Episodes
Wednesday Aug 22, 2018
Episode 21: Painting a Better Painting
Wednesday Aug 22, 2018
Wednesday Aug 22, 2018
Greetings, and welcome to all our followers. As you can no doubt see, we have no podcast this week as Connie and David are on a painting trip in Maine with their friend, Tom Heinsohn. Here they are on location. Looks to me like they are having too much fun!
Meanwhile, back in the studio Judy was busy putting the finishing touches to two articles for the next issue of the American Art Review, guiding a tour of the Rocky Neck Art trail for RoadScholar, and delivering a PowerPoint presentation on ‘Early Artists of Cape Ann’ for the Sandy Bay Historical Society at the Rockport Public Library. Having attended to all that, Judy is now beavering away at the keyboard to put these few words out so that fans of the Dynamic Trio don’t go into a decline during their absence.
What is it that really makes a painting special? Is there such a thing as the perfect location? Perfect weather conditions? Of course not. So, what does an artist have to do to take the ordinary, and turn it into something super special with an effect of light worthy of being captured on canvas? You don’t have to go to the Rockies, oftentimes there is great material in your own backyard. Or, at least, nearby! It’s just a matter of learning to see, and then design, a great composition. Look below at how the great A. T. Hibbard goes about creating a great painting.
A. T. Hibbard (1886-1972), Sunlit Peak, Lake Louise, Canadian Rockies
Oil on canvas, 28 1/8 x 36 1/8, courtesy of Vose Galleries, Boston
Of course, not all of us can get out to the Rockies to capture the grandeur of sunlight hitting the mountains, but Hibbard could always get a terrific painting even if closer to home.
left: A. T. Hibbard, Clearing, Buzzard's Bay, oc, 32 1/2 x 36 1/2, pc
right: A. T. Hibbard, Rockport Quarry 1920, ROCKBOUND installation, 2017, Cape Ann Museum ©c ryan 20170602_110218
Of course, we are not all A. T. Hibbard's, but even Hibb admitted that painting was more to do with hard work than good luck or talent.
So, do you think you need help? Why not try a Sight and Insight workshop with our very own David and Connie? As practicing artists themselves, they are in a position to teach how to design a better painting based on years of experience.
October 10-13, 2018: October Skies
A Sight and Insight Plein Air Oil Painting Workshop
With Instructors: David P. Curtis and Lorwen ‘Connie’ Nagle
Join David and Connie as they explore the principles of aerial perspective. Learn to design skies, model clouds and paint a fresh plein air landscape in one session!
The Sight and Insight programs are popular, so sign up now. Space is limited.
Tuition $300 pp. Please email via David's contact page at davidpcurtis.com to register. Or visit LorwenPaintings and do the same thing.
This workshop is suitable for all skill levels and will address the importance of aerial perspective in creating dynamic ‘moving’ alla prima skies. As English painter, John Constable once said, “The sky is the source of light in Nature and it governs everything.”
“Aerial perspective has nothing to do with line, but concerns tone and colors, by the delicate manipulation of which an artist can suggest infinite distance.” — Walter J. Phillips (English-born Canadian painter and printmaker 1884-1963)
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