20Kitchen%20Bouquet.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1434" data-original-width="1019" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg83PSUllWxZ0mKfwcg9JQxG_GpNs-ZTnoZ1uYOBF_HAgfFv_KbxnAWzn7Y7MGgLqHFW7ckXRc7zJU9PNj4AkKtYLlK1WYJeXOcW1K5yKCDcSKkqCdWecAfG7BVzepFx0p_WuMsGR7ch1DY6gRu_2ohsL25B5nnoosKCrZBpDR1aK0Xy3XRyl0d7hm9Im0J/s320/Me%20with%20award%20winning%20The%20Kitchen%20Bouquet.jpg" width="227" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">I won the First Prize at the Honor's Show At the St. Augustine Art Association, </div><div class="separator" style="clear: both; text-align: center;">St. Augustine, Florida.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmERhQJ5RicTI6ZJWP_VYWlaX_JfVI5JSybsZHleRKc8A5iHaKQk8eJvdEU8lRqGGdPLpq2TA1RDo6sGsOn640ztLZlRtLvM00-MK-lDiFXwHvgV8mvhGyNfxd-CbuC9rOdyPpjGYFsKn7ySs5jXNbjV-xKn6n1t5aeE5xCDNjR8nsRvRv4IcCAHNTJXYs/s1380/The%20Kitchen%20Bouquet%20by%20Sandra%20Galda%2024%20x%2030.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1380" data-original-width="1080" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmERhQJ5RicTI6ZJWP_VYWlaX_JfVI5JSybsZHleRKc8A5iHaKQk8eJvdEU8lRqGGdPLpq2TA1RDo6sGsOn640ztLZlRtLvM00-MK-lDiFXwHvgV8mvhGyNfxd-CbuC9rOdyPpjGYFsKn7ySs5jXNbjV-xKn6n1t5aeE5xCDNjR8nsRvRv4IcCAHNTJXYs/s320/The%20Kitchen%20Bouquet%20by%20Sandra%20Galda%2024%20x%2030.jpg" width="250" /></a></div><br /><div class="separator" style="clear: both; text-align: center;">"The Kitchen Bouquet," by Sandra Galda, 24 x 30 inches. </div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKYmeL0YxcPpcgAHlS2NltzVcvv4rSvxn7QNa2vmp_-Fcq4Ed2WI3O3iiESS2dUOh4pVYb1G-ZJIO9_kVAqiiv2AwQIj1C6braQ85j2IViToJpzSqCUVDap8kWaX926Anp74BOpmHCNqjn-IMlfOEmlwk-2ANYTTCdL_lsZkE11-r1XoyYBXAVDxDDI7Rw/s990/The%20Kitchen%20Bouquet%20by%20Sandra%20Galda%2024%20x%2030%20Framed.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="990" data-original-width="825" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKYmeL0YxcPpcgAHlS2NltzVcvv4rSvxn7QNa2vmp_-Fcq4Ed2WI3O3iiESS2dUOh4pVYb1G-ZJIO9_kVAqiiv2AwQIj1C6braQ85j2IViToJpzSqCUVDap8kWaX926Anp74BOpmHCNqjn-IMlfOEmlwk-2ANYTTCdL_lsZkE11-r1XoyYBXAVDxDDI7Rw/s320/The%20Kitchen%20Bouquet%20by%20Sandra%20Galda%2024%20x%2030%20Framed.jpg" width="267" /></a></div><br /><p style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-Y4R1SudLzc5S5YHHjCYPMfRWWlovMST-84g9iXv35VapDuB6eYY0MgllBQ4potD1a_30iLr9PPzC2phSc9RgnEKQUMt7xjwmN3UvRrhLMZzS_XSL6nzEUXZhzqNl8eaogTXOgDLPy-lj0HSs_VrKsSe2VFOBePbUdnnBLk59H8KEYJAj3FFUuuqXoxpW/s2992/The%20Daily%20Grind.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2992" data-original-width="2992" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-Y4R1SudLzc5S5YHHjCYPMfRWWlovMST-84g9iXv35VapDuB6eYY0MgllBQ4potD1a_30iLr9PPzC2phSc9RgnEKQUMt7xjwmN3UvRrhLMZzS_XSL6nzEUXZhzqNl8eaogTXOgDLPy-lj0HSs_VrKsSe2VFOBePbUdnnBLk59H8KEYJAj3FFUuuqXoxpW/s320/The%20Daily%20Grind.jpg" width="320" /></a></p><p style="text-align: center;">"The Daily Grind," by Sandra Galda, oil on canvas, 20" x 24"</p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p> </p>Sandra Galdahttp://www.blogger.com/profile/15569976623389281955noreply@blogger.com0tag:blogger.com,1999:blog-2477446081063540055.post-71559167783608721332022-10-07T18:02:00.001-07:002022-10-07T18:02:18.592-07:00<p>Long Overdue Update! All is well!</p><p>Now that the pandemic is not plaguing us as it once did, my atelier activities are progressing. We love living in Florida, and we dont get hit with hurricanes much at all up in Northern Florida! Very grateful, sad for those south of us on coastal areas that do. </p><p>I teach a full atelier program to a small number here in our new state, Florida. </p><p>I teach a drawing from life course at Flagler College in nearby St. Augustine, Florida. </p><p>I have been active in a nearby gallery during our move here and the pandemic. Several honorable mentions and a best in show and a sale have made me quite pleased along the way! </p><p>I will post some pictures below, and if you would like a more frequent update, please see my Instagram under my name, or my FB under my name, where I am much more active. </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6muA7XeVnrDjSO5HarA_aPxAhsHhOu82LNkCLale3V5uC97RjxoBNrDghbs8bIjjzD9YUucc-H7-gqRVb-Tu76T3z8Oso55jR4WSOym47S2LFRoOJsytE6oy7BdR9oA9cLBSVa1THABQUtNEJheB0sheD8yYYIghKEg0TxT2xO4zowARcUpnvMJ61kg/s1759/san%20award%20and%20sale%20the%20grass%20withers%20oil%20sept%202022.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1286" data-original-width="1759" height="234" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6muA7XeVnrDjSO5HarA_aPxAhsHhOu82LNkCLale3V5uC97RjxoBNrDghbs8bIjjzD9YUucc-H7-gqRVb-Tu76T3z8Oso55jR4WSOym47S2LFRoOJsytE6oy7BdR9oA9cLBSVa1THABQUtNEJheB0sheD8yYYIghKEg0TxT2xO4zowARcUpnvMJ61kg/s320/san%20award%20and%20sale%20the%20grass%20withers%20oil%20sept%202022.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">Honorable Mention Award and Sale!</div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_6XtOdJEnmQjq3xdhHXw_K_Qan4Mcv3ObeZpmDCJ6awX4jAj90ccJmJ2iKhNoWTEbGH7X1LO9obYauoUHImsTrUeREdVs5aC8xYkKvobFrvbPGddtFfdDRBIHtSyk8_PSHFImnrgcF2RA6k8I2PfkcHyw57CbwyQqN_Bt6ZrWzcNnpNDkFNjM8HLtKQ/s1828/ARC%20APPROVED%20SEAL%202021%20garamond%20bold%20Final.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1141" data-original-width="1828" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_6XtOdJEnmQjq3xdhHXw_K_Qan4Mcv3ObeZpmDCJ6awX4jAj90ccJmJ2iKhNoWTEbGH7X1LO9obYauoUHImsTrUeREdVs5aC8xYkKvobFrvbPGddtFfdDRBIHtSyk8_PSHFImnrgcF2RA6k8I2PfkcHyw57CbwyQqN_Bt6ZrWzcNnpNDkFNjM8HLtKQ/s320/ARC%20APPROVED%20SEAL%202021%20garamond%20bold%20Final.png" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg89WNbIzE-Iq6OkS5lcD085RHExmivgitUD-Y1A1iSLO9K3NHkt1wWCWDs9x3SzCosyeU7NFx7N2aGXvSFBRowuDp9oaUBOOVg9zxo46WJ-gyK-fkg6_zlgCx6iI2UJIITr3gGWbz2PRrVstuM8epcKMmgNfJcDnhdrmp-exgp4xn_uBiLXx073fQbBw/s1400/20211103_163258~3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1115" data-original-width="1400" height="255" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg89WNbIzE-Iq6OkS5lcD085RHExmivgitUD-Y1A1iSLO9K3NHkt1wWCWDs9x3SzCosyeU7NFx7N2aGXvSFBRowuDp9oaUBOOVg9zxo46WJ-gyK-fkg6_zlgCx6iI2UJIITr3gGWbz2PRrVstuM8epcKMmgNfJcDnhdrmp-exgp4xn_uBiLXx073fQbBw/s320/20211103_163258~3.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH40ir3LLrfiQSZ5EXpxOkXRzUFFHPQVwnVUaSPbTF7VHBeEfWgex8-w0vF5eXHIkBeAnQvba8JUxVuFDklu58isDusK4wW-iFZDrwsMxUXn_gYCgx6MrHOglDIfTZrh2VyQcJVluXWWteH1aWpDYuFtqEqnpcdALV0fGtauC9ewK-zD8mq6lgtJH-dA/s1080/Best%20in%20who%20san%20and%20award%20may%202022.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="874" data-original-width="1080" height="259" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH40ir3LLrfiQSZ5EXpxOkXRzUFFHPQVwnVUaSPbTF7VHBeEfWgex8-w0vF5eXHIkBeAnQvba8JUxVuFDklu58isDusK4wW-iFZDrwsMxUXn_gYCgx6MrHOglDIfTZrh2VyQcJVluXWWteH1aWpDYuFtqEqnpcdALV0fGtauC9ewK-zD8mq6lgtJH-dA/s320/Best%20in%20who%20san%20and%20award%20may%202022.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">Best in Show Award</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5BRhAWuKUrtEyvfuw1cnaJkpqlCt07HpqGm1zzriczFeY1MymHhshu06PiU7sf3Sk7k0wvFgVV63SWSOLWYhzg35PoeHT-cM5Jmk6lXYKD4uZG-aONTXEV6MFFVEEfNxmniJ9854HflxLwyC_CZJ3_acrP3Gamoz-n2nUnyw2E9a1y4ijvJE-M2KgAw/s1078/honorable%20mention%20black%20pot%20sandra%20july%202022.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1078" data-original-width="952" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5BRhAWuKUrtEyvfuw1cnaJkpqlCt07HpqGm1zzriczFeY1MymHhshu06PiU7sf3Sk7k0wvFgVV63SWSOLWYhzg35PoeHT-cM5Jmk6lXYKD4uZG-aONTXEV6MFFVEEfNxmniJ9854HflxLwyC_CZJ3_acrP3Gamoz-n2nUnyw2E9a1y4ijvJE-M2KgAw/s320/honorable%20mention%20black%20pot%20sandra%20july%202022.jpg" width="283" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">Honorable Mention Award</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeEeP8-aGdoH0zAyK22Yr8jZXHcKfQyFNxOHrI97CuaRDD0o8w7pjuqXre2-0b-BPkwsRSz-Semy5g_1IsAHQNmnC3VrVrmggOysYxPMjUgCLOD_o84dFBMli9bb2agabuEVI_dwhOmLG6AfhmyWxqN7jvKyvxK8fmJjX569yADHUL1DV-368HSTzhlQ/s4000/Flag%20atel%20drawing%2010%202022.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2252" data-original-width="4000" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeEeP8-aGdoH0zAyK22Yr8jZXHcKfQyFNxOHrI97CuaRDD0o8w7pjuqXre2-0b-BPkwsRSz-Semy5g_1IsAHQNmnC3VrVrmggOysYxPMjUgCLOD_o84dFBMli9bb2agabuEVI_dwhOmLG6AfhmyWxqN7jvKyvxK8fmJjX569yADHUL1DV-368HSTzhlQ/s320/Flag%20atel%20drawing%2010%202022.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">Students at Flagler College and some of their work below:</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZO_olQFRgz5V6tRKK7F2eQ-vyQzvVDuwaDX912SWZZcT8BSHDV-vKlMzRuhAil0dLZsaEQAh_1lOWHHQ3hJZJDeDaNyjCYFpeVkswf9p3_xSeVj7V4sV4RwA1d7U_y7s2yNk2WHVFsec1wbLi9esykrvXjB30690kDxKH4j5nNCm7YLSX6ETpO2nrmg/s2447/Emma%20white%20hanging%20object%207%202022.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2447" data-original-width="1931" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZO_olQFRgz5V6tRKK7F2eQ-vyQzvVDuwaDX912SWZZcT8BSHDV-vKlMzRuhAil0dLZsaEQAh_1lOWHHQ3hJZJDeDaNyjCYFpeVkswf9p3_xSeVj7V4sV4RwA1d7U_y7s2yNk2WHVFsec1wbLi9esykrvXjB30690kDxKH4j5nNCm7YLSX6ETpO2nrmg/s320/Emma%20white%20hanging%20object%207%202022.jpg" width="253" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx3YUzo0-TPEJe30GNOlLIQkQbgbK7dwXRHeFhxTKvKThHA6hrCJeJ_xxY81cV2K4s0aYnASqiK1q7LZXtYHSRaG0ALOCVOODeGLTf-ckDewthmPioWWhySNEyMDG713Dzukusi9yjg5yj7g-7AUcWVoSp78KapUbZ2usxFfh6yDM6IS_4OmGhEDrEJA/s2196/Taylor%20bargue%20fig%20enlarge%20with%20words.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1523" data-original-width="2196" height="222" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgx3YUzo0-TPEJe30GNOlLIQkQbgbK7dwXRHeFhxTKvKThHA6hrCJeJ_xxY81cV2K4s0aYnASqiK1q7LZXtYHSRaG0ALOCVOODeGLTf-ckDewthmPioWWhySNEyMDG713Dzukusi9yjg5yj7g-7AUcWVoSp78KapUbZ2usxFfh6yDM6IS_4OmGhEDrEJA/s320/Taylor%20bargue%20fig%20enlarge%20with%20words.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCqQiEm7un4_aiQxTZe-Gy6IXfJcgwmqWcjnB6FbomIVA7Hr40QDIw5U2-OfYe-CEvnno3bWT7JlfHl47Wbptdl_6rMv0ULWYye_OmCLs9d2I_ZJ9-puNXJ2QK0IJK-shW2IukPLc5SPbq1Rexp-TxQ7gpUZtVuyw6DzHXjOQDCOUcrnYjVsND805sAg/s2880/zach%20bargue%20fig%20enlarge%20with%20words.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1745" data-original-width="2880" height="194" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCqQiEm7un4_aiQxTZe-Gy6IXfJcgwmqWcjnB6FbomIVA7Hr40QDIw5U2-OfYe-CEvnno3bWT7JlfHl47Wbptdl_6rMv0ULWYye_OmCLs9d2I_ZJ9-puNXJ2QK0IJK-shW2IukPLc5SPbq1Rexp-TxQ7gpUZtVuyw6DzHXjOQDCOUcrnYjVsND805sAg/s320/zach%20bargue%20fig%20enlarge%20with%20words.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqvBf92l4O1jhfalnHcLg0d80tyfWeg0J5wRdK_q1NbLmf69j9kc2tkQkjb6V7pHTYBc8zzC_jkZKm4sUumajjgRo6fRs3bgTIsY-uA7UmL3-U2eK8maoV9AW8dUWYSCju3aDVvyMS_mkev2YrX77f2T3pG_Pg8t_ssBMdNVt2tiU-Z04aOa4LCvt-rA/s2880/Zach%20enlar%20fig%20no%20words.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1745" data-original-width="2880" height="194" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqvBf92l4O1jhfalnHcLg0d80tyfWeg0J5wRdK_q1NbLmf69j9kc2tkQkjb6V7pHTYBc8zzC_jkZKm4sUumajjgRo6fRs3bgTIsY-uA7UmL3-U2eK8maoV9AW8dUWYSCju3aDVvyMS_mkev2YrX77f2T3pG_Pg8t_ssBMdNVt2tiU-Z04aOa4LCvt-rA/s320/Zach%20enlar%20fig%20no%20words.jpg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><p><br /></p>Sandra Galdahttp://www.blogger.com/profile/15569976623389281955noreply@blogger.com0tag:blogger.com,1999:blog-2477446081063540055.post-38652781078167554522021-02-01T08:38:00.004-08:002021-02-01T08:46:14.199-08:00Ongoing atelier work in midst of pandemic. <p> <br />Hello again! Its been a strange year with my move to Florida, setting up here and establishing atelier work in this new location during a pandemic. <br /></p><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEB4WPlsJxRcxgjLdO5hWMT6f7mOk_YwQy0bSl6HZjkRoDhj_9LZX4VQ3nUbpdRPpc6wFw5HjPW2vRYUwnI27Q7e9xi-QNBbNINcyRwBGPEFpIOd0zmoSzIdAPz1VQ_toNoyfc5eNDZvxK/s1828/ARC+APPROVED+SEAL+2021+garamond+bold+Final.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1141" data-original-width="1828" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEB4WPlsJxRcxgjLdO5hWMT6f7mOk_YwQy0bSl6HZjkRoDhj_9LZX4VQ3nUbpdRPpc6wFw5HjPW2vRYUwnI27Q7e9xi-QNBbNINcyRwBGPEFpIOd0zmoSzIdAPz1VQ_toNoyfc5eNDZvxK/w400-h250/ARC+APPROVED+SEAL+2021+garamond+bold+Final.png" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: left;">I am pleased to announce my Sandra Galda Atelier has been approved again by the Art Renewal Center. this is my fourth year in a row I have received this certification. I am very grateful! Check out their website, its is a great resource. </div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzQ576N6u4lryiMuwyPCuvlR_42mLdOli0X_zit-5AjDaEO7HWuImsKIhvg97pVmVUHObH0JcSne6RXb3wCpX_h206LDj_nX4KuUdbsfKrvOERGtmLZbNXxBp-bsmX4mXm5lkl-L8M1HmG/s624/cover+black+pot+white+label+centered+Facebook.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="518" data-original-width="624" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzQ576N6u4lryiMuwyPCuvlR_42mLdOli0X_zit-5AjDaEO7HWuImsKIhvg97pVmVUHObH0JcSne6RXb3wCpX_h206LDj_nX4KuUdbsfKrvOERGtmLZbNXxBp-bsmX4mXm5lkl-L8M1HmG/s320/cover+black+pot+white+label+centered+Facebook.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br />I am teaching in my new large home studio space, and also soon in a nearby community center. <div>I will post more as time goes on, here are some photos of my students in Florida!</div><div><br /></div><div><br /></div><div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzyZ1SdF3w8yyCIFkK1aBNRkVMpkXZ8Jt5XhLG-_StYddEa763j0GI2e9nF-cYXMeWLBNk9LyCPi9bUFJFUsOIqBU4zh8YNUv1VKXquOWlMD3oKTm2SjbqmLgnKsVCSGJ5Dw9eg4QDKU_g/s909/Catherine+using+plumb+line+fall+2020.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="909" data-original-width="442" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzyZ1SdF3w8yyCIFkK1aBNRkVMpkXZ8Jt5XhLG-_StYddEa763j0GI2e9nF-cYXMeWLBNk9LyCPi9bUFJFUsOIqBU4zh8YNUv1VKXquOWlMD3oKTm2SjbqmLgnKsVCSGJ5Dw9eg4QDKU_g/s320/Catherine+using+plumb+line+fall+2020.jpg" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSEYRWqgLgWOj8bOX06AcVTynbhyphenhyphensNwVnOPqmhLuiTRMjAbPTXocRjJNCAfYYM6zVq1bCzsPRwkiTAJRu2cEmarpfZujPAT328MbyugfSbZnSap7bkwGb3F9m-Z0IhJWGTlvn5nLvLIro3/s1440/Prianka+and+copy+a+master+exercise+fall+2020.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1032" data-original-width="1440" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSEYRWqgLgWOj8bOX06AcVTynbhyphenhyphensNwVnOPqmhLuiTRMjAbPTXocRjJNCAfYYM6zVq1bCzsPRwkiTAJRu2cEmarpfZujPAT328MbyugfSbZnSap7bkwGb3F9m-Z0IhJWGTlvn5nLvLIro3/s320/Prianka+and+copy+a+master+exercise+fall+2020.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwhLCLcqT8e0I9KfW4onh_TTMeUDgDQ_scbFUUiFtLNumGpAXngyTZXKWLjrbuPquRkcRekG77nyPpwjht63p3PjQi_dOHe7YOPruJAhd9qqfYz_FJCpzP7d_Jn9Iny-VVdtq3ZE37z16v/s921/Early+value+exercises+fall+2020.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="921" data-original-width="274" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwhLCLcqT8e0I9KfW4onh_TTMeUDgDQ_scbFUUiFtLNumGpAXngyTZXKWLjrbuPquRkcRekG77nyPpwjht63p3PjQi_dOHe7YOPruJAhd9qqfYz_FJCpzP7d_Jn9Iny-VVdtq3ZE37z16v/s320/Early+value+exercises+fall+2020.jpg" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4fqemgDlWx9t92AtYECIxmsoDCGRWPf6l91fB3MQmu5HeCpTyCHTW05VhXW-agCuzeb3_FKrNulL_vhYAoXzDzq7dkbqkR5z2WGfqBar53UdaexfbyYTYHQRB74f5L-hb0yzkIXPUtZHL/s843/Fall+2020+student+copy+a+master+bargue.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="843" data-original-width="575" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4fqemgDlWx9t92AtYECIxmsoDCGRWPf6l91fB3MQmu5HeCpTyCHTW05VhXW-agCuzeb3_FKrNulL_vhYAoXzDzq7dkbqkR5z2WGfqBar53UdaexfbyYTYHQRB74f5L-hb0yzkIXPUtZHL/s320/Fall+2020+student+copy+a+master+bargue.jpg" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div></div>Sandra Galdahttp://www.blogger.com/profile/15569976623389281955noreply@blogger.com0tag:blogger.com,1999:blog-2477446081063540055.post-23502744298319667112019-03-31T20:57:00.001-07:002019-03-31T20:57:51.632-07:00March local paper articleMarchSandra Galdahttp://www.blogger.com/profile/15569976623389281955noreply@blogger.com0tag:blogger.com,1999:blog-2477446081063540055.post-24352344066739265112018-05-10T05:57:00.000-07:002018-07-09T08:01:59.214-07:00The Boston School Influenced "Atelier in the High School at Bradford Christian Academy," is the first and only ever atelier that takes place in a high school in the world! 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<span style="font-size: 24px;">News, Press Release, Painting in Regional Show</span></div>
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<span style="font-size: 18.06px;"> I have been busy with the "Atelier in the High School at Bradford Christian Academy," as we draw to a close our third year. I teach this atelier with a strong emphasis on the BOSTON SCHOOL. I believe the Boston School effectively trains high school students in a timely fashion because of its immediate paint handling, and relational drawing and painting custom. We use Bargue only briefly at the start of the year, so the kids all have a frame of reference to work from; we leave sight size behind quickly, and work relationally for the remainder of the year. We are still glowing from <b><u>our status as the first ever atelier that takes place in a high school...in the world! </u></b>We were told this by the <a href="https://www.artrenewal.org/Atelier/Index/10172" style="color: #666666; text-decoration: none;" target="_blank">Art Renewal Center</a> this past February when they made us one of their approved ateliers. I am sure atelier training in schools will be a growing trend in K-12 schools very soon! https://www.artrenewal.org/Atelier/Index/10172</span></div>
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<span style="font-size: 18.06px;"><a href="https://www.artrenewal.org/Atelier/Index/10172" target="_blank">https://www.artrenewal.org/Atelier/Index/10172</a></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiPV8yOItgPBieLPo7NydQoH6NEEfuNQKJbdZriC86S306PoUhECQQQbii8rC2aQ2pUAzeFTutWb22SZ1dsgLlUxNFJk-eMsHdFG7WIzYSIS_dOJ1eYVxL-z9SSPjyXHsD7bZfofGXX0PN/s1600/ARC+APPROVED+SEAL+6_7_18.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiPV8yOItgPBieLPo7NydQoH6NEEfuNQKJbdZriC86S306PoUhECQQQbii8rC2aQ2pUAzeFTutWb22SZ1dsgLlUxNFJk-eMsHdFG7WIzYSIS_dOJ1eYVxL-z9SSPjyXHsD7bZfofGXX0PN/s320/ARC+APPROVED+SEAL+6_7_18.jpg" width="320" /></a></div>
<br style="-webkit-text-stroke-width: 0px; background-color: transparent; color: black; font-family: arial; font-size: 13.33px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;" /><span style="font-size: large;"><span style="-webkit-text-stroke-width: 0px; background-color: transparent; color: black; display: inline !important; float: none; font-family: arial; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px; word-wrap: break-word;">Atelier in the High School at Bradford Christian Academy is ARC Approved</span><sup style="-webkit-text-stroke-width: 0px; background-color: transparent; color: black; font-family: arial; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; vertical-align: text-top; white-space: normal; word-spacing: 0px;">SM</sup></span><br />
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<span style="font-size: 18.06px;"> Since then, I was asked to present my paper, "Experiences and Methods in the First Atelier in the High School at Bradford Christian Academy; An Atelier program for High School." at The Regional Art Conference <a href="https://trac2018.com/sandra-galda/" style="color: #666666; text-decoration: none;" target="_blank">TRAC2018</a> , about our endeavor. </span></div>
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<span style="font-size: 18.06px;"><a href="https://trac2018.com/sandra-galda/">https://trac2018.com/sandra-galda/</a></span></div>
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<span style="font-size: 18.06px;"> I am very happy with the work the high school atelier students are doing, and will share some photos below, that were taken for a press release that was circulated by our School, Bradford Christian Academy, today. I will also insert that press release below. </span></div>
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<span style="font-size: 18.06px;"> With all this going on, I have not painted too many of my own oil paintings, but, my painting, "Arrangement with Cat and Twine" was accepted into the 21st Regional Juried Show at the Newburyport Art Association.</span></div>
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<span style="font-size: 18.06px;">Stay tuned! scroll down for the press release, and photos !! --Sandra Galda</span><br />
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<span style="font-size: 18.06px;"><b><u>PRESS RELEASE: </u></b></span></div>
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<b style="line-height: 25.6px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span style="font-family: "quot"; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span style="font-size: 18.06px;">Bradford
Christian Academy Earns Distinction as the Only High School Atelier Program <span style="color: black; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">in the World</span></span></span></b><span style="color: black; font-family: "quot"; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"></span></div>
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<span style="font-size: 18.06px;"><span style="color: black; font-family: "quot"; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">Haverhill, MA — </span><span style="background-attachment: scroll; background-color: white; background-image: none; background-repeat: repeat; background-size: auto; color: black; font-family: "quot"; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">On February 6, 2018, the Atelier in the High School at
Bradford Christian Academy was approved as the only high school atelier
program in the world by the Art Renewal Center (ARC), the leader in</span><span style="color: black; font-family: "quot"; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"> the revival of realism in the visual
arts. The ARC is the only vetting service for realist art
schools, ensuring that the teaching curricula and quality of teacher and student
work meet strict standards for approval. BCA proudly holds the distinction being
the only vetted atelier in a high school. </span></span></div>
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<span style="color: black; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span style="font-size: 18.06px;">The atelier tradition, a practice stemming from
Renaissance Italy, focuses on the technical aspects of drawing and painting figurative
art, including perspective, accurate drawing, and values of dark and light.
Atelier techniques were practiced for centuries by the European masters to
perfect drawing and painting skills demonstrated in portrait work and
landscapes. </span></span><span style="font-size: 18.06px;"></span></div>
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<div style="-webkit-text-stroke-width: 0px; background-color: transparent; color: black; font-family: Verdana,Geneva,sans-serif; font-size: 16px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<span style="color: black; font-family: "quot"; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span style="font-size: 18.06px;">The Atelier at Bradford
Christian Academy is led by faculty member and Massachusetts-based artist
Sandra Galda. In addition to her undergraduate degree from the State University
of New York at Buffalo and her master’s degree from Harvard University, Sandra
completed six years post graduate study at Ingbretson Studios with master
painter Paul Ingbretson.<span style="background-attachment: scroll; background-clip: border-box; background-color: white; background-image: none; background-origin: padding-box; background-position-x: 0%; background-position-y: 0%; background-repeat: repeat; background-size: auto; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"> Galda will present her
paper, "Experiences and Methods in the First Atelier in the High School,"
at The Representational Art Conference 2018 (TRAC2018), in Leeuwarden,
Netherlands in May. Founded </span>by Michael Pearce and Michael Lynn
Adams, the TRAC conference aims to provide an outlet for the discussion of new
developments in 21<sup>st</sup> Century representational art. </span></span></div>
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<div style="-webkit-text-stroke-width: 0px; background-color: transparent; color: black; font-family: Verdana,Geneva,sans-serif; font-size: 16px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<span style="font-size: 18.06px;"><span style="color: black; font-family: "quot"; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">The Art Renewal Center
(ARC), a 501(c)(3), non-profit, educational foundation. For more
information about the Bradford Christian Academy’s approval by the Art Renewal
Center, please visit their website at link: </span><a href="https://www.artrenewal.org/Atelier/Index/10172" style="color: #666666; text-decoration: none;" target="_blank"><span style="color: black; font-family: "quot"; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;">https://www.artrenewal.org/Atelier/Index/10172</span></a></span><span style="color: black; font-family: "quot"; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"></span></div>
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<span style="color: black; font-family: "quot"; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span style="font-size: 18.06px;"> </span></span><b style="line-height: 25.6px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span style="color: black; font-family: "quot"; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span style="font-size: 18.06px;">About:</span></span></b><span style="color: black; font-family: "quot"; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"></span></div>
<span style="background-color: transparent; color: black; display: inline; float: none; font-family: "verdana" , "geneva" , sans-serif; font-size: 16px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; line-height: 25.6px; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
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<span style="background-color: transparent; color: black; display: inline; float: none; font-family: "verdana" , "geneva" , sans-serif; font-size: 16px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; line-height: 25.6px; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
</span>
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<div style="-webkit-text-stroke-width: 0px; background-color: transparent; color: black; font-family: Verdana,Geneva,sans-serif; font-size: 16px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; margin-bottom: 16px; margin-left: 0px; margin-right: 0px; margin-top: 0px; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<b style="line-height: 25.6px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span style="color: black; font-family: "quot"; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span style="font-size: 18.06px;">Bradford Christian
Academy</span></span></b></div>
<span style="background-color: transparent; color: black; display: inline; float: none; font-family: "verdana" , "geneva" , sans-serif; font-size: 16px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; line-height: 25.6px; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
</span>
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<div style="-webkit-text-stroke-width: 0px; background-color: transparent; color: black; font-family: Verdana,Geneva,sans-serif; font-size: 16px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<span style="font-family: "quot"; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span style="font-size: 18.06px;">Bradford Christian Academy is an independent,
co-educational, college-preparatory elementary, middle, and high school serving
students from Protestant, Catholic, and Orthodox faith traditions. With
campuses in Bradford and Haverhill, MA, Bradford Christian Academy enrolls
students from over 40 communities throughout the region as well as countries
throughout the world. For more information, please visit
www.bradfordchristianacademy.org. </span></span><span style="font-family: "quot"; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"></span></div>
<span style="background-color: transparent; color: black; display: inline; float: none; font-family: "verdana" , "geneva" , sans-serif; font-size: 16px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; line-height: 25.6px; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
</span>
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<span style="font-size: 18.06px;"><br /></span></div>
<span style="background-color: transparent; color: black; display: inline; float: none; font-family: "verdana" , "geneva" , sans-serif; font-size: 16px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; line-height: 25.6px; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
</span>
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<div style="-webkit-text-stroke-width: 0px; background-color: transparent; color: black; font-family: Verdana,Geneva,sans-serif; font-size: 16px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; margin-bottom: 16px; margin-left: 0px; margin-right: 0px; margin-top: 0px; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<b style="line-height: 25.6px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span style="font-family: "quot"; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span style="font-size: 18.06px;">Media Contact: <span style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"> </span></span></span></b></div>
<span style="background-color: transparent; color: black; display: inline; float: none; font-family: "verdana" , "geneva" , sans-serif; font-size: 16px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; line-height: 25.6px; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
</span>
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<div style="-webkit-text-stroke-width: 0px; background-color: transparent; color: black; font-family: Verdana,Geneva,sans-serif; font-size: 16px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; margin-bottom: 16px; margin-left: 0px; margin-right: 0px; margin-top: 0px; orphans: 2; text-align: left; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<b style="line-height: 25.6px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span style="font-family: "quot"; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span style="font-size: 18.06px;"><span style="margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"></span></span></span></b><span style="font-family: "quot"; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px;"><span style="font-size: 18.06px;">Matt
Perusse, Director of Communications, (213) 804-0219, mattperusse@gmail.com</span></span></div>
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<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><br />Sandra Galdahttp://www.blogger.com/profile/15569976623389281955noreply@blogger.com0tag:blogger.com,1999:blog-2477446081063540055.post-87373088699301403942016-06-17T08:40:00.000-07:002017-07-11T05:26:34.643-07:00Some of my high school Atelier Student's artwork from this past year: School is out for the summer!<div style="text-align: center;">
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<span style="font-size: medium;"><u><b> Here is some of my student's artwork </b></u></span></div>
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<span style="font-size: medium;"><u><b>from the high school atelier I taught this past school year:</b></u></span><br />
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<span style="font-size: medium;">All the images below were created by 9th and 10th graders, one student was an 11th grader. </span><br />
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I was very impressed with the student work and their efforts at learning
to see and use the strategies of the training to capture the visual
image. It was hard to squeeze down the excellent Atelier training I
enjoyed for approx. 6 years at <span style="color: #990000;"><a href="http://studio.ingbretson.com/" target="_blank">Ingbretson Studios</a></span> with Paul Ingbretson....but the kids did get a taste of the
training. The last shot is of me in one of the rooms. </div>
Now that school is out, I hope to work more on some of my works in process!<br />
--Sandra</div>
Sandra Galdahttp://www.blogger.com/profile/15569976623389281955noreply@blogger.com0tag:blogger.com,1999:blog-2477446081063540055.post-41190334004108329052016-04-05T07:14:00.000-07:002016-06-17T09:40:59.447-07:00The Value of Value Spotting<div style="text-align: center;">
<u>The Value of Value Spotting</u></div>
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In my high school Atelier I devised a warm up exercise to engage the students in an exercise that seems to be driving home the value of value spotting. Before they can begin painting their still lifes each session, they must take turns on their timed ongoing drawing, on which they are translating from a masterwork in full color oil, a value sketch. It is refining their recognition of the distribution of value, helping them to distill out of the full color image the value relationships present. I am hoping this exercise will carry over to how they explain values in their own full color painting when they look at their still life, "..four times for every one time," that they put the brush to canvas!<br />
-Sandra Galda <br />
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<br />Sandra Galdahttp://www.blogger.com/profile/15569976623389281955noreply@blogger.com0tag:blogger.com,1999:blog-2477446081063540055.post-10898196284033966512016-02-20T07:17:00.000-08:002016-02-20T16:44:38.053-08:00Tarbell Art Exhibit March 4, 2016-June 3, 2016<div style="text-align: center;">
<span style="font-size: large;"><b>Great show coming up for Boston School painting fans, </b><b> Friday, March 4 through Friday, June 3 at Discover Portsmouth, 10 Middle Street, Portsmouth, NH. </b></span></div>
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The show features Boston School artist<b> Edmund C. Tarbell (1862-1938)</b> who was a pioneer of the
“Boston School” of painting at the Museum of Fine Arts. His work,
evocative of 17th-century Dutch artists, is known for its rich hues and
an emphasis on light and tone and delicate brushwork. Unlike previous
exhibitions of Tarbell’s work, Discover Portsmouth’s show will
emphasize, not just his paintings, but engravings, drawings, and oil
studies. When shown in conjunction with a careful selection of the
finished oil paintings, these will demonstrate Tarbell’s process from
conception to completion. Below is the poster image found on the Discover Portsmouth<a href="http://portsmouthhistory.org/dynamic-tarbell-art-exhibit-kicks-off-discover-portsmouth-2016-season/" target="_blank"><span style="color: #990000;"> site</span></a>, from which I found information about the show. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvQej9cIERXrTIX2aB41ek2DY5RYKtt7ePv-KN30SSLvAkhyphenhyphencHX65jkdNI1MJH-AAlZ_kXvqZepzbNIxltHihuKKpIU7YncjJXACuh_KN0l2FbCQed_ovkvs01k2ylRnDkjCRfxrzvhaPK/s1600/Illuminating+Tarbell+show+march+2016.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvQej9cIERXrTIX2aB41ek2DY5RYKtt7ePv-KN30SSLvAkhyphenhyphencHX65jkdNI1MJH-AAlZ_kXvqZepzbNIxltHihuKKpIU7YncjJXACuh_KN0l2FbCQed_ovkvs01k2ylRnDkjCRfxrzvhaPK/s640/Illuminating+Tarbell+show+march+2016.jpg" width="289" /></a></div>
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Read a little about the artist<a href="https://en.wikipedia.org/wiki/Edmund_C._Tarbell" target="_blank"><span style="color: #990000;"> here</span></a>. His work hangs locally at the Museum of Fine Arts in Boston MA, (an all over the world in other museums!). Here below is one of my favorites at the MFA Boston:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX_Hwen4QfcfR2Ep8pDOb7RcJ64XYkzry4VoF8fuEaruaJ55Xzwysc0Wj2LW5G5fIuO-3hZ-l_VMD2cYvEBWMhRK0Sn-X_346rYe5ejw7XB4Ps6naOOJYr5CPhaUN5NyXrIPMxrD0UvCS2/s1600/Marion+Hiller+Frenno+at+Nine+as+Mandolinata%252C+Edmund+Charles+Tarbell%252C+1887-88.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX_Hwen4QfcfR2Ep8pDOb7RcJ64XYkzry4VoF8fuEaruaJ55Xzwysc0Wj2LW5G5fIuO-3hZ-l_VMD2cYvEBWMhRK0Sn-X_346rYe5ejw7XB4Ps6naOOJYr5CPhaUN5NyXrIPMxrD0UvCS2/s400/Marion+Hiller+Frenno+at+Nine+as+Mandolinata%252C+Edmund+Charles+Tarbell%252C+1887-88.jpg" width="283" /></a></div>
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"Marion Hiller Frenno at Nine as Mandolinata," Edmund Charles Tarbell, 1887-88. </div>
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Tarbell painted this portrait when he was young, soon after returning from studying in France. Later he became one of the leading Boston School painters and a teacher at the School of the Museum of Fine Arts, Boston. Below are two later paintings that embody his developed Boston School characteristic.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7RVbZXYrtDGSoKHDkDjipIAG0VH4Ecb-2__bTRBXqBRLsEl45EGk5Y-G4BCXdU4cnhn-MX0Wgx5_kPDiNt1QKdSyG334nP9RtqY1YvxzXni8Ry_zHYTI3xdRKmckBYkciU6vs21XXmhYm/s1600/Reverie+%2528Katharine+Finn%2529%252C+by+Edmund+Charles+Tarbell%252C+1913..jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7RVbZXYrtDGSoKHDkDjipIAG0VH4Ecb-2__bTRBXqBRLsEl45EGk5Y-G4BCXdU4cnhn-MX0Wgx5_kPDiNt1QKdSyG334nP9RtqY1YvxzXni8Ry_zHYTI3xdRKmckBYkciU6vs21XXmhYm/s400/Reverie+%2528Katharine+Finn%2529%252C+by+Edmund+Charles+Tarbell%252C+1913..jpg" width="272" /></a></div>
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"Reverie (Katharine Finn)," by Edmund Charles Tarbell, 1913.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEig6KuN9H2NlG7OlS3zxXqcGPXyyY_8Os0YMCsSc0GCUh-PWk5uGTkke7IsYmvnmorjDZ5MKEeVfO3BJfsVDlIUClg2grJJjc9VDhZx9uaXrEaaxUQF6DjV4lRJhTDWyBocG6FmdoX63uTG/s1600/Girl+with+the+Violin+%2528also+known+as+the+Violinist%2529+by+Edmund+Tarbell+1890.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEig6KuN9H2NlG7OlS3zxXqcGPXyyY_8Os0YMCsSc0GCUh-PWk5uGTkke7IsYmvnmorjDZ5MKEeVfO3BJfsVDlIUClg2grJJjc9VDhZx9uaXrEaaxUQF6DjV4lRJhTDWyBocG6FmdoX63uTG/s400/Girl+with+the+Violin+%2528also+known+as+the+Violinist%2529+by+Edmund+Tarbell+1890.jpg" width="335" /></a></div>
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"Girl with the Violin, (also known as the Violinist)," by Edmund Tarbell, 1890.</div>
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Tarbell's "Girl with the Violin" above is particularly interesting to me because my teacher, Paul Ingbretson, a current Boston School master painter and teacher, produced a beautiful painting based on the image a couple years ago in the <a href="http://studio.ingbretson.com/" target="_blank"><span style="color: #990000;">studio</span></a>. He had a time lapse video created to record his process. This video has been available to the public to view on YouTube, see it <a href="https://youtu.be/fbtBW2T50p0" target="_blank"><span style="color: #990000;">here</span></a>. This wonderful version by Mr. Ingbretson of Tarbell's painting will be in the "<b>Illuminating Tarbell: Legacy in Action" </b>companion show upstairs on the same dates. </div>
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"The Bach Bouree in E Minor," by Paul Inbgretson, 2014.</div>
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<b>Illuminating Tarbell: Legacy in Action</b>, the companion
show, is located upstairs in the Academy balcony gallery. Curator
Alastair Dacey makes the case for Tarbell’s ongoing influence as a
painter and teacher. Tarbell’s impact and artistic principles are
revealed in close to 50 works by six contemporary painters: Don Demers,
Paul Ingbretson, Jean Lightman, Mary Minifie, Colin Page, and Alastair
Dacey.<br />
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<b>The show: Friday, March 4 through Friday, June 3 at Discover Portsmouth, 10 Middle Street, Portsmouth, NH. </b> The nonprofit Portsmouth
Historical Society, which also operates the John Paul Jones House
Museum, is open daily from 9:30-5pm. For further information on exhibitions, publications, gift
shop, lectures, rentals, and tours, please call 603-436-8433.Sandra Galdahttp://www.blogger.com/profile/15569976623389281955noreply@blogger.com2tag:blogger.com,1999:blog-2477446081063540055.post-82914273247574750602015-08-10T07:51:00.002-07:002015-08-10T07:51:36.051-07:00Paul Ingbretson is giving a lecture August 27th at 7PM, see information on Poster:<div style="text-align: center;">
My teacher Paul Ingbretson is giving a lecture August 27th at 7PM:</div>
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Sandra Galdahttp://www.blogger.com/profile/15569976623389281955noreply@blogger.com0tag:blogger.com,1999:blog-2477446081063540055.post-35862753080632173982015-06-23T05:25:00.000-07:002015-06-23T05:25:43.358-07:00Exhibition: "The Boston School Tradition: Truth, Beauty and Timeless Craft," now at the Vose Galleries, Boston, MA., On exhibition June 6, 2015 - July 18, 2015 <div style="text-align: center;">
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A must see Exhibition: "The Boston School Tradition: Truth, Beauty and Timeless Craft," now at the Vose Galleries, Boston, MA., On exhibition June 6, 2015 - July 18, 2015<br />
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The Vose Galleries' current show, <i>The Boston School Tradition: Truth, Beauty and Timeless Craft</i>, explores the artistic tradition of the Boston artists and their collectors from the turn of the twentieth century. I am very excited about this show! It is proof of the enduring value of the Boston School of painting whose artists continue, even today, to uphold their academically rigorous training and subject matter of the Dutch Masters<em> </em>and Renaissance painters, fused along with Monet's impressionistic immediate paint application. <br />
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Below is the link the the Vose Gallery site: <strong> </strong><br />
http://www.vosegalleries.com/exhibitions/the-boston-school-tradition-truth-beauty-and-timeless-cSandra Galdahttp://www.blogger.com/profile/15569976623389281955noreply@blogger.com0tag:blogger.com,1999:blog-2477446081063540055.post-44358638465348136322015-04-08T04:14:00.001-07:002015-04-08T04:14:35.114-07:00Hi everyone! This blog has been dormant for quite a while although I salute the previous guest authors, and am so grateful for the generous contributions they made, check them out on the internet they are all great artists! Currently, I am trying to revamp the site. Please be patient with me. They may agree to rejoin:)Sandra Galdahttp://www.blogger.com/profile/15569976623389281955noreply@blogger.com1tag:blogger.com,1999:blog-2477446081063540055.post-57700590024508726302014-09-30T17:48:00.000-07:002014-09-30T17:57:47.462-07:00Robert Douglas Hunter 1928 - 2014 Retrospective <div style="text-align: center;">
<span class="userContent">Here is the information publicized by<span style="color: #0b5394;"> <a href="http://guildofbostonartists.org/about-us/" target="_blank">The Guild of Boston Artists</a></span>, concerning a major Boston School artist who recently passed away: </span></div>
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<span class="userContent">Robert Douglas Hunter 1928 - 2014 <span style="color: #0b5394;"><a href="http://myemail.constantcontact.com/Robert-Douglas-Hunter-1928---2014-Retrospective.html?soid=1101768040986&aid=eTWD2qet9b0" target="_blank">Retrospective</a></span></span></div>
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<span style="font-family: Georgia,Times New Roman,Times,serif; font-size: 18pt;"><b>ROBERT DOUGLAS HUNTER</b></span></div>
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<span style="font-family: Georgia,Times New Roman,Times,serif; font-size: 18pt;"><b>1928 - 2014</b></span></div>
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<span style="font-family: Georgia,Times New Roman,Times,serif; font-size: 16pt;"><b>RETROSPECTIVE & MEMORIAL EXHIBITION</b></span></div>
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<span style="font-family: Georgia,Times New Roman,Times,serif;"><b>October 9 - November 1</b></span></div>
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<span style="font-family: Georgia,Times New Roman,Times,serif;"><b>Reception with Tributes from Students</b></span></div>
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<span style="font-family: Georgia,Times New Roman,Times,serif;"><b>October 16, 5:30 - 7:30 PM</b></span></div>
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<span style="font-family: Georgia,Times New Roman,Times,serif;"><b>Hunter from Two Perspectives</b></span></div>
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<span style="font-family: Georgia,Times New Roman,Times,serif;"><b>Elizabeth Ives Hunter & Paul Ingbretson, President Emeritus </b></span></div>
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<span style="font-family: Georgia,Times New Roman,Times,serif;"><b>October 25, 3:00 PM </b></span></div>
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<i>Arrangement with a Seth Thomas Clock</i> 1998, oil on canvas, 18 x 30 inches</div>
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<span style="font-family: 'Georgia','serif';"><b>The
Guild of Boston Artists at 162 Newbury Street, Boston
(guildofbostonartists.org) will honor the late Robert Douglas Hunter
with a Retrospective October 9 - November 1. Some 34 of his exceptional
paintings spanning a 60 year career will be on view, many for sale.
There will be an evening of tributes from former students on October 16
and a gallery talk about his paintings on October 25. </b></span></div>
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Robert Douglas Hunter, who died in August, was one of New England's
foremost painters and an icon of the Boston School tradition, which
dates back to the early 20<sup>th </sup>Century. Hunter worked primarily
in oil and excelled at still lifes, landscapes, and portraits all of
which will be on view. A past president of the Guild of Boston Artists,
he was honored by WGBH in 2010 and received a lifetime achievement award
from the Arts Foundation in Cape Cod in 2011. His works are
represented in 19 museums nationwide and hang in the homes and offices
of hundreds of private and corporate collectors. He received multiple
awards and was the subject of more than 40 one-man exhibitions
throughout the United States. Fellow painter Paul Ingbretson, also a
past president of the Guild, said that Hunter was "best known for his
richly textured and masterfully painted still lifes, Like Chardin, under
Hunter's brush and out of his soul, his sense of life, emerged an art."</div>
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<img border="0" src="http://ih.constantcontact.com/fs147/1101768040986/img/1074.jpg?a=1118654288163" height="461" hspace="0" name="ACCOUNT.IMAGE.1074" vspace="0" width="500" /> </div>
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Mr. Hunter in the Earlier Days<br />
Courtesy of Vose Galleries<br />
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<span style="font-family: Georgia,Times New Roman,Times,serif;">Celebrating
its centennial anniversary, the Guild of Boston Artists is a non-profit
foundation of painters and sculptors whose purpose is to promote,
nurture and encourage traditional art while adhering to the highest
standards of quality and presentation. Since its founding in 1914, the
Guild has sought to provide a center for the interchange of ideas
between artists and the community. Along with an aggressive exhibition
schedule, we offer educational programs, including critiques, classes
and lectures. We hope that both our exhibits and educational programs
offer opportunities for reflection and enrichment</span>.</div>
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Sandra Galdahttp://www.blogger.com/profile/15569976623389281955noreply@blogger.com1tag:blogger.com,1999:blog-2477446081063540055.post-74008241155545130942014-04-19T11:05:00.001-07:002015-06-23T05:29:08.375-07:00Visit an authentic Boston School of Painting Atelier April 24, 2014 5-8PM. Ingbretson Studios, 55 So. Commercial Street, Manchester NH<div class="separator" style="clear: both; text-align: center;">
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<br />Sandra Galdahttp://www.blogger.com/profile/15569976623389281955noreply@blogger.com0tag:blogger.com,1999:blog-2477446081063540055.post-81989996104317325432014-02-07T13:45:00.001-08:002014-02-07T15:15:57.075-08:00The Guild of Boston Artists Trailer 2 Experience A masterpiece <div class="separator" style="clear: both; text-align: center;">
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/fL4SuGdfzL4?feature=player_embedded' frameborder='0'></iframe> </div>
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Above is the 12 min. video, and </div>
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below is the interview with Paul: </div>
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/4AUsd3UDyps?feature=player_embedded' frameborder='0'></iframe></div>
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I had the privilege of observing this painting as it was created by Boston School master Paul Ingbretson over the past month and a half at his atelier where I have been training for over four years. It was a treat to see it slowly become another amazing painting by my teacher Paul, and also to witness the movie being made by a Mr. George Lambert and the artist's son Whittiker. Below are some fun shots I took during the process:<br />
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Above is the oil start </div>
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In process</div>
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After a long day of painting Paul, the model, and his film crew, began getting silly and set up the studio skeleton as a warning about overworking the model and not letting her eat or drink...</div>
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It was an educational experience for we studio artists, and I hope you enjoy the images and video clips! -Sandra Galda </div>
<br />Sandra Galdahttp://www.blogger.com/profile/15569976623389281955noreply@blogger.com0tag:blogger.com,1999:blog-2477446081063540055.post-90369991679261739812013-07-18T06:34:00.001-07:002013-07-18T06:34:39.763-07:00YouTube video: The Guild of Boston Artists - 100 Historic Years<br />
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YouTube video: <u>The Guild of Boston Artists - 100 Historic Years</u></div>
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I recently came across this excellent youtube video about The Guild of Boston Artists. It is posted on the Guild of Boston Artist's web site, http://guildofbostonartists.org/ The speaker is my teacher, Paul Ingbretson, the current president of the Guild, and a great artist and teacher of the Boston School who studied under R. H. Ives Gammell, who also served as president from 1950 -52. When you have a chance, visit the web site of the Guild given above and view the wonderful art promoted there. Also, should you wish to look into training under Paul Ingbretson, his studio information is found at http://studio.ingbretson.com/<br />
--Sandra <br />
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<iframe allowfullscreen="" frameborder="0" height="270" src="//www.youtube.com/embed/GSNNQyxznAQ" width="480"></iframe>Sandra Galdahttp://www.blogger.com/profile/15569976623389281955noreply@blogger.com1tag:blogger.com,1999:blog-2477446081063540055.post-20471123864651038742013-03-16T16:00:00.001-07:002013-03-16T16:00:14.336-07:00Paul Ingbretson Lecture April 7, 2013<div class="separator" style="clear: both; text-align: center;">
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Paul Ingbretson will give a lecture on the Boston School Style on April 7 2013 at the Newburyport Art Association in Newburyport Ma. Call the association, at <span style="font-family: calibri;">978.465.8769 </span> to reserve your soon soon! Visit the Website for more details <a href="http://www.newburyportart.org/ckfinder/userfiles/files/Paul%20Ingbretson%20Workshop.pdf" target="_blank"><span style="color: red;">click here</span></a>. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKquXvIVclau-99Dvt2_Kuhd81dpBGkNqLZ2to9bfOWw0AShD5UKI9eUajzgZgQcl5LJDp6GMOvevdhH3cGJBmCIkWTw4snyKPwtT34A9ti4L6GX8Mdyy7_zwcvK2h-oT2aq3JtQDU72dA/s1600/screen+shot+ing+PDF+for+NAA+event+34+7+13.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKquXvIVclau-99Dvt2_Kuhd81dpBGkNqLZ2to9bfOWw0AShD5UKI9eUajzgZgQcl5LJDp6GMOvevdhH3cGJBmCIkWTw4snyKPwtT34A9ti4L6GX8Mdyy7_zwcvK2h-oT2aq3JtQDU72dA/s1600/screen+shot+ing+PDF+for+NAA+event+34+7+13.jpg" /></a></div>
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Sandra Galdahttp://www.blogger.com/profile/15569976623389281955noreply@blogger.com0tag:blogger.com,1999:blog-2477446081063540055.post-59519471919123688562013-02-11T12:43:00.003-08:002013-03-16T14:23:41.684-07:00Paul Ingbretson Lecture and Slide Show about the Boston School Style<div class="separator" style="clear: both; text-align: center;">
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<a href="http://2.bp.blogspot.com/-GFIFvoEOM3I/UUTiyJO7lhI/AAAAAAAAADU/DU_iXqTOpYo/s1600/Pauls+chloe+painting+poster+for+lecture+3+3+13.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="http://2.bp.blogspot.com/-GFIFvoEOM3I/UUTiyJO7lhI/AAAAAAAAADU/DU_iXqTOpYo/s1600/Pauls+chloe+painting+poster+for+lecture+3+3+13.jpg" /></a></div>
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Sandra Galdahttp://www.blogger.com/profile/15569976623389281955noreply@blogger.com0tag:blogger.com,1999:blog-2477446081063540055.post-53122501320712297812012-07-06T09:11:00.001-07:002012-07-06T09:12:13.676-07:00William MacGregor Paxton on Painting<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxm9Q2g8rRghSAbBB5y-Zu4vWvK7UkRnDZ7DMH5arXLzkd8Ye_0JbywGpUfjW2S4vuI4VOEyWW2YylAoKfrXoppzgiCyvhQiAqM9_yO2GRHts15Fm-zqiiLf4an6Efa0flcD7w-RW0OK0b/s1600/Paxton,The+Nude,24x33.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="217" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxm9Q2g8rRghSAbBB5y-Zu4vWvK7UkRnDZ7DMH5arXLzkd8Ye_0JbywGpUfjW2S4vuI4VOEyWW2YylAoKfrXoppzgiCyvhQiAqM9_yO2GRHts15Fm-zqiiLf4an6Efa0flcD7w-RW0OK0b/s320/Paxton,The+Nude,24x33.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Nude,24x33, by William MacGregor Paxton, Collection of Boston Museum of Fine Arts</td></tr>
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<span style="background-color: transparent;">"Let the surfaces flow into one another in a supple envelope of light and paint"</span></div>
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"Find a new motive"</div>
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"Make the picture look as if it were painted in one sitting"</div>
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"Paint as large a piece as possible at once" </div>
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"Never paint on one piece too long at a time"</div>
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"Do Something somewhere else, to rest your eyes"</div>
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"Paint neither too
thickly nor thinly"</div>
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"The quickest way is the best"</div>
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"Compose by masses of light and dark or dark and light"</div>
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"Chiaroscuro is what makes pictures rich"</div>
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"Seek a noble and ample design"</div>
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"Make the objects swim in the air"</div>
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"Paint all things in relation to the focus"</div>
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William MacGregor Paxton, 1901</div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgr3wVlCkpjYKiODrXXdzUgoYIRO3AgiAkgpHRT7YYqJE-Hsibcg9gR44zEKxSMIiVFSSMGM0T-pijxZ3vW2pKsUhx8aEIOo1wyN2mPPhCZuPowAc3EGGsYIfXgc3i6yYyvPiuoBsD-p8_q/s1600/William-MacGregor-Paxton-xx-The-Letter-xx-Private-collection.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgr3wVlCkpjYKiODrXXdzUgoYIRO3AgiAkgpHRT7YYqJE-Hsibcg9gR44zEKxSMIiVFSSMGM0T-pijxZ3vW2pKsUhx8aEIOo1wyN2mPPhCZuPowAc3EGGsYIfXgc3i6yYyvPiuoBsD-p8_q/s320/William-MacGregor-Paxton-xx-The-Letter-xx-Private-collection.jpg" width="271" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Letter, 30x25, by William MacGregor Paxton</td></tr>
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</div>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-2477446081063540055.post-12090414786768537112012-06-13T19:47:00.000-07:002014-01-24T11:00:36.422-08:00"Painting the Visual Impression" by Richard Whitney<br />
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<span style="font-size: small;"><i><span style="font-size: large;">While searching online for Mr. Whitney's <u>out of print book</u>, I found an article he wrote at the following web address, including several other interesting related articles: </span><a href="http://www.worldofportraitpainting.com/commentary-whitney/index.html" style="color: #674ea7;">http://www.worldofportraitpainting.com/commentary-whitney/index.html</a></i></span></h3>
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<span style="font-size: small;"><i> </i></span></h3>
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This
series of articles is a summary of the fundamental ideas used by
artists to<a href="http://www.blogger.com/goog_1956873487"> </a><a href="http://www.blogger.com/goog_1956873487" id="_GPLITA_3" style="text-decoration: underline;" target="_blank" title="Powered by Text-Enhance">help</a> them paint the look of nature and the effects of
light and shadow. I have listed them in order of importance with
the essential ideas in bold type to help the working painter logically
solve problems. I have written these concepts in a concise manner
so that they can be memorized. Learning to paint involves learning
to see and guidance from a master craftsman is necessary. This series
should be used as a supplement to studio instruction. </div>
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<td align="center"><img src="http://www.worldofportraitpainting.com/commentary-whitney/seamtress.jpg" height="375" width="275" /><br />
<b>The Seamstress</b><br />
<span class="captionBurgTimes10">By Robert Hale Ives Gammell,
1893-1981 </span></td>
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This overview was inspired by the teachings of R. H. Ives Gammell
who studied with some of the most skillful painters at the turn
of the century. The ideas presented here are therefore not mine,
nor even his, but rather have been passed down from master to student
for many generations. While studying with Mr. Gammell I wrote down
much that he told me about these principles. I later organized my
notes and added to them from extensive reading to produce this summary.
<br />
<br />
The first articles on composition and drawing list many concepts
and helpful hints that can be used by artists of all stylistic persuasions.
The main portion of the series emphasizes the impressionistic approach
to painting. I do not mean to imply that this is the only way, or
the best way to paint. Nothing in this series is meant to be taken
as absolute law since some advances in the field of painting have
come from breaking the rules after <a href="http://www.worldofportraitpainting.com/commentary-whitney/index.html#" id="_GPLITA_1" style="text-decoration: underline;" target="_blank" title="Powered by Text-Enhance">training</a> is completed. My hope
is that these articles will be a useful reference you can use in
finding your way when you feel lost. <br />
<br />
These ideas are most useful in helping artists paint the visual
world. The impressionist paints what he sees, not what he knows.
He looks at the whole subject at once and paints this visual impression
in a broad manner with only a suggestion of detail. I list the ways
in which the impressionist uses light and shadow, values, color
vibration, edges and paint texture to achieve an atmospheric appearance.
I also discuss methods of training the visual memory so that artists
can successfully capture the fleeting effects of nature.<br />
<br />
I have included a section on helpful advice to students followed
by a listing of some of the artists of the past that I recommend
for study. I have decided not to include living painters for fear
of unintentionally offending those that I might omit. I have instead
decided to illustrate this booklet with some examples of my <a href="http://www.worldofportraitpainting.com/commentary-whitney/index.html#" id="_GPLITA_4" style="text-decoration: underline;" target="_blank" title="Powered by Text-Enhance">work</a>
to show how these ideas have influenced one contemporary painter.
I have also included an extensive reading list for further research.<br />
<br />
It has been the dream of Mr. Gammell and others who have survived
the onslaught of Modernism that future generations will restore
the craft of painting. I hope my articles will contribute to this
end. </div>
<span style="font-size: x-small;"><b>Richard Whitney<br />
</b></span>Stoddard, New Hampshire<br />
2006 <br />
<br />
<b>To Read a book preview online of Mr. Whitney's book, "Painting the Visual Impression, <a href="http://www.crescentpond.com/bookpreview.pdf" target="_blank">click here</a>. or cut and paste: http://www.crescentpond.com/bookpreview.pdf</b><br />
<span style="color: black; font-family: Georgia,Times New Roman,Times,Serif; font-size: medium;"><span style="color: black; font-family: Georgia,Times New Roman,Times,Serif; font-size: medium;"></span></span><br />
<span style="font-size: large;"><i>To read more of this series of articles, please refer to the website: </i></span> <span style="color: #674ea7;"><</span><a href="http://www.worldofportraitpainting.com/commentary-whitney/index.html" style="color: #674ea7;">http://www.worldofportraitpainting.com/commentary-whitney/index.html</a><span style="color: #674ea7;">>.</span><br />
<span style="color: #674ea7;"> </span><br />
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Sandra Galdahttp://www.blogger.com/profile/15569976623389281955noreply@blogger.com1tag:blogger.com,1999:blog-2477446081063540055.post-68356149886895794052012-05-26T12:17:00.000-07:002012-05-26T12:17:47.104-07:00Frank Benson “Advice to Artists”<div class="separator" style="clear: both; text-align: center;">
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Advice on Painting from F. W. B. (Frank W. Benson) taken after criticism by his daughter Eleanor Bedford (Scanned from an original)<br />
Thanks to Mary Minifie and Paul Ingbretson for assembling and formatting the following text. I corrected some typos, laid it out and added the images collected from the web. <br />
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<b>THE CHALLENGE</b><br />
<br />
"The only fun in life is trying hard to do something you can't quite accomplish. There is no real fun in accomplishing some definite fixed thing.<br />
<br />
"It is not easy. It is never easy. There is no magic about it. It is just as much a science as the science of a doctor. It has to be studied and worked at, and even then you never really learn it. No one has any magic way of doing It. No one has anything to start with except an over-mastering desire to do it, and the more you have the desire, the more you will work at it and the more you will learn. I am still working at it and learning, and that is all I care about. I don't care about the pictures I have painted. I may become fond of one and say "that's a good one", but all I really care about is working at this thing, and it is still so far ahead of me that I shall never reach it, and have only just begun to know anything about it.<br />
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<b>SELF EDUCATION</b><br />
<br />
"There is no such thing as teaching a person anything. You may be helped toward learning by a hint someone has given you, but anything you really learn has got to be learned by experience and only by working and solving the problem your self can anything become a part of your real knowledge. Most people don't believe this, and want you to show them. Showing them is like giving candy to a child. It doesn't help them at all. They couldn't do it themselves and the next time they met the problem they would not even recognize it. Most people think painting is a God-given talent. It Isn't. It is a product of hard work and intense mental effort and only those can succeed who have the capacity for work and the necessary intelligence. (Said long before.)<br />
<br />
“When I was working in the studio in Paris the French Maitre who previously had never been known to say anything to a student more complimentary than "Pas mal", and that very seldom, said to me one day: "Vous avez le metier dans le main; si vous jugerez mieux le caractere personelle de votre models, vous deviendrez tres fort." There it is — Le metier dans la main — your career is in your hand, to work out for yourself. No one else can help you. But people will not believe this.<br />
<br />
There was dead silence in the room. It caused so much excitement that there were crowds of students around my drawing all the rest of the morning." (This was in the studio of M. Gustave Boulanger. The picture referred to was the study of the head of an old bearded man. This picture was given to Emerson Benson, cousin of F. W. B., and later Inherited by E. B. L. and later given to her son, Ralph Lawson).<br />
<br />
Me: "Thanks for the lecture"<br />
FWB.: "All right. It won't do you a bit of good. You've got go dig these things out for yourself."<br />
<br />
"The only way to learn to paint is to paint, No matter how dissatisfied you are with what you have done, you learn something. No one can tell you things which you must learn from experience."<br />
<br />
"My belief lies in this direction—that you should learn absolutely to see the thing truly as it exists, and then use that knowledge as you like. A man should use his knowledge of this and express himself according to his inclination, but beneath everything should be the solid foundation of reality.<br />
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<b>LIGHT AND SHADE</b><br />
<br />
"The important thing in painting is to keep everything as flat as possible. Your tendency is to model surfaces too much, because you are looking for effects of light and shade. Especially keep flat the less important parts of a picture. Don't blend and soften too much. Where an edge cuts sharply, make it sharp, with a flat value against the contrasting background."<br />
<br />
"You can't paint reality by just describing things. You must pay attention to light and shade and values.<br />
<br />
"Look continuously at the whole picture, not at parts, and roam from place to place making adjustments. That's what painting is — Making adjustments. Don't look at one part too long or you will paint it too much in detail. The unimportant parts of a picture should not be minutely described so that they will attract notice. Do the values and let it go. Everyon - all of us — tries to get an effect by carefully describing an object. That's not the way it's done. Go back again and again — I can't say it often enough — to the effect of things when you are looking at the whole picture. Anything is important which increases the effect of light and shade. That light streak on the tablecloth for instance emphasizes the shadow which the instrument casts across the table.<br />
<br />
"Always keep in mind the direction from which the light is coming, and the fact that objects are casting their shadows across the table, even if barely perceptible. That will help you to select the things that are of significance.<br />
<br />
"You are still thinking of things in terms of objects rather than in terms of areas of light."<br />
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"If you find a thing is going badly, go back and make more strongly the effects of light and shadow.<br />
<br />
(Still-life)."Describe the lights and shadows of the drapery in masses. Pay special attention to the direction of folds in relation to the design. Invent if necessary. Draw carefully and don't make fuzzy places. Where the edge of the table disappears into shadow, don't make it plain. The light on the edge of the table is important because it describes the kind of material that covers the table. Yours might be a blanket."<br />
<br />
Me: "Why do my watercolors lack a certain spontaneity and directness."<br />
<br />
F.W.B.: Because you don't look at things with their large aspects of light and shade. As a design, not as objects. If you do this, you will get the objects afterwards. No one who was not born with the ability to do this can achieve it without a constant effort of will. If a landscape is not worth painting purely as a design in light and shade it is not work painting at all, unless by the addition of a wave or a rock or an interesting form of some sort. Those pretty colors mean nothing without good drawing and an interesting design.<br />
<br />
"I simply follow the light, where it comes from, where it goes to. In the beginning make an artificially simple division of light and shade. Of course, light has very subtle variations - it wouldn't be interesting If it hadn't - but do not make them in the beginning. Get the large forms right by the simple light and simple shadows. Don't fuzz It up and soften the edges and lose the characteristic forms of ???, etc. In the clothes you aren't sure just what you see in the large forms, so you say, well, here is a wrinkle, anyway, I know where that is, and you put it in and spoil all the large effect of the mass of light as distinguished from the mass of shadow. You haven't made the shadows on the white collar a part of the whole shadow, you are too anxious to keep it looking white."<br />
<br />
"You must be entirely absorbed by the light and shade. You must turn right away from what has been most important up to now - drawing -and put down merely what the eye can see. Look for the places where the outline is lost and paint those most carefully. Because that is very difficult to do, don't yield to the temptation to draw a line around things. That (Mother's silver pitcher - this was at 14 Chestnut) is very beautiful, lovely to paint. But it is beautiful because wherever you put it, - there are places you can't see, that lose themselves against the background. In arranging a still-life you are carried away by the beauty of the things themselves, instead of arranging them so that light is beautiful. Don't paint anything but the effect of light. DON'T PAINT THINGS."<br />
<br />
"You still won't believe me when I tell you that the light on the whole figure is far more important than anything else you can do (any details) In giving the reality of the thing."<br />
<br />
(Landscape). "Look at the shapes of the lights and shadows, put them down flat, make them exactly the shapes they are, without detail, and leave them. Don't puddle around with leaves and branches. Make the shadows right in relation to each other- near in value - and only when you have that done right, put in details. As much or as little a3 you like. That is not important.<br />
<br />
(About a still-life with a vase of oak leaves). "I see very clearly the simplicity of the way the light falls, and yet the drawing is terribly complicated. As long as you try to make it better by improving the imitation of things, you will get into trouble; paint the light only. The drawing of the drapery gives the texture.<br />
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<br />
<b>DESIGN</b><br />
<br />
"There never was a great portrait which was not great because of its design, its arrangement or the whole figure and canvas, rather than just the face. The face is important too, but much less so than the whole. Few understand this, and because there is a face, think that is why they like a portrait. ----- paints only the face and so will never be successful in making a good portrait—paints the mask only and disregards the design. No one can be told what design means, but must feel the need of it and learn through experience. I never realized its importance until I was In my 30's— had an intuitive feeling for it before. When I realized it I enthusiastically organized a class in design at the school and tried to teach the students something that I never had had taught to me. They didn’t know what I was talking about.<br />
<br />
"A picture is merely an experiment in design. If the design is pleasing the picture is good, no matter whether composed of objects,still life, figures or birds. Few appreciate that what makes them admire a picture is the design made by the painter.<br />
<br />
"The important part of a still-life is the design. Just so long as you are working on it to improve the design the picture is going ahead."<br />
<br />
(Apropos of some photographs of places, I asked why it is that things dim; seen, in a mist for instance, seem much handsomer than those seen in detail.) "Simply because it allows you to see the design and does not distract your attention with unimportant small things."<br />
<br />
"You will always get into trouble unless you design all the time you are painting. Stop designing and you are in trouble. You are so fascinated with painting, with making the things to look like reality that you forget to design. The things themselves should be made only at the very end —till then concentrate only on the values, and relations of color and space.<br />
<br />
"You should look at a landscape — here's a way to get yourself into the right frame of mind — as if you were going to decorate a plate, to make a pattern that would successfully decorate that plate, and use the landscape before you to do it."<br />
<br />
(I said I did not like the way my paint looked when it was on) "That has nothing whatever to do with it. Any more than what kind of ink I use in etching. The only way to achieve the kind of effect you are trying for is to get the right point of view toward the whole thing. Then you could put on paint with your finger and do better than you do now. You will never get what you are after until you arrive at the purpose that is behind it. You have a certain sense of design, but you don't use it when you sit down before a landscape. You try to paint what you have seen other people do and to make it look like rocks and trees instead of Using it as a design. The great value of simplification in design is something you don't yet understand.<br />
<br />
"Design makes the picture. Good painting can never save the picture if the composition is bad. Good painting - representation of objects -is utterly useless unless there is a good design. That is the whole object of painting, and unless you can think in those terms, you will never be a good painter. That is why painting is bad for you, except as practice in representation. You will not learn to be a good painter by doing portraits. You are too much interested in an eye or a nose, in the likeness.<br />
<br />
"People who write about painting rarely know what a painter is trying to do. It doesn't matter whether you use landscapes, or birds, or people. Try to fill your space with the best possible pattern. Only intuition will tell you what is right. Men have tried to do it by mathematics. The Greeks had a feeling for it like no other people since.<br />
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<br />
"A picture is good or bad only as its composition is good or bad. You can't make a good still-life simply by grouping a lot of objects, handsome in themselves. You must make a handsome arrangement, no matter what the objects are. Remember the clipping of a still-life of a disorderly table desk with papers, a hat, etc."<br />
<br />
(We were talking of how the same principles of composition seemed to apply in all the arts, and FWB told me of a conversation with his friend Charles Martin Loeffler, the composer.) "We were sitting in front of the fire and talking of pictures, which he enjoyed and appreciated very much. Loeffler asked me to describe to him what went on in my mind when I was In the process of composing a picture. I tried to tell him as best I could, and went on talking I suppose for half an hour. At the end of that time I said: "I don't know why I am going on like this, for it can't mean much to you." He leaned forward and put his hand on my knee and said, "My dear Frank, I am greatly moved by what you have told me. 3y changing a few nouns, that might be a description of exactly what gees on in my mind when I am composing a symphony or an opera."<br />
<br />
This was to emphasize, again, the fact that it is the composition, the design, the creation of the artist's mine, which is important, not the representation of objects with paint. "I grew up with a generation of art students who believed that it wa3 actually immoral to depart in any way from nature when you were painting. It was not till after I was thirty and had been working seriously for more than ten years that it came to me, the idea that the design was what mattered. It seemed like an inspiration from heaven. I gave up the stupid canvas I was working on and sent the model home. Some men never discover this. And it is to this that I lay the fact of such success as I have had. For people in general have a sense of beauty, and know when things are right. They don't know that they have but they recognize great painting. And design is the ONLY thing that matters."<br />
<br />
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<br />
<b>THE WHOLE</b><br />
<br />
"Paint in a tentative way - not as though you had to paint a picture of the fabric to sell it to someone. The reason for the effectiveness of such a way of painting is that you are painting a light, a value, in relation to the whole picture - not just by looking at that exact spot and painting what you see, which is what you do. That fold Is not interesting in itself. But it is interesting to paint because of what it does to the whole picture. You are still interested in too small things - an ear, an eye, a likeness, that Is the worst thing, a likeness. It takes your,, attention from the whole picture. But you have to have it, of course.<br />
<br />
"Paint a shadow where it comes, don't fuzz it up. Then when it is dry, if necessary do the small things. Did it ever occur to you that you could make things look lighter, not by using more light paint, but by making a sharper edge where the shadow comes? Paint exact shapes." (He takes mixed paint on the brush, held loosely by the end, and drags it over an area that needs light or dark, leaving irregular edges, slowly and carefully - modifies it, if necessary by another brushful of darker color dragged over it. As different as possible from mixing a lot of the same' color and slapping it on. "Tentative." And the effect is miraculous. More like nature than the most meticulously painted area. And glowing with light and color. He says it is because he is putting down values in relation to the whole picture. That does not explain it. To me.)<br />
<br />
"Look at the picture as a whole all the time you are painting it.<br />
<br />
"Look at a head (or a landscape) always as a whole, as a head and not as a collection of features. If you look at one feature alone you will not make it in proper relation to the whole. Don't draw lines around things—make them by rendering the light and shadow.<br />
<br />
(About a still-life.) "It is perfectly possible, with all those handsome things to paint to go on making each thing better and better and at the same time to have the picture grow worse and worse. The reason it looked well at the beginning was because in order to get the thing laid out quickly you had to make everything flat and simple. Don't paint each object for itself, separately, but as a part of the whole. Paint the Biosphere, in which all the objects are, and in which they have their relations to each other. Don't fuzz things up, and mess the paint around. If it isn't right, pushing it around and blending it in won't make it so. Scrape it off and put in something that is right, drawing the shapes carefully. But at all times observe minutely the delicate variations of value between one thing and another or between the light and shadow. Do not paint the figure, the rabbit, the Instrument — paint the light and shade and interrelating values of the whole thing."<br />
<br />
"A picture is always a synthesis, never forget that. Made up, it is true, of analysis—it must be. But the synthesis is what is important. Choice is what matters. It may not be conscious choice, but what seems natural and inevitable to the painter. This makes a distinguished sketch, or picture. Distinction cannot be achieved by "spelling words" — by doing each half-inch meticulously and perfectly. Never do anything without regard to expressing the whole, the spirit. Your drawing must be better than pretty good. It must be distinctively done.<br />
<br />
"Do not look at one spot and paint that exactly. Look at the whole thing. Look at the head, and see at the same time what value and color the landscape is, and upright of the screen.<br />
<br />
"Paint in a tentative way - not as though you had to paint a picture of the fabric to sell it to someone. The reason for the effectiveness of such a way of painting is that you are painting a light, a value, in relation to the whole picture - not just by looking at that exact spot and painting what you see, which is what you do. That fold Is not interesting in itself. But it is interesting to paint because of what it does to the whole picture. You are still interested in too small things - an ear, an eye, a likeness, that Is the worst thing, a likeness. It takes your,, attention from the whole picture. But you have to have it, of course.<br />
<br />
"Paint a shadow where it comes, don't fuzz it up. Then when it is dry, if necessary do the small things. Did it ever occur to you that you could make things look lighter, not by using more light paint, but by making a sharper edge where the shadow comes? Paint exact shapes." (He takes mixed paint on the brush, held loosely by the end, and drags it over an area that needs light or dark, leaving irregular edges, slowly and carefully - modifies it, if necessary by another brushful of darker color dragged over it. As different as possible from mixing a lot of the same' color and slapping it on. "Tentative." And the effect is miraculous. More like nature than the most meticulously painted area. And glowing with light and color. He says it is because he is putting down values in relation to the whole picture. That does not explain it. To me.)<br />
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<br />
<b>AND RELATIONSHIPS</b><br />
<br />
“Look at the whole scene constantly. You are too anxious to complete the thing instead of trying to see it right. You have got to give up what is easy and attractive (and natural, too) to do, and simply try to see the relations of values. A skilful man will seem to be making things at the same time, but really if he is good he will be only painting "the relations of things. You think you do, but you have got to do it entirely differently if you are to get a real effect. Careful drawing of shapes is not making things.<br />
<br />
<b>BIG LOOK</b><br />
<br />
"You are always making things too complicated. Looking for small variations and little reflected lights. The trouble with most women is that they soften and prettify things and so lose punch. Don't make it look right near to — make it look right twenty feet away. Keep a flat tone over all that background, edge on to the light, with a solid figure in front of it.<br />
<br />
<b>VALUES</b><br />
<br />
"You are paying too much attention to getting different colors in the background. Colors don't matter much--values are what you must get right—they are the only things that give any effect of sun and shadow. Don't mess around with your color and pat it down and smooth it out. Put it on and leave it. And make it "strong." You can't exaggerate too much—in the house it will all tone down and look too feeble. If a thing looks pinkish to you, make it vermilion. Don't be afraid of making things too strong. Draw very carefully the fine shape of a handsome tree or object. Take plenty of time and draw it well. Not easy to do.<br />
<br />
(Concerning a portrait). "Don't draw the hair with strokes of the brush or make ringlets. Make a flat mass of the correct value, and lay on the lights drawing carefully the exact shapes. The light on that black hair must be cool. And don't paint it with black paint even if it is black. Against that green background It must have a certain warmth. (The model was not present) ."The things that are important are the correct relations of one thing to another—the hair, the shadow, the reflection, the half-tones, etc. Until you have these values right it is absolutely no use going ahead with anything else.<br />
<br />
(Sketch of Mother on the piazza). “Composition, Drawing, Values, Color, Hot local color, Edges. Above all, values. How the light falls. Keep comparing everything else with the darkest spot. With the lightest. Draw shapes carefully -that is not finishing. Don't paint objects. Paint only values.<br />
<br />
"When you don't know what the values are, you make It fuzzy, try to fix something that's wrong by doing something more wrong. If you can't make sharp edges between the values, they are wrong ... By making a sharp edge between the light and shadow, here, the shadow does not need to be too dark.<br />
<br />
"Scumble it with white or black if a thing goes wrong and start over.<br />
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<br />
<b>LOST AND FOUND</b><br />
<br />
" I am going to talk to you about something I have told you many times, and you don't know anything about. You over-represent things. You should be looking for the places in the picture where you can't quite see things, and paint those the way they are. Choose a subject with those places in it. Look at that face and then at the shoulder. Compared to the head you can hardly see it. You make it that way and the head will suddenly stand out. In your effort to get the features and likeness, you make everything alike, and immediately everything loses its force. I don't mean things are absolutely vague, but relatively vague. Try it. No one can understand it 'till it happens to them.<br />
<br />
"If that head wasn't there, you'd have a darned hard time telling what that coat was. Well, make your coat just as hard to see. This is something people never get told in school. It shows in all your work, landscapes and everything.<br />
<br />
<b>COLOR</b><br />
<br />
"When we speak of color, we do not mean colors, such as the green of leaves or the pick of cheeks. We mean the effect of light on an object, and the effect which one color has on another nearby. No relation to what the ordinary person calls color.<br />
<br />
(Still Life.) "You don't keep your lights flat enough. That is flat yellow light right up to the edge, not fading away pinkly at the bottom. And you will not get an effect of light unless there is more warmth In your shadows. I don't know whether I see the colors — I think I do — or merely have learned that things must be that color in order to have the necessary effect. I sometimes think I have no sense of color, as people mean it.<br />
<br />
"When most people talk of color, they mean colors. What I mean is not the local color of any object but the relative value of light and shade. Warmth in the shadows. It doesn't matter whether a model has a colorless face — there is color in the contrasts of light and shade. Don't make your shadows so slatey. When painting the drapery don't make it in carefully modeled stripes. (Drapery at the top of the picture). Look at the center of the arrangement and then notice how much of the folds you see-practically nothing, just a vague light here and there. Paint it so.<br />
<br />
"What gives charm to a picture is not the brilliant color—the strong contrasts, but the delicate bits, where one thing comes against another with no difference in value, and only a slight one in color. This is what is hard to do, and hard to see. Only a trained eye can see it. But the doing well of these bits is the most essential part of making an interesting picture. What makes the difference between a good picture and one where only the obvious differences are put down is how these delicate, intimate details are made." (This is as near as I can remember, and frequently repeated.)<br />
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<br />
<b>WARM AND COOL</b><br />
<br />
"The difference between warmth and coolness gives the true colors. See in the shadow there, behind the figure (still-life) there are lots of rich colors. But look away from it and you will see that it is all very vague compared to the figure itself. But vagueness does not mean fussiness, it means a very narrow difference between the different values. Paint it crisply, but keep it well in the background.<br />
<br />
"Put down things strongly that indicate the nature and character of an object. Look for the significant things. Don't paint and model each little detail, (of the drapery) but put down in proper value and warmth or coolness of color the salient and characteristic lines.<br />
<br />
"When you notice that one color is cooler or grayer beside a warm shade it does no harm to intensify the color of that spot as you do with effects of sunlight.<br />
<br />
<b>NEUTRALS</b><br />
<br />
"A real artist is constantly looking for, searching out, the places in a picture which are not brilliantly colored. The neutral colors—Tarbell calls them the dirty colors. Without them, the rest lose their effect. A picture all bright colors loses the effect it would have if there were in it these contrasting bits of dull color. They are not noticeable in the picture, but they are what makes for Its effectiveness—something that people not painters think is made in some magical way.<br />
<br />
<br />
<b>DRAWING</b><br />
<br />
"Drawing is only learned by long hard practice. You can't learn it quickly, and you won't learn it quickly."<br />
<br />
"Drawing can be learned — a sense of color must be born in a person").<br />
<br />
"You are beginning at the wrong end; no one should begin to paint until he is able to draw well. Drawing is always hard. You always have to work at it, even after forty years(said in a discussion of Jacobleff's work).<br />
<br />
“Get rid of all that purple molasses. You draw things light-heartedly and slap on paint. It would take anyone two hours to draw that branch properly.<br />
<br />
<b>FLATNESS</b><br />
<br />
"Lay the values in flat.<br />
<br />
"You haven't painted long enough to know what "flatness" means. It Is the most valuable quality there is. You see a mere breath of difference in value, and you put In all sorts of changes and modulations."<br />
<br />
''You don't know what flatness means. When that is dry, scratch on a few lines of paint over it to make that place lighter. Get It flat.<br />
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<b>EDGES</b><br />
<br />
"The most important parts of a picture are where edges meet, or one thing comes against another. Anybody can paint the rest of it. Edges must be very carefully studied. If there is no defined edge, don't make one” Don’t make edges meet. Paint one over the other. A sky with variations of light and dark and especially a light or a dark line around the edge of objects simply spoils all effect of reality.<br />
<br />
"Don't make a thing inconspicuous by making it fuzzy." (difficulties with the background). "Make it flat in tone, all over, and it will stay back. Never make fuzzy edges, unless it actually is fuzzy, like the back of the hair." (portrait)<br />
<br />
<b>DETAILS</b><br />
<br />
(About outdoor painting.) "Don't fuss around with all the details until you have your masses in and your composition arranged. The important things are the edges. The contrast between the hard sharp outline of branches against sky with the soft edges of shrubbery and foliage.<br />
<br />
"If you make things right in the order of their importance you will never get into trouble. This business of fussing around with the details before you have gotten the masses in correctly is what makes for a poor picture.<br />
<br />
"Do not make the unimportant parts of the picture in detail, only do as much as you can see when you are looking at the main theme of your picture. Don't make so many different values and colors. Decide on what you want. Mix It. Try it. Mix it again if it is wrong. Then put it on flat and leave it. If you can only do a small part of the canvas, do It right and leave It that way."<br />
<br />
"The reason you got into a mess with that picture is that you get fascinated with details and forget the main things. You had to have because you had gotten into a state that you couldn't have gotten out of alone. Now you have gone ahead in the right way." (The help consisted mostly in blotting out and blurring what I had done, leaving the plan and the drawing but obliterating the details, giving me a chance to start fresh and repaint the lower part of the canvas.)<br />
<br />
<b>THE MAJORS</b><br />
<br />
People who paint cheap things do it by modeling the pieces. People who paint good things seem to do it without modeling. If you put on a pure value there, right up to the edge of the shadow, it will seem to model. Don't paint square inches, paint large masses.<br />
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<br />
<b>TIGHT V. LOOSE</b><br />
<br />
"We used to talk about "loose" and "tight" methods of painting when we were young. There are only a few people - Lucas Van Leaden, Holbien, for instance - who can paint as tight as a drum and still have it good; and that is because they look at it in the same way I am teaching you. And they are able to paint in that manner and still not lose the effect."<br />
(In answer to my question as to the explanation of the effectiveness of "loose" painting.) "Because it admits the varying qualities of the unseen. Literal description inpainting will never make a picture. In order to be good it must have some touch of that magic which gives the effect of light and shade, leaving undescribed the places that are dim and cloudy, and painting sharply the silhouetted values."<br />
<br />
<b>PRACTICE</b><br />
<br />
''Do carefully and well what you do. If you haven't time to finish a sketch, make what you do count. Don't hastily rub it in just to cover the canvas and say to yourself you will go back and do it better later—that's lazy, and besides it never looks the same.<br />
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<br />
<b>LAY-IN</b><br />
<br />
"A head which is to look right when finished, in the early stages of blocking in the lights and darks, ought not to look right; it ought to look raw, crude, almost violent. Then all the qualifying tones will not spoil its strong effect of light and shade when it is finished.<br />
<br />
<b>WET INTO WET</b><br />
<br />
"Never leave white spaces around the edges of things. That absolutely ruins any effect of reality whatever. Beginners always make that mistake. Don't paint two things up to each other, paint one on top of the other. Sargent always said to paint the background of a head half an inch inside the outline of the head, and then paint the head on top.<br />
<br />
"Where trees look thin, don't put a thin wash of color on over the sky. Decide what the value is and they lay it on with plenty of paint.<br />
<br />
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<br />
<b>PAINT QUALITY</b><br />
<br />
Don't paint with soup, paint with paint. You will never get any effect of color without using lots of paint and very little medium.<br />
<br />
"One of the most interesting times in my painting life was when Tarbell and I saw some pictures in Boston by a European artist— I've forgotten his name — who evidently got his effects by using a very "full" brush. We decided from that time on to use only a very full brush in all our work. The effect is produced because you carry your color, or value all across and it does*not thin out at the edges, but keeps it full effect everywhere." (This still does not explain to me why this method of dragging a full brush loosely across an area, leaving a more or less broken surface of color, is so effective.I said it gave a certain effect of texture, but he said no.)<br />
<br />
<b>PAINT HANDLING</b><br />
<br />
"Sergeant was said to "dash" his paint on to his canvas. It is good practice (apropos of working from a model) to make a sketch by mixing your paints carefully, studying your model carefully and then lay the paint on where it should go and don't touch it again. Never puddle around and go dab, dab, dab. Scrape it off if-it is wrong and lay on some more. But don't pat it and blur it and try to remedy it by blending it with something else.<br />
<br />
<b>STUDIO CONDITIONS</b><br />
<br />
"Its no use trying to paint under unfavorable conditions. It’s hard enough to paint with everything just right.<br />
<br />
<b>STRENGTH AND DELICACY</b><br />
<br />
(When I said that my finished portrait looked "soft") "It is very difficult to make the right adjustment between strength and delicacy. Both are important and one must not be allowed to spoil the other.<br />
<br />
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<br />
<b>ATMOSPHERE</b><br />
<br />
"Colored moving pictures do not attract me because although the local color is there, the subtle variations of light and reflections are missing. Those are what make any scene In nature attractive to the eye, although the casual observes does not realize it. When one has analyzed it with the eye of an artist and tried to paint these very subtle variations he appreciates them, they are what makes the picture good, what gives it an atmosphere, and must be painted very delicately and with nice attention to the minuteness of the differences. Although not at all obvious in themselves, if well done they make the success of the picture.<br />
<br />
<b>STUDY</b><br />
<br />
"There is a saying that there is nothing more to be found in a picture by the beholder than has been put into it by the painter. The more a painter knows about his subject, the more he studies and understands it, the more the true nature of it is perceived by whoever looks at it, even though It is extremely subtle and not easy to see or understand. A painter must search deeply into the aspects of a subject, must know and understand it thoroughly before he can represent it well. The bald, obvious aspect of a picture are not the interesting ones. That is why the public will never understand painting. They admire it, yes, and like it, but will never understand it because they cannot understand what goes into the making of It. They ascribe all sorts of motives and ideas to the painter—none of which he ever has—because they can't understand how he thinks."<br />
<br />
<b>INSPIRATION</b><br />
<br />
"Those things which you do when you are freshly inspired and excited by the beauty of what you are seeing before you are important things. If you go back to them later and think you will improve them by making them carefully, slicking them up, you will lose that important thing and there is no method of getting it back. It is gone for good. Let things look rough, rather than try and smooth them out. There Is a certain inspiration which comes when you work quickly and surely and enthusiastic about the beauty of the light. You should leave this work and go back to it later to realize how good it is, and that it must not be painted over. Get the force of the light.<br />
<b><br /></b><br />
<b>AND POETRY</b><br />
<br />
"A picture or drawing is like a poem, when the poet starts, he has no more and no different words to work with then you have. A work of art is made by his choice — selection and combination of ordinary material. Each man sees a subject differently and selects different things in it to emphasize. See any roomful of student's drawings."<br />
<br />
<b>LANDSCAPE</b><br />
<br />
( When I asked how to get the effect of a mass of bare tree branches against the sky)<br />
"The general mass effect is darker than the sky, even than the pieces of sky seen through them. So don't draw a faint tracery of branches against the light value of the sky—you'll get no effect that way. Put on a flat tone just faintly darker than the sky and then indicate a few darker lines against that.<br />
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<br />
<b>SUBJECT</b><br />
<br />
"The trouble with you is that like most beginners you try to embrace too wide a scene. You are looking for the sort of scenery that a photographer would look for with lots of sky and distant hills. Be broad-minded and don't go out with a pre-determined notion of what you want to find to„ paint. Intimate studies of light and shadow in a small area are most Interesting. A thing to be beautiful must be complicated. Don't paint something bad just because it is simple. It's just like a tailored suit—the thing must be subtle In order to be good. The fine distinctions of value where one object comes against another are what make a picture interesting. When Sergeant went up to visit Billy James at Chicora, they went out painting and Bill led him along without saying anything, and took him unobtrusively to the "town view", mountain reflected in lake, etc. Asked him if he thought he could find anything round there to paint. Sergeant said yes, he could find something anywhere, looked around him and sat down and painted an old gnarled root with, some leaves and branches on it. What interested him (and F. V. 3.) was the delicate play of light and shadows on the leaves and trunk.<br />
<br />
"Whenever I find myself—as I do sometimes—painting a "scene" I am disgusted with myself. Take a small piece of something with a handsome shape—don't include too much. That tree trunk against the cedars veiled "by the thin underbrush in front. Don't take in the branches against the sky, that gives a second center of interest."<br />
<br />
"In looking for a subject don't look for a grand panorama but a near thing with interesting lines and values. DON'T PAINT A SCENE.<br />
<br />
<b>GOOD PICTURES</b><br />
<br />
"A good picture has a certain austerity, a distinction, whether of the thing itself, the lighting, the color, or the arrangement. Mere craftsmanship, representing nature, does not make a picture.<br />
<br />
<b>MODERNISTS</b><br />
<br />
(Speaking of modernists)" That is what the most honest of the modernists are trying for. The plain fact does not interest them. They say "I will not say D-O-G spells dog, because that is stupid and literal. So they make something else, liberate themselves to say the same thing in another, more interesting way. But the others, less honest, merely look at the fact of liberation, do not understand what they were liberated for, and merely think they can make anything and call it Art. They are not happy about it, don't enjoy what they do, so says J.P.B (John Benson).<br />
<br />
"The modernists think they are Inventing something new every day. Men's minds don't work that way. Every invention is based on completeness. You might say I invented something. I merely noticed and painted an aspect of nature that had escaped other men's observation. Now there are hundreds of men who do the same thing, more or less well, according to their real knowledge."Unknownnoreply@blogger.com6tag:blogger.com,1999:blog-2477446081063540055.post-62195909553609310062012-02-17T09:39:00.000-08:002012-02-17T09:39:01.371-08:00The Enigma of John Sargent's Art by RH Ives Gammell<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdy1TVrVl1hbcTdsxqdc3iIBcTuH0vDj3TAFv_mSWlOURIZpBenfQjc0n-Y4rFds3iJf5AwXAq8jb46LbNJngALcHMmx2_6y5GYycFXyYkl2bwhLY7uZF87wVWrHLwF6j8TZXwDrNguoJ6/s1600/sargentboit.jpg" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><br /></a><br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="color: white; float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4b8cCiXjsvv0YHRy4WmokWfO5bGe-TB46tynKlZnFDPBdTgCyIy8hvJYRg6ggI9C-C80P4j8VUp6U-b1HVEaU4-KIDT3XNribHwDFcAsup4C_Sw_soS5WnkTcP-8lpGxkMm4YAqJcmTbv/s1600/sargentpainting.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4b8cCiXjsvv0YHRy4WmokWfO5bGe-TB46tynKlZnFDPBdTgCyIy8hvJYRg6ggI9C-C80P4j8VUp6U-b1HVEaU4-KIDT3XNribHwDFcAsup4C_Sw_soS5WnkTcP-8lpGxkMm4YAqJcmTbv/s320/sargentpainting.jpg" width="236" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: xx-small;"><span style="font-family: Verdana;">Sargent Painting M</span></span><span style="font-family: Verdana; font-size: xx-small;">rs. Fiske
Warren <br />and Her Daughter Rachel (painting below)</span></td></tr>
</tbody></table>
<b>Recently there was a question</b> wondering what R.H. Ives Gammell thought about John Singer Sargent. One of the artists involved, Tom Dunlay (who studied with Gammell for 8 years), shared the answer by sending me <b><i>The Enigma of John Sargent's Art</i></b>, and I thought that you might like to read it. Mr. Gammell's hypothesis focuses on what it was that motivated JSS to create his finest work. <br />
<br />
<b>"In the course of his working life</b> John Sargent
devoted his energies to several kinds of painting. He painted portraits
and figure pieces and mural decorations. He sketched all sorts of
subjects in watercolors and in oils. He devoted some of his time to
sculpture and not a little of it to designing textiles. He made portrait
studies in charcoal. Though he took up these various activities at
widely separated periods of his existence it is notable that, generally
speaking, his earliest productions in each of these several fields
remained superior to anything he subsequently produced in the same form.<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd3xqwV3haAWdTmhnD8e-seBgOP6CGCAnLfIT2PBO3avT8z12ILMKae0JXgfQQxoYEEjE0DXMdVUeXsWBFRhvTAbTWEOACUsH7R43jHTuOazChf1g9D60F72lRPE_DYdX-xDkvoS-92c_g/s1600/sargentfiskewarren.jpg" imageanchor="1" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd3xqwV3haAWdTmhnD8e-seBgOP6CGCAnLfIT2PBO3avT8z12ILMKae0JXgfQQxoYEEjE0DXMdVUeXsWBFRhvTAbTWEOACUsH7R43jHTuOazChf1g9D60F72lRPE_DYdX-xDkvoS-92c_g/s320/sargentfiskewarren.jpg" width="213" /></a></td></tr>
<tr style="color: white;"><td class="tr-caption" style="text-align: center;">Mrs. Fiske-Warren and Her <br />
Daughter, Rachel</td></tr>
</tbody></table>
The
work of no other eminent painter falls into a similar pattern. Pictures
painted in the later years of an artist's career often show a decline
due to physiological changes or to illness. Some painters, overwhelmed
by the press of orders, have entrusted the execution of their pictures
to assistants, with unfortunate results. Some have been spoiled by
success. Others have prostituted their talents for the sake of gain. In
Sargent's case none of these causes were operative.<br />
<br />
Throughout
his life the sincerity and humility of his attitude toward painting was
recognized as one of his outstanding characteristics. He was never much
interested in financial gain. Except when painting portraits, he chose
his own subject matter and worked on his own time schedule. His
faculties continued to be unimpaired until the day of his death and his
physical strength declined far less than that of most men.<br />
<br />
The baffling
thing about Sargent as an artist is that we can discern no completely
dominant motive behind his urge to paint.<br />
<ul>
<li>His was not an art of
self-expression, as was that of a Delacroix, of a Puvis de Chavannes, or
a Burne-Jones, for instance. </li>
<li>Nor was it in essence an art of
conviction, dedicated to an ideal principle of interpretation and
workmanship, as we recognize the art of Manet, of Degas, or of Whistler
to have been. Sargent's approach was akin to that of these last-named
men, but his fidelity to a particular concept of painting was less
complete and uncompromising than theirs. </li>
</ul>
It was precisely this absence
of a deeply felt guiding principle which puzzled the serious artists of
his time and kept them from giving their wholehearted admiration to the
work of a man whose great talent and obvious sincerity they could not
fail to recognize. <i>* (see note below)</i><br />
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUQfWwu7k-yjLm_9irrNH-iKsNZv6IcAnPkI5qYBgiMKbPNs8St8hJNGOJTcConIyRxtG6sBuyl9a5sDtmC7AsiR120l_ljwKt2ST4YKdnAWuT6__iLeKKtZm6MO2Zx4VmW3Y36tF6XU1T/s1600/sargentmural01.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="63" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUQfWwu7k-yjLm_9irrNH-iKsNZv6IcAnPkI5qYBgiMKbPNs8St8hJNGOJTcConIyRxtG6sBuyl9a5sDtmC7AsiR120l_ljwKt2ST4YKdnAWuT6__iLeKKtZm6MO2Zx4VmW3Y36tF6XU1T/s320/sargentmural01.jpg" width="320" /></a></td></tr>
<tr style="color: white;"><td class="tr-caption" style="text-align: center;">Boston Public Library Mural of Prophets</td></tr>
</tbody></table>
The first murals seemed to herald
the development of something resembling an art of self-expression but
the promise was not fulfilled by the later decorations. Only a few of
Sargent's canvases, and all of those were painted early in his career,
achieve the full dignity of great impressionist art. The majority of his
pictures are apt to suggest a disinterested display of virtuosity
rather than devotion to a high artistic ideal. If, after studying
Sargent's mural decorations, we re-examine his output as a whole we may
feel justified in hazarding an analysis of his elusive personality.<br />
<br />
Everything
we know of his working procedures indicates that Sargent's creative
thinking took place in his subconscious mind to an extent very unusual
in a painter who has proved himself capable of acquiring a high degree
of professional skill. Subconscious mental activity does play an
important role in all artistic creation, of course. It is, however,
characteristic of the art of painting that, once an idea has been
conceived and its general orientation has been established, translating
that idea into effective pictorial terms requires very clear thinking
and the judicious application of much acquired knowledge. In Sargent's
case an unusually large part of these later operations seems to have
been worked out in the earlier subconscious processes. To a bystander,
and quite possibly to Sargent himself, his pictures may have appeared to
take shape spontaneously in very nearly their final form. The gropings
and the experimental studies whereby artists ordinarily arrive at their
final results are relatively rare in Sargent's work. When he made a
failure it was a poor picture from the start and it remained so. The
tricks of patching and altering or of reconstructing an unsuccessful
composition, which most painters consider an indispensable element of
their craft, were apparently scarcely known to him. He seemed incapable
of telling anyone how he had arrived at a given result. He presumably
was only vaguely aware of it himself. The necessary brain work had been
largely subconscious, or so rapid that the artist appeared to have been
guided by instinct rather than by reasoning. A painter able to work in
this fashion often seems to have no very clear idea of what he is trying
to do because it has never been necessary for him to formulate his aims
to himself.<br />
<br />
<div style="background-color: #f3f3f3;">
When this kind of mental activity is
basically responsible for the quality of a work of art, the artist can do
comparatively little to control it. He can toil assiduously, of course,
as Sargent certainly did. But his work will only reflect the full
measure of his capacity when the faculties dormant in his subconscious
are aroused to their maximum activity. At other times his painting will
tend to be a routine version of what he produced in his "inspired"
moments. An artist of this type probably has very little idea of how his
mind functions. He simply goes on painting as best he can until some
external stimulus awakens the forces of his psychic being to intense
creative activity. Only at such times is he likely to produce his finest
work.</div>
<div style="background-color: #f3f3f3;">
<br /></div>
<div style="background-color: #f3f3f3;">
If we feel justified in assuming that John
Sargent's psychic mechanism conformed to some pattern of this kind we
naturally will wish to ascertain what sort of stimulus served to set it
in motion. </div>
<div style="background-color: #f3f3f3;">
<br /></div>
<div style="background-color: #f3f3f3;">
In this connection a comment made to me by his niece comes to
my mind. It seemed to her that her uncle was attracted to his chosen
subject matter by virtue of the very difficulties which it presented to
him as a painter. And here we perhaps have the key to the riddle. </div>
<br />
Apparently something in Sargent's inner nature responded in an unusual
degree to the challenge of an exceptionally difficult technical problem.
The challenge aroused no mere impulse to demonstrate his skill, as it
might have in a lesser nature. In Sargent's case it seems on occasion
rather to have engendered a series of reactions involving all the
resources of his extraordinarily gifted personality, focusing their
activity on the problem in hand and releasing emotional drives usually
quiescent. Is it not reasonable to suppose that the subconscious of this
reserved, inexpressive man, whose emotional life seems never to have
found an outlet in any personal relationship, was dominated by an
exceptionally powerful compensatory urge to assert his superiority? A
peculiarity of his nature made it extremely difficult for him to express
himself in speech or action and whenever possible he evaded occasions
for so doing. In this he was aided by circumstances, for he received as
his birthright many things which most men obtain only with effort:
education, financial independence, and access to the most desirable
society. His cosmopolitan existence released him from the duties of
citizenship, and he never assumed the responsibilities of family life.
His inability to deal with practical matters was proverbial. Serious
illness and love passed him by. He even lacked the capacity for
vicarious experience which ordinarily marks the creative artist.<br />
<br />
<div style="background-color: #f3f3f3;">
Had he
not painted. John Sargent would have passed for an amiable, cultivated
though colorless man of the world. But he happened to be endowed with a
prodigious talent for painting, coupled with an exceptional receptivity
to art. literature, and music. All his other-wise unexpended energies
were concentrated on the exercise of this dual gift.</div>
<div style="background-color: #f3f3f3;">
<br /></div>
<div style="background-color: #f3f3f3;">
No
painter can have practiced his own art more constantly than did
Sargent, and he found his relaxation chiefly in music, in reading, and
in looking at works of art. His extraordinary talent, developed by
ceaseless industry and tempered by continuous contact with the best that
the human mind has produced, kept his work on a high artistic level at
most times.</div>
<div style="background-color: #f3f3f3;">
<br /></div>
<div style="background-color: #f3f3f3;">
But Sargent attained his maximum potential, as it would
seem, only when his subconscious will to power was aroused by an
opportunity to assert his superiority through his art. The challenge of a
fresh and exceptionally difficult artistic problem apparently induced a
catalysis whereby all the latent forces of his immensely gifted
personality and the accumulated store of his impressions merged into a
single creative effort.</div>
<br />
<b>Let us glance briefly at the record.</b><br />
<photo id="3"></photo><br />
<ul>
<li>The
admirable portrait of Carolus-Duran (1877). executed by a young man of
twenty-one under the critical eye of his master whose presence obviously
put the boy on his mettle, is almost as fine in workmanship as anything
he was later to paint. </li>
</ul>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4r_vnLP-hfFt_sDTVHCxT2pUUNmjJxbMtU_H3ZfslmOO5U5guXvmaItwpH8sZ3BeMIPo_U7-UKuciYcLOXcQ_GOMrHw-gNl71r8DE1UvWkRceicHXwPsGc83Bm2mpCvvdxSIrq1BoGAQS/s1600/sargentduran.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4r_vnLP-hfFt_sDTVHCxT2pUUNmjJxbMtU_H3ZfslmOO5U5guXvmaItwpH8sZ3BeMIPo_U7-UKuciYcLOXcQ_GOMrHw-gNl71r8DE1UvWkRceicHXwPsGc83Bm2mpCvvdxSIrq1BoGAQS/s320/sargentduran.jpg" width="253" /></a></td></tr>
<tr style="color: white;"><td class="tr-caption" style="text-align: center;">Portrait of Carolus-Duran</td></tr>
</tbody></table>
<ul>
</ul>
<photo id="6"></photo><br />
<ul>
<li>Two
years afterwards came the spectacular El Jaleo (1881), a tour de force
if ever a picture was, which, in spite of certain defects of drawing
apparent in the secondary figures, might perhaps be taken as the most
complete expression of his characteristic qualities that Sargent ever
achieved.</li>
</ul>
<div style="text-align: center;">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRFEP3W7VS_Ub6Hw1Ugvmxd9dQQDNPzfyP5Hvt6eeG2q5tgSY0aRcbqAnOhnTKG4B15whvEB8qHmFPzl_LmeQHT-MxPkBZ7rCbCJ8TKDkEbXKY7mX-EV5jDNAWk1NQYlWgRb5jqQWjUz_9/s1600/sargentjaleo.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="257" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRFEP3W7VS_Ub6Hw1Ugvmxd9dQQDNPzfyP5Hvt6eeG2q5tgSY0aRcbqAnOhnTKG4B15whvEB8qHmFPzl_LmeQHT-MxPkBZ7rCbCJ8TKDkEbXKY7mX-EV5jDNAWk1NQYlWgRb5jqQWjUz_9/s400/sargentjaleo.jpg" width="400" /></a></td></tr>
<tr style="color: white;"><td class="tr-caption" style="text-align: center;">El Jaleo</td></tr>
</tbody></table>
</div>
<ul>
<li>In the following year (1882) he painted the lovely
Lady With A Rose and finished the Boit Children, a composition in which
the difficulties always attending on the painting of children were
compounded by problems of rendering light and atmosphere on a vast
scale. Faced with this inordinately difficult subject which inevitably
evoked comparisons with Velasquez' Las Meninas. Sargent created a
masterpiece.</li>
</ul>
<div style="text-align: center;">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdy1TVrVl1hbcTdsxqdc3iIBcTuH0vDj3TAFv_mSWlOURIZpBenfQjc0n-Y4rFds3iJf5AwXAq8jb46LbNJngALcHMmx2_6y5GYycFXyYkl2bwhLY7uZF87wVWrHLwF6j8TZXwDrNguoJ6/s1600/sargentboit.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdy1TVrVl1hbcTdsxqdc3iIBcTuH0vDj3TAFv_mSWlOURIZpBenfQjc0n-Y4rFds3iJf5AwXAq8jb46LbNJngALcHMmx2_6y5GYycFXyYkl2bwhLY7uZF87wVWrHLwF6j8TZXwDrNguoJ6/s320/sargentboit.jpg" width="318" /></a></td></tr>
<tr style="color: white;"><td class="tr-caption" style="text-align: center;">The Daughters of Edward D. Boit</td></tr>
</tbody></table>
</div>
<ul>
</ul>
<photo id="1"></photo><br />
<ul>
<li>It was
followed by the portrait of Madame Gautreau (1884). The difficulties
presented by this portrait were no less real, though they are less
obvious. The subject was a conspicuous "beauty" of the time, very much
in the public eye. and an uncooperative sitter. Hers was a singular type
of beauty, emphasized by makeup, which even a slight exaggeration or
understatement of form could turn into ugliness. As was his way, Sargent
made things harder by electing to paint the lady in an attitude
suggesting arrested motion. Once again he was triumphantly successful. </li>
</ul>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXVGKj5q-QDmAA5nVlZ0sRKCEGKO8qAN5aqtQvgWNLytm-05E60cpzOGxdv5nlXZrRAUREymCG-wX-cMoF1-XMa3QkuXA4VnbOGr6OSWfWCHJqH7Suq0mDtNOFkbddYtIEjsVx0aoQ3ZS_/s1600/sargentx.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXVGKj5q-QDmAA5nVlZ0sRKCEGKO8qAN5aqtQvgWNLytm-05E60cpzOGxdv5nlXZrRAUREymCG-wX-cMoF1-XMa3QkuXA4VnbOGr6OSWfWCHJqH7Suq0mDtNOFkbddYtIEjsVx0aoQ3ZS_/s320/sargentx.jpg" width="166" /></a></td></tr>
<tr style="color: white;"><td class="tr-caption" style="text-align: center;">Madame X</td></tr>
</tbody></table>
<div style="text-align: center;">
</div>
<ul>
</ul>
The
four last-named pictures belong in the great line of impressionist
painting, each one in its particular way on a level which Sargent never
quite reached again. When he finished Madame Gautreau, he was
twenty-eight years old.<br />
<br />
Almost immediately an entirely
new set of pictorial problems gave a fresh impetus to his creative
activity. At this epoch painters were increasingly preoccupied by the
problems of plein-air painting, the chief of which consisted in making
accurate color notations of the transient effects created by
ever-changing light and weather out of doors. Once more we find Sargent
attacking a new problem in its most complex form, heaping Ossa upon
Pelion to increase the obstacles he proposed to surmount. He chose the
most illusive lighting conceivable, the brief moment of twilight between
sundown and dusk. He created an additional complication by introducing
the artificial light of candles seen through Japanese paper-lanterns.
Again he took children for his models, dressing them in white frocks
which assumed hues of exceptional delicacy in the gloaming. He
surrounded these young models with flowers whose shapes and colors were
scarcely less elusive than those of the children themselves. The result
was <i>Carnation, Lily, Lily, Rose</i> (1886), a picture unique in the vast
output of nineteenth-century plein-air painting. Sargent never again
attempted anything of this kind.<br />
<br />
<div style="text-align: center;">
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: right; margin-left: 1em; text-align: right;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP-YW6tNYpoqwEhnOMGHBMr7wLxRGMP0Y9b8nE8tTJrn1KAu85ZnJu90jqxIZl0MWjVTJQB52q_tz7U96nUvV1CelsfEdybbeUN9eHBcSkFD3bwpD6PayHN9ue2GYJXqXiBQWEcFAoiKc8/s1600/sargentbroadway.jpg" style="clear: right; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP-YW6tNYpoqwEhnOMGHBMr7wLxRGMP0Y9b8nE8tTJrn1KAu85ZnJu90jqxIZl0MWjVTJQB52q_tz7U96nUvV1CelsfEdybbeUN9eHBcSkFD3bwpD6PayHN9ue2GYJXqXiBQWEcFAoiKc8/s320/sargentbroadway.jpg" width="259" /></a></td></tr>
<tr style="color: white;"><td class="tr-caption" style="text-align: center;">Painting Carnation, Lily, Lily, Rose</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ69eJB3xmGI7HzSerPuSBWWSVnSti5hvfCpplvByP4jWU1oEMYT8Q-tORnCCT1L5VM3xBsz9FBRy0k9MeU67Fci2Ba2X2JVtNpNZxXAcWnNxE1ccPsMzZm5rjOL11ojLiR9kD11RVSvu6/s1600/sargentlily.tiff" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ69eJB3xmGI7HzSerPuSBWWSVnSti5hvfCpplvByP4jWU1oEMYT8Q-tORnCCT1L5VM3xBsz9FBRy0k9MeU67Fci2Ba2X2JVtNpNZxXAcWnNxE1ccPsMzZm5rjOL11ojLiR9kD11RVSvu6/s320/sargentlily.tiff" width="282" /></a></td></tr>
<tr style="color: white;"><td class="tr-caption" style="text-align: center;">Carnation, Lily, Lily, Rose</td></tr>
</tbody></table>
</div>
<photo id="4"></photo><br />
<br />
The
particular qualities which make these pictures great do not recur in
Sargent's subsequent work in a comparable degree. The portraits painted
during the next twelve years included some of his most brilliant
achievements. Remarkable as they are in characterization and in
handling, and occasionally as pictures, even the best of them somehow
fall short of being classed with the world's greatest portraits. Whereas
the best canvases of the eighties elicited comparisons with Velasquez
and Hals, the portraits of the nineties were more often praised for
being superior to Boldini's and Laszlo's or as perhaps rivaling those of
Sir Thomas Lawrence.<br />
<br />
<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXFhfguOayWCKvMx0D72AaVriovKBk6gElVTa-5fXWOQHBJ7C2zE79rI_un7mTNY73IAnp4mx7imET_d3PTxf60JmkYMpDJloH_SyaCtRvwQ9NFTpZ0_jKXh6VAjHDDL4laO_k5ofCb_wg/s1600/sargentduke.jpg" imageanchor="1" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXFhfguOayWCKvMx0D72AaVriovKBk6gElVTa-5fXWOQHBJ7C2zE79rI_un7mTNY73IAnp4mx7imET_d3PTxf60JmkYMpDJloH_SyaCtRvwQ9NFTpZ0_jKXh6VAjHDDL4laO_k5ofCb_wg/s320/sargentduke.jpg" width="175" /></a></td></tr>
<tr><td class="tr-caption" style="color: white; text-align: center;">The Duke of Portland<br />
and his collies<br />
1901</td><td class="tr-caption" style="text-align: center;"><br /></td><td class="tr-caption" style="text-align: center;"><br /></td></tr>
</tbody></table>
We still find Sargent seeking
difficulties as if they provided a dram for his genius. He sets the Duke
of Portland to playing with his collies, paints Mrs. George Batten in
the act of singing a song, groups Mrs. Carl Meyer and Mrs. Edgar L.
Davis in complicated attitudes with their restless children. The results
are amazing and exciting but in some ways less satisfying than many
portraits by far less gifted men. After the turn of the century
Sargent's portraits rarely reach the level established earlier by his
own best work.<br />
<br />
Between 1890 and 1904 mural decoration
provided Sargent with another artistic adventure capable of drawing out
all his latent capabilities. He responded to this fresh challenge in the
two great lunettes at the Public Library, in the frieze of the
prophets, and in the Astarte. The new problems brought into play
previously untapped resources of his imagination and of his literary
background, enabling Sargent to create masterpieces fully as remarkable
in their way as his finest achievements in the field of impressionist
painting. From then on it is disappointing to follow the progressive
decline of his later mural work which reaches its lowest point in one of
the Widener Library panels.<br />
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
Boston Library Murals</div>
<div style="text-align: center;">
</div>
<photo id="9"></photo><br />
About
1906 Sargent began exhibiting watercolors. and during the following
decade his most brilliant work was done in that refractory medium. It
is, in point of fact, the most difficult and unmanageable of all mediums
for an artist bent on precise color-notation. Sargent rapidly made it
his own, becoming almost immediately the most accomplished watercolorist
which the world has yet seen. We find him successfully rendering
subjects that would baffle the skill of almost any other painter even in
the less difficult medium of oil: linen hung out to dry in flickering
sunlight, white marble buildings silhouetted against white clouds,
ladies resting on windswept hilltops, oxen and donkeys and alligators.
Many observers have thought that the watercolors painted in the first
decade of the century were his best, but he continued to turn them out
until the end of his life with little apparent decline, perhaps because
by their very nature they made few demands on his inner being. In this
art everything depended on sheer dexterity and brilliance on "making the
most of an emergency," as he himself defined painting a watercolor.
With the phrase he consciously gave the best characterization of his
entire approach to art.<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_AZP7EMPCahhNhlfa1f6WWVQHOeyN29om8Nf5_rm4x05ZsTmC0RfijMo-drWu0jxz8FmsKTGW9gI9od-TqB318XAbpG5v_czxgLjHfk4_KHlpB-ucTpWoxi2D6PnCjwf96OYRt1kSZzk8/s1600/sargentwatercolor.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_AZP7EMPCahhNhlfa1f6WWVQHOeyN29om8Nf5_rm4x05ZsTmC0RfijMo-drWu0jxz8FmsKTGW9gI9od-TqB318XAbpG5v_czxgLjHfk4_KHlpB-ucTpWoxi2D6PnCjwf96OYRt1kSZzk8/s320/sargentwatercolor.jpg" width="210" /></a> <br />
<div style="background-color: #f3f3f3;">
<i><b>He loved to make the most of an emergency and the greater the emergency, </b></i></div>
<div style="background-color: #f3f3f3; text-align: center;">
<i><b>the more he was usually able to make of it. </b></i></div>
<br />
My
interpretation may answer another question frequently raised in
connection with John Sargent. Why did this brilliant, many faceted
artist continue for so long to accept portrait orders? By the early
nineties he had accumulated a considerable fortune and enjoyed
international celebrity. The professional portrait painter's task is
notoriously exhausting, frustrating, and thankless. Sargent himself
complained of it to his friends. 1 had it from a man who in his youth
had consulted Sargent as to whether he should take up painting, that the
most sought after painter in the world adjured him to avoid
portraiture. "It ruined me," said John Sargent. Why then did he go on
for another decade accepting orders from all and sundry? Because,
perhaps, each unknown, unsolicited sitter presented the fresh challenge
which his nature required, an unexpected, unpredictable artistic problem
demanding a solution.<br />
<br />
This brief review of Sargent's
career would seem to lend considerable support to the hypothesis I have
outlined above. More than a hypothesis such an analysis could not
pretend to be. Any attempt to describe the creative processes of a great
artist is useful only insofar as it may help to understand and
appreciate the artist's work. The art of John Sargent has puzzled both
his admirers and those to whom it makes no appeal. Even the most
appreciative have realized that it was strangely lacking in some
fundamental quality of feeling. But this deficiency, which may perhaps
be attributed, as I have suggested, to the emotional poverty of
Sargent's initial creative impulse, should certainly not cause us to
undervalue the intellectual power and technical brilliance of the
resulting art or to doubt the sincerity of the artist.<br />
<br />
Gustave
Flaubert maintained that an artist, to achieve lasting fame, needs must
either chisel a Parthenon or amass a pyramid. John Sargent stands with
the pyramid builders. Perhaps no painter of comparable artistic stature
has ever, unaided by assistants, been as prolific. The magnitude and
variety of his output staggers the mind. The two outstanding
characteristics of his art are vitality and a certain element of
surprise. While the pervading sense of life captured at full swing still
animates the best murals, canvases, water colors, and drawings,
familiarity has perhaps dulled our appreciation of what were once
startlingly novel presentations of familiar subjects which amazed and
some-times shocked his public. To take the full measure of Sargent's
originality one must restudy the art of his own time whose wilder
manifestations look more and more like the eccentricities of minor
artists hampered by their inadequate technical command. Sargent both
knew his trade and kept to the main line of the western tradition, but
his originality is manifested in everything he did. His work was uneven
in quality, no doubt. His splendid contribution may be likened to that
of a torrent which gushes headlong down the mountainside bearing,
together with minerals of lesser value, nuggets of the purest gold."<b> ~ R.H. Ives Gammell in <i>Classical America</i></b><br />
<br />
* Sir William Rothenstein, who was on friendly terms with the leading English and French artists of the period, wrote: "We all acknowledged his (Sargent's) immense accomplishment as a painter to be far beyond anything of which we were capable. But the disparity between his gifts and our own we were inclined to discount by thinking that we had qualities which somehow placed us among the essential artists while he, in spite of his great gifts, remained outside the charmed circle. I was used to hearing both Whistle and Degas speak disparagingly of Sargent's work. Even Helleu, Boldini and Gandar regarded him more as a brilliant executant than as an artist of high rank."<br />
<br />
<photo id="2"></photo><br />
<b>Links</b><br />
<i>The Boston Library, Museum of Fine Arts in Boston and Harvard University murals: </i><a href="http://www.sargentmurals.bpl.org/">http://www.sargentmurals.bpl.org/</a><br />
<br />
<i>Excellent website of Sargent's work:</i> <a href="http://www.jssgallery.org/" target="_blank">http://www.jssgallery.org</a><br />
<photo id="8"></photo>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-2477446081063540055.post-77716189526274520522012-01-31T10:07:00.000-08:002012-02-01T14:25:36.918-08:00Pithy phrases saturated with meaning are extremely helpful to the apprenticed artist.<div class="MsoNormal"><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;"></span><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;"></span></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqGxcsc5kHpmw9qopWD1MUjasTe0mLAgXIhQ7XtVCLYQJ_msqUHESOnh4-5N0r1HLWEd88nB9YTgwN6vueL4OIU4ss_D3Z3vRbOszp5qgnZhwc5fte_JTf41qJwY5QGhDDhPX7-KBdV5e2/s1600/Gammell+quote+on+Ingbretson+studio+wall.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="268" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqGxcsc5kHpmw9qopWD1MUjasTe0mLAgXIhQ7XtVCLYQJ_msqUHESOnh4-5N0r1HLWEd88nB9YTgwN6vueL4OIU4ss_D3Z3vRbOszp5qgnZhwc5fte_JTf41qJwY5QGhDDhPX7-KBdV5e2/s400/Gammell+quote+on+Ingbretson+studio+wall.png" width="400" /></a></div><div align="center" class="MsoNormal" style="text-align: center;"><br />
</div><div align="center" class="MsoNormal" style="text-align: center;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;">A Quote by R. H. Ives Gammell hanging in Ingbretson Studios </span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal" style="text-indent: .5in;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;"> I can easily view the above framed quote by R. H. Ives Gammell, each time I take a break from my artwork and walk into the break room at <a href="http://studio.ingbretson.com/" style="color: #cc0000;">Ingbretson Studios</a>. Written in the artist’s own handwriting, it is a treasured catchword saved and hung there by my teacher Paul Ingbretson. A catchword is a memorable or effective word or phrase that is repeated so often that it becomes a slogan, as in a political campaign or in advertising a product. In the training of the Boston School Style of art, such catch phrases are an essential ingredient to the critiques on our work by Paul, helping to anchor the instructions in art he patiently delivers to each of his appreciative students. These mottos are also tossed around between the students as friendly encouragements and reminders as we occasionally venture back into the verbal world amidst our two dimensional visual art battles. They instantly refocus our thinking as we physically wield the brush. Maybe painting aprons printed with a list of the most commonly quoted studio adages could be worn by our studio artists. We could also hang small printed strips of paper easily seen along our hallways with favorite artist mantras. I have made myself a stack of quotes on card stock to carry with me to memorize. It is helpful to keep them simply and easily accessed for those moments during our studio time when we surface to the verbal intellectual areas of our consciousness, before we dive back to the visually dominant areas of the gray cells and proceed to paint. </span></div><div class="MsoNormal" style="text-indent: .5in;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;">In a recent conversation I had in said break room with artist Mary M., Mary explained that the unique nature of the training at our studio requires years of devoted participation between master artist and student. This is because although the artist can hear verbally how to produce great art, physically acting on this information and consistently producing beautiful Boston School Style art is a long process. It is as if an artist can only advance by small steps. Repetitive patterns of drawing/painting, then correction and instruction by the master artist, over and over for years—at least 3 to 5 years is necessary. In a similar conversation in same lounge room, artist David B. and I discussed the similarity of our ongoing formal art training to dancing lessons, sport training or tennis lessons (David teaches tennis, I dabbled in gymnastics and dancing as a teen). We agreed these disciplines, like our art lessons, involve instruction that alternates between acquired knowledge with verbal reminders, and physical output in order to produce desired ends. We all agreed concise pithy phases with an economy of words saturated with meaning are extremely helpful to the apprentice whose product depends on physical performance. Slogans concisely reminding students of elaborate lessons are of course used in other disciplines, such as, </span></div><div class="MsoNormal" style="margin-left: 1.0in;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;">Talk with your racquet, play with your heart</span></div><div class="MsoNormal" style="margin-left: 1.0in;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;">Hustle, hit and never quit</span></div><div class="MsoNormal" style="margin-left: 1.0in;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;">It’s what you do before the season start that makes a champion.</span></div><div class="MsoNormal" style="margin-left: 1.0in;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;">Practice winning every day</span></div><div class="MsoNormal" style="margin-left: 1.0in;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;">Practice, Practice, Practice…</span></div><div class="MsoNormal" style="margin-left: 1.0in;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;">Experience first, then intellectualize……</span></div><div class="MsoNormal"><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;">Here is a sample of some of the quotes we love to hear as we train in the Boston School Style of Painting:</span></div><div class="MsoNormal" style="margin-left: .5in;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;">A painter must seek exactitude in his visible shapes and his color relations, not actual shapes and local color. --Gammell </span></div><div class="MsoNormal" style="margin-left: .5in;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;">Look for the farthest stragglers; the area least like: make it as right as possible. </span></div><div class="MsoNormal" style="margin-left: .5in;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;">All the great painters of the past had found the vocabulary of their art in the appearance of surface forms. –Gammell</span></div><div class="MsoNormal" style="margin-left: .5in;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;">Simplest way is the best way. </span></div><div class="MsoNormal" style="margin-left: .5in;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;">Don't be meager with the paint.</span></div><div class="MsoNormal" style="margin-left: .5in;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;">Use a good deal of paint to get things down fast. Spread it professionally - generously - but carefully around the drawing.</span></div><div class="MsoNormal" style="margin-left: .5in;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;">Study the values, always the values, and again, the values. –Carolus-Duran</span></div><div class="MsoNormal" style="margin-left: .5in;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;">Paint shapes as you see them; not as they exist.</span></div><div class="MsoNormal" style="margin-left: .5in;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;">Students aiming at rapid progress in the science which teaches us to imitate and represent nature’s world, should devote themselves chiefly to drawing. -Da Vinci</span></div><div class="MsoNormal" style="margin-left: .5in;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;">The simplest way is the best way. </span></div><div class="MsoNormal" style="margin-left: .5in;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;">Acquire accuracy before quickness. –Da Vinci</span></div><div class="MsoNormal" style="margin-left: .5in;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;">Drawing is the interpretation of form. –Degas</span></div><div class="MsoNormal" style="margin-left: .5in;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;">Drawing is the probity of art. –Ingres</span></div><div class="MsoNormal" style="margin-left: .5in;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;">Ingres outlaws finicky indications and demands broad statements of dominant form. –Duval</span></div><div class="MsoNormal" style="margin-left: .5in;"><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;">There is courage indeed in launching a frontal attack upon the main structure and the main lines of nature and cowardice in approaching by facts and details. Art is really a battle. –Degas</span></div><div class="MsoNormal"><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;">Like good coaching advice that is never forgotten, these maxims can echo in the mind and help guide the artist to great productions! </span></div><div class="MsoNormal"><span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 115%;">Written by Sandra Galda Jan. 31, 2012</span></div><div class="MsoNormal"><br />
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</div>Sandra Galdahttp://www.blogger.com/profile/15569976623389281955noreply@blogger.com3tag:blogger.com,1999:blog-2477446081063540055.post-20603725523985029342011-11-27T17:28:00.001-08:002011-12-01T03:37:29.967-08:00Mr. Gammell's Departure<br />
<b>Today I received a very special photo.</b> It is a picture of an artist's studio the day he died. It belonged to Mr. R.H. Ives Gammell, a champion of classical art. He focused much his life on passing on the techniques and values that were used in creating the masterpieces of the past. Mr. Gammell determined that he was going to be a bridge spanning those years when modern art spat on classical training and paintings.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdltqokJEKD0J7H-si04WiNK0ug6jFQVChSqByIM2uXtFu6x6ZARcYl84E5cfRQ0hpsxX29B5hCyEXCX0fNf-HVBqsBTj3Z3-8pb7Dr1o90qJJK5YOAX7ap_XTL8qdVrY5IHju-wQoqomw/s1600/1127gamellsstudio.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="216" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdltqokJEKD0J7H-si04WiNK0ug6jFQVChSqByIM2uXtFu6x6ZARcYl84E5cfRQ0hpsxX29B5hCyEXCX0fNf-HVBqsBTj3Z3-8pb7Dr1o90qJJK5YOAX7ap_XTL8qdVrY5IHju-wQoqomw/s320/1127gamellsstudio.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i><b>Mr. R.H. Ives Gammell's Studio</b></i></td></tr>
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The gentleman and fine artist that passed this photo on to me was one of his students, <a href="http://www.thomasrdunlay.com/" target="_blank">Mr. Tom Dunlay</a>, a longtime student of Mr. Gammell, and was the last person to be with him before he died. He wrote of the photo:<br />
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<i><b>"This was the morning after he passed away.</b> Except for the landscape on the chair this was exactly the way he left the studio the day before. The previous evening there was an exhibition of DeCamp's work at the St. Botolph Club on Commonwealth Avenue. At the end of the opening he asked me if I would walk him home just down the street. As it turned out, I was the last person to see him alive. He passed away in his sleep." </i><br />
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This reminds me a lot of the way my father died. He was on his way back from wintering in Florida and was coming to visit our family in Cincinnati the next day. I spoke with him on the phone the night before making plans to pick up our youngest son from school together. The next morning before 6 a.m. I received a phone call saying that he had died in his sleep. It was devastating.<br />
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This studio was left by a man who had expectations of returning to it the next day. How neat it looks: the brushes lined up on palette and table, the book opened up on a stool, paintings set out for observation, studies on the easel - and the gentle north light washing over the artist's workplace. <br />
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I think that perhaps this was just the way Mr. Gammell would have wanted it. A day at work in the studio followed by an evening at the St. Botolph Club, a beloved haunt of artists and intellectuals, seeing Joseph DeCamp's work, and walking home with a favorite student. Very Providential...a gracious way to leave...<br />
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<br />Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-2477446081063540055.post-63052523472155550622011-07-29T06:56:00.000-07:002011-08-23T18:13:19.122-07:00Chapter review: “Instilling the Painter’s Craft”<div align="center" class="MsoNormal" style="text-align: center;"><span style="font-family: "Times New Roman","serif";">Chapter review: “Instilling the Painter’s Craft”</span><br />
<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEin3NcbzFAkp_kvIDB1xz4aGl3tgFD6WpRKlFX5jylEvawDIfzTmy6mLLRZETxGuGCJAun9Ng0NhZ_NsXUcg3w9cf-RDdPoPKOi5sBPYZo00L3t-GnM-HihygCkRYi4t6CjqNMBEM5kMPZQ/s1600/wiliam+B.+drawing+for+blog+july+29+2011.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEin3NcbzFAkp_kvIDB1xz4aGl3tgFD6WpRKlFX5jylEvawDIfzTmy6mLLRZETxGuGCJAun9Ng0NhZ_NsXUcg3w9cf-RDdPoPKOi5sBPYZo00L3t-GnM-HihygCkRYi4t6CjqNMBEM5kMPZQ/s320/wiliam+B.+drawing+for+blog+july+29+2011.jpg" width="210" /></a></div></div><div align="center" class="MsoNormal" style="text-align: center;"><span style="font-family: "Times New Roman","serif";"></span></div><div align="center" class="MsoNormal" style="line-height: normal; text-align: center;"><span style="font-family: "Times New Roman","serif"; font-size: 8pt;">Adolphe William Bouguereau,</span></div><div align="center" class="MsoNormal" style="line-height: normal; text-align: center;"><span style="font-family: "Times New Roman","serif"; font-size: 8pt;"> A Nude Study for Venus, c. 1865. </span></div><div align="center" class="MsoNormal" style="line-height: normal; text-align: center;"><span style="font-family: "Times New Roman","serif"; font-size: 8pt;">Sterling and Francine Clark Art Institute, Williamstown, Massachusetts (1578). (http://publishing.cdlib.org/ucpressebooks/view?docId=ft1t1nb1gf;chunk.id=d0e131;doc.view=print)</span></div><div align="center" class="MsoNormal" style="line-height: normal; text-align: center;"><br />
</div><div class="MsoNormal"><span style="font-family: "Times New Roman","serif";"> In the sixth chapter of “Realism in Revolution: The Art of the Boston School,” Kirk Richards writes about current critical problems in art school training a student must face if he desires to create representational pictures of merit. Richard echoes the sentiments of a Boston School Style artist R. H. Ives Gammell on the same subject, quoting from Gammell’s “The Twilight of Painting,” when he describes the insufficiencies found in art schools today. In this chapter these insufficiencies are discussed - even listed numerically - which confound the training an artist needs if they wish to study traditional methods of painting.</span></div><div class="MsoNormal" style="text-indent: .5in;"><span style="font-family: "Times New Roman","serif";">For example, the apprentice or atelier methods of training traditional painters are not offered in elementary or high schools therefore its students cannot pursue serious traditional representational art training until college. Once in college they cannot be trained in an apprentice or atelier method either, due to the semester classroom and teacher changes –with teachers who usually own vastly differing approaches to art. If a traditional representational painting teacher is found there, the student most likely will be shifted away from him or her to another teacher at the end of that semester with only a taste of tradition. </span></div><div class="MsoNormal" style="text-indent: .5in;"><span style="font-family: "Times New Roman","serif";">A smattering of traditional training is not enough to produce a good representational painter. Richard’s metaphoric description of the arduous training a music student must take to become proficient in his calling helps put into perspective the task a visual artist must also take to develop into an equally proficient producer of representational painting. Why do we accept that the artist of music must endure years of study and practice to please the sense of hearing yet assume a visual artist can merely “spit” and make art? Richards writes, </span></div><div class="MsoNormal" style="margin-left: .5in; text-indent: .5in;"><span style="font-family: "Times New Roman","serif";">An artist is more than a creative, talented person. An artist is one who takes whatever talent the Lord bestows upon him, develops and polishes this talent into serviceable skills, and then adds his creative perspective to produce works of art with sincerity and integrity. Desire alone will not produce an artist if the intensity of that desire is not matched by the quality and intensity of training.<a href="http://www.blogger.com/post-create.g?blogID=2477446081063540055#_ftn1" name="_ftnref1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 11pt; line-height: 115%;">[1]</span></span></span></a></span></div><div class="MsoNormal" style="margin-left: 0.5in; text-indent: 0.5in;"><span style="font-family: "Times New Roman","serif";"><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 11pt; line-height: 115%;"> </span></span></span> </span></div><div class="MsoNormal"><span style="font-family: "Times New Roman","serif";"> The near complete loss of the historic and traditional methods of training artists in the apprentice/atelier environment left us with the current state of art training found in colleges. This loss was incurred by the adoption of modern art ideologies, styles, and the inability of college semesters to give a steady, consistent training to students once found in the previous centuries’ ateliers and apprentice methods. Despite the near loss, the language of painting transferred from master to student since the Renaissance is being revived. The desire to develop the skills to carry on the tradition of representational painting is on the upswing and with it growing numbers of ateliers. Richard believes there will be adequate training available to produce the painters of the future. He offers his own experience as a testimony, writing,</span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal" style="margin-left: .5in; text-indent: .5in;"><span style="font-family: "Times New Roman","serif";">I discovered what was eventually to become the foundation of my artistic life. As a full-time student for four years under Richard Lack at his atelier in Minneapolis, I became part of the Boston School, the longest continuing tradition of painting in American art. Its roots, going back to R. H. Ives Gammell, Edmund Tarbell, William McGregor Paxton, Jean-Leon Gerome, Paul Delaroche, and eventually, Jacques Louis David, were profound. It was here that I found my place and my profession.<a href="http://www.blogger.com/post-create.g?blogID=2477446081063540055#_ftn2" name="_ftnref2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 11pt; line-height: 115%;">[2]</span></span></span></a></span></div><div class="MsoNormal" style="margin-left: 0.5in; text-indent: 0.5in;"><br />
</div><div class="MsoNormal"><span style="font-family: "Times New Roman","serif";"> Richards explains that an atelier program develops several skills. First is drawing from life --not quick, three minute college-program gesture drawings; but nine to twelve hour pencil drawings and hundred hour charcoal drawings. Life drawing is the backbone of this system of training with three or more hours of drawing five days a week. Rendering form, anatomy, and modeling light and shadow, is emphasized, teaching the student to see with accuracy. In this rigorous training, creativity plays no more important part than it does when a music student is learning to read music. To overcome amateurism, dues must be paid. In addition, plaster cast drawings of ancient statues and busts are part of the students first year of drawing, until he is competent in seeing and drawing light, shadow, and shapes. Many ateliers then begin painting a cast in black and white oil paint—a transition from drawing to painting. Next is oil painting in color and still life, then head studies in oil. After this, the full figure in its environment is painted in full oil color and finally, the execution of interior paintings. </span></div><div class="MsoNormal" style="text-indent: .5in;"><span style="font-family: "Times New Roman","serif";">A minimum of four years in an atelier teaches serious students the craft of picture making, including how to draw and paint what they see. The author states that this traditional method of training representational painting will keep alive our great Western traditions in art and pass them on to the next generation. “The importance of the atelier system of training is that the master of each successive atelier teaches his students all that he knows in order to produce competent painters who will then, in turn, teach a succeeding generation of students.”<a href="http://www.blogger.com/post-create.g?blogID=2477446081063540055#_ftn3" name="_ftnref3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: "Times New Roman","serif"; font-size: 11pt; line-height: 115%;">[3]</span></span></span></a></span></div><div class="MsoNormal" style="text-indent: .5in;"><span style="font-family: "Times New Roman","serif";">--review by Sandra Galda July 28, 2011</span></div><div class="MsoNormal"><br />
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<hr align="left" size="1" width="33%" /><div id="ftn1" style="mso-element: footnote;"><div class="MsoFootnoteText"><a href="http://www.blogger.com/post-create.g?blogID=2477446081063540055#_ftnref1" name="_ftn1" style="mso-footnote-id: ftn1;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10pt; line-height: 115%;">[1]</span></span></span></a> Kirk Richards, “The Art Student’s Dilemma,” Realism in Revolution: The Art of the Boston School, ed. Richard Lack (Dallas: Taylor Publishing Company, 1985) 55.</div></div><div id="ftn2" style="mso-element: footnote;"><div class="MsoFootnoteText"><a href="http://www.blogger.com/post-create.g?blogID=2477446081063540055#_ftnref2" name="_ftn2" style="mso-footnote-id: ftn2;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10pt; line-height: 115%;">[2]</span></span></span></a> Richards 60. </div></div><div id="ftn3" style="mso-element: footnote;"><div class="MsoFootnoteText"><a href="http://www.blogger.com/post-create.g?blogID=2477446081063540055#_ftnref3" name="_ftn3" style="mso-footnote-id: ftn3;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10pt; line-height: 115%;">[3]</span></span></span></a> Richards 60.</div></div></div>Sandra Galdahttp://www.blogger.com/profile/15569976623389281955noreply@blogger.com0tag:blogger.com,1999:blog-2477446081063540055.post-1213990383972146552011-06-29T09:26:00.000-07:002011-07-10T17:24:34.470-07:00A Chapter Review<div style="text-align: center;"><u>Review of "</u><u>Painting: Understanding the Craft," Realism In Revolution: The Art of the Boston School.</u><br />
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</div><div style="text-align: left;"> In his chapter in <u>Realism In Revolution: The Art of the Boston School</u>, Richard Lack writes about the current revival of representational art. He explains that the rediscovered craft of picture making is not fully understood by today's average art viewer. The Modernism movement has left current art viewers ill-informed of the craft which the salons of Europe once promoted with their hugely attended events. These huge art shows drew up to 50,000 visitors on a Sunday at the Paris Salon, offering opportunities for viewers to participate in the side by side comparisons, appreciations, and critiques of all the art--good and bad-- being produced. He contrasts this kind of public art education with today's small one man shows, small group shows by similar flavor artists, and museum shows, in which the displayed art follows a theme or shares aesthetic sensibilities. He explains these small shows limit and short change art appreciation because they offer a biased, slanted, limited art experience.</div><div style="text-align: left;"><br />
</div><div style="text-align: left;"> "The best route to connoisseurship is an aroused and genuine interest in art (Lack, 78)." Once this interest is aroused, a viewer must gain "visual fluency" by persistent self education (museum visits, study of reproductions, researching the lives of the artists, reading and attending lectures on art, comparing various art styles and artists, and finally and most important according to Lack, is the understanding of the craft of making pictures. Lack then contrasts the foundational difference between modern and traditional picture making. According to Lack, modern art tends to depend on self-expression, passion, sincerity and "creative frenzy," where as traditional painting must, in addition to conception, style, and taste, be judged by skill of execution. </div><div style="text-align: left;"><br />
</div><div style="text-align: left;"> This is where the chapter gets interesting for me. He outlines in the following pages the difficult, laborious and painstakingly careful approach a traditional artist takes in each stage of a traditional painting process. From arranging the interior, rugs, furniture, models, color scheme, lighting, each element is scrutinized carefully and planned in minutia. His process in creating his beautiful painting, "The Concert," is detailed step by step and he explains the complexities of the craft that an artist endures for the sake of creating a traditional realistic image whose beauty and quality will engage the viewer for hundreds of years. </div><div style="text-align: left;"><br />
</div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDshzRA-uyrCSJoF3qV_-taLnDzaLOXWN8X5W7t6rH1Rc5G-rnUa8Te2IJb1pP54_aFPZAJUSRb2OJqH6PX2qYnVRCuf8nV8N0ArpDc3tGKUyMyxezvYxXkFPedVeEvCEhUxcYGzAHzVP6/s1600/The+Concert%252C+1961+by+Richard+Lack+%2528American%252C+1928%25E2%2580%25932009%2529+Maryhill+Museum+of+Art%252C+Goldendale%252C+Washington.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDshzRA-uyrCSJoF3qV_-taLnDzaLOXWN8X5W7t6rH1Rc5G-rnUa8Te2IJb1pP54_aFPZAJUSRb2OJqH6PX2qYnVRCuf8nV8N0ArpDc3tGKUyMyxezvYxXkFPedVeEvCEhUxcYGzAHzVP6/s320/The+Concert%252C+1961+by+Richard+Lack+%2528American%252C+1928%25E2%2580%25932009%2529+Maryhill+Museum+of+Art%252C+Goldendale%252C+Washington.jpg" width="291" /></a></div><div style="text-align: center;"><span class="caption">Richard Lack (American, 1928–2009)</span><br />
<span class="caption"> <i>The Concert</i>, 1961. </span><br />
<span class="caption"> Oil on board, 26” x 24” .</span><br />
<span class="caption"> </span><span class="captionSm">Maryhill Museum of Art, Goldendale, Washington.</span><br />
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</div><div style="text-align: left;"></div><div style="text-align: left;"><span class="captionSm"> Planning and executing a studio painting such as Lack did in his <u>The Concert</u>, is one way a realist artist works. He adds that there are other traditional approaches, such as becoming adept at what he calls a "...bold path of painting his motif directly on the spot (Lack 83). " Sargent often painted his patrons in their environment and Monet of course who painted so many of his great works; both artists known for their "...quick eye and great dexterity." Lack says this type of approach produces works that are more like sketches and states that most landscape painters use this method. "Pictures painted in this fashion, while successfully capturing the immediacy of the subject, have a tendency to be less accomplished in design, a fault in many of the works of the French Impressionists (Lack 84)." He finishes his chapter describing the process involved in a traditional imaginative painting, one for example that could be a large painting or wall mural which depicts a great moment in history, myth, story, or literature. This type of imaginative painting requires preparations and design considerations to pull together its complex number of image parts into a convincing realist image of imagination. Take time to read this informative chapter and you will increase your appreciation of the traditional realist craft of painting, and increase your visual fluency. </span></div><div style="text-align: left;"><span class="captionSm">---Sandra Galda</span></div><div style="text-align: left;"><span class="captionSm"><br />
</span></div><div style="text-align: left;"><span class="captionSm">Richard Lack,</span>"Painting: Understanding the Craft," <u>Realism In Revolution: The Art of the Boston School</u> (Dallas, Taylor Publishing Company,1985) 77-89.<br />
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</u></div><span style="font-size: x-small;">After graduation from high school, Lack enrolled in the Minneapolis School of Art, where he studied for two and one-half years on a partial scholarship. But his heart was set on learning to paint in the tradition of the Old Masters, a knowledge that none of his teachers could provide. He then traveled to New York looking for an appropriate school, but could not find what he yearned for. He started copying paintings at the Metropolitan Museum of Art, where one day a young man stopped to talk to him. He was from Boston and was studying with a man named R. H. Ives Gammell. Gammell, he said, was running a small studio based on the European atelier system of training painters and was accepting students as apprentices. Excited by the prospect of at last finding a teacher "who could lead him out of the wilderness," Lack left New York for Boston and met Gammell. This initial meeting led to a teacher-pupil relationship that was to last more than five years. Gammell had authored numerous books and articles including <b>Twilight of Painting</b>, perhaps the most important book to date on the loss of our Western painting tradition. In Gammell, Lack found what he was so ardently seeking: an artist who could not only teach the basic skills of picture making, but who could also provide a living link to the great traditions of the past (Gandy Gallery "Richard F. Lack (1928-2009)"<http://www.gandygallery.com/art/Masters/Richard_Lack/Lack_bio.htm>).</span><br />
<div style="text-align: left;"></div>Sandra Galdahttp://www.blogger.com/profile/15569976623389281955noreply@blogger.com0