Third Session: Getting to the Intermediate Stage

sketch for "Discovery of Moses" after Cavalino

Last time we discussed establishing the "macchia" sketch in sienna, drawing with the brush. We now have to take things to the next stage by blocking in with color while, simultaneously, restating darks and lights.


Painting after Jerome Induno


Painting after Jerome Induno

One needs to block in large shapes and then, within these shapes, block in smaller shapes until entire canvas is covered. Pay attention to color harmonies and values while doing this.

Keep this intermediate stage loose and fight temptation to get detailed.

Class a go?

Looks like the Maude Kerns class might be a "go" -- we will find out Wed night.

Just in case it happens, here are my thoughts for a first session:

My current work has me starting out with a sienna sketch -- somewhat tricky because the wetness has to be controlled so the drawing can proceed "just so."

The Martinsicuro Beach series -- new work:







Lets try that again with a different scene:






Current research that I can share with you during the class has to do with placing figures in natural settings. Not just beaches but, of course, any location, landscape or interior spaces. Here are some more:





And some "finished" work (or am I still working on these?)



(sold -- the one above)



Here are some principles of American Verismo distilled from recent experience:

1. The painting will be more successful if a subtle preliminary drawing can be created

2. However, the drawing cannot be "academic" in the classical sense -- i.e. lacking life and "truth"

3. Rapid painting is possible if the imprimatura is slightly wet or completely dry but gets difficult if the imprimatura is too wet (oily).

4. The preliminary drawing can be a line drawing or a mass drawing but often the best results are a combination of the two approaches. Diagonal and expressive lines create an opportunity for movement of both forms and the eye.

5. The resulting preliminary drawing forms the "macchia" (meaning "pattern") that is the "gestalt" of the painting. Check this macchia for impact and overall design before continuing. If it doesn't pass the check (is uninteresting and lacks "effect"), start over again.

6. Painting then proceeds with the addition of color spots (color "macchia" meaning dabs of color) here and there. Instead of filling whole areas with a single color just make color notes here and there until one establishes the color harmonies one desires to utilize in the painting.

7. Painting is "finished" more or less way before most paintings are considered finished. Originally many of the I Macchiaioli actually painted during battles or between battles of the Risorgimento. Thus the sketch nature of many paintings.

8. One additional thought: One of the most difficult things for beginners of this technique to master is just this: "how to get life into a painting?" Well -- do not overly finish a painting because you will knock the life out of it. Leave the painting somewhat abstract so the viewer can add his or her consciousness to the process of interpretation. The principle of "ambiguity of forms" thus comes into play and helps "finish" the painting by not finishing it.

9. Ultimately the painting needs to have sufficient structure and solidity. The I Macchiaioli painters achieved the spontaneity of "impressionism" without sacrificing solidity, something which was not specifically the concern of the French impressionist until Cezanne. In fact, even some of the Cezanne paintings lack the solidity of the I Macchiaioli because of his poor, almost terrible drawing skills (dare I say that? see his bathers series)).



My sketch for a Venice scene

10. For this one, you will need to come to El Corral Restaurant on Tuesday night and join in the discussion!

Capite?

The Figure in Landscape and Architecture

Risorgimento Scene

Maude Kerns Art Center
Figures in Landscape and Architecture
Jerry Ross
Class ID #1622
SPACE AVAILABLE
START DATE - Oct 14th -- Register Now!


Angela at Monte Antico


Incorporate figures into your paintings as you learn to place the human form into landscapes and architectural scenes. In this comprehensive class, you will review the planning process used when including figures into a composition and develop sketching skills to capture human gestures. Under the guidance of instructor Jerry Ross, you will explore classical Renaissance painting techniques including “imprimatura” and “sketch transfer” and experiment with “alla prima” painting, a method in which the artist finishes the entire painting in one session. Instruction will be in oils, but students are invited to use the medium of their choice. 8 Sessions.


Due Ragazzi

Wednesdays, October 7-November 11, 6:00pm-9:00pm
Members $60 - Non-Members $75 - Model fee $15

Student work from this summer's workshop (Patti McNutt):

Artist Events at El Corral Restaurant

Where the artists gather....

Oct 6th at 7 pm

Arts/Visual Discussion of “American Verismo” & Art Critique w/Jerry Ross, weekly art talk, 7-10pm, El Corral Restaurant, 40th & Donald, 485-9792. FREE, dinner not included. Note: Jim Garcia will sing Corridos on acoustic guitar and Leonard Cerino will read poetry. But art discussions will go on during intermissions and painters are more than welcome to bring a work to be placed on the easel for discussion. Come prepared to eat dinner and have a few drinks to lubricate the discourse.

Code word: "Pancho Villa Rides Again!"

Translation: I am missing seeing my painter friends and past students and am hoping you can participate.

We are attempting to consolidate Tuesdays and Thursdays at El Corral for the time being until someone cn be found to coordinate the Thursday night critique event. During Fall and Winter terms, I can only be responsible for one event per week. This is especially true is the MK class is a go.

Cheers!

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