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------------------------------------------------------------------------------------------------------------------------------------------------ All Photos Taken by Renate M Reuter SPECIAL EVENTS & Exhibitions Steven Assael Exhibition in Naples Philharmonic Art Museum
A N N O U N C E M E N T: Steven Assael: Illusions of Reality Exhibit at the Naples Museum of Art October 1, 2010 - January 9, 2011
Master Steven Assael gave a workshop for us the Portrait and Figure Painters Society of SW Florida, Inc. in March 2010 in Ft. Myers, Florida, and we are extremely pleased that he is exhibiting his art at the Patty & Jay Baker Naples Museum of Art with the generous cooperation of the Forum Gallery, NYC.
The Naples Museum writes: “Steven Assael is widely recognized as one of the leading figurative artists working today. His distinctive, realist paintings often convey an ancient (or is it apocalyptic?) atmosphere, the contemporarily-garbed denizens characterized by an air of resigned melancholy. A gifted painter, Assael is also a brilliant draftsman whose extraordinary pencil, charcoal and ink drawings are significant parts of his entire body of work. His work was seen previously at the Naples Museum of Art in the exhibition New Old Master. Assael’s paintings and drawings will be featured in this comprehensive exhibition.” http://www.thephil.org/ http://www.forumgallery.com/ -------------------------------------------------------------------------------------------------------------------------------------------------------
Masters Exhibits Discovering Fine Art Treasures in Naples the Dr. Sheldon G. Gilgore and Irma Gilgore Museum at Eagle Creek.
Mrs. Irma Gilgore of the Gilgore Museum in Naples graciously invited us on October 6th - Fine Artists, Art Lovers of Naples, Lee and Collier Counties, Teachers and Members of the Portrait and Figure Painters Society of SW Florida, Inc - to visit the Gilgore Museum in Naples. The paintings and sculptures of famous people there are 'awesomely beautiful' and priceless and are from the finest Italian 1850-1925 art. An art's Connoisseurs dream comes true. Amongst them are many paintings from Antonio Mancini, busts of Guiseppe Grandi, Meardo Rosso, Paolo Troubetzkoy Vincenzo Gemit and various others. Mrs. Gilgore will send about 80 items to Germany and Switzerland in summer. This great experience was made possible with the assistance of Mrs. Irma Gilgore, Ted de Clercq-Naples fine art Teacher. Photos were taken by Renate M Reuter, tel.: 239-481-2081. If you have any questions, please call or access website: www.portraitandfigure.org
http://pipl.com/directory/people/Irma/Gilgore _____________________________________________________________________________ Pre Raphaelite Brotherhood Exhibition (PRB) at the Wilmington Delaware Fine Art Museum - ongoing
Paintings by Dante Rosetti and various PRB Artists with Model Lizzie Sidal http://www.delart.org/ _______________________________________________________________________________________________________
Ringling Museum, Sarasota, FL - Collection of John Ringling
http://www.ringlingmuseum.com/ -------------------------------------------------------------------------------------------------------------------------- Famous Locations Historical Bordentown, NJ Statue and House of Thomas Paine - 'Father of the American Revolution' One of 4 Houses of Joseph Bonaparte who also built a Tunnel in the Delaware to escape the British soldiers
http://www.bordentownhistory.org/Bordentown ------------------------------------------------------------------------------------------------------------------------------------------- Longwood Gardens, Kenneth Square, PA Previous Estate of the DuPont Family and Pierce DuPont's Garden 'Make your own Parfume'
http://www.longwoodgardens.org/ _________________________________________________________
We are proud of our Artists' and Members' Accomplishments - if you want to contact the artist, please let me know and I will have him or her contact you. Renate Last Blast is the title of a mobile I entered into a jled "Recycle It." The work could be two- or three-dimensionaLast Blast is the title
of a mobile I entered into a juried exhibit here at Sanibel's Barrier Island Group for the ARTS (ow. Ah, but not so, I was awarded Second Place by the O'Brien,l's Barrier Island Gr
Send any donation for our 501c3 organization to our below listed address. ----------------------------------------------------------------------------------------------------------------------------------------------------------------------------- H e l p f u l H i n t s Is an Artist Born or Made? by Courtney, Artist Magazine
Jeremiah by Michelangelo Buonarroti and one of his sketches in the Sistine Chapel, 1511. I think the affinity that I have for art is definitely inborn. Art isn’t something I grew up with or was tutored in, so when I stumbled upon it on my own, something clicked. The natural ability to draw and paint is ingrained in some people, too. But not all of us are gifted with an innate artistic sense, and I don’t think talent cancels out the equally important willingness and desire to steep yourself in and truly perfect your craft. Whenever I pick up a pencil or brush, I think of Michelangelo. He was gifted beyond belief and is at the zenith of Western art, but his life wasn’t easy—it set the precedent for the kind of mental anguish and doubt that put truth to the term “tortured artist.” He constantly felt that his hands could never attain what he saw in his mind’s eye. No matter how much arrogance and umbrage he displayed in public, he was plagued by the same indecision and doubt that I feel when I’m really committed to a project but am not quite sure if it is going to come together the way I hope. Master the Art of Drama in Oil Portraiture by Ron Hick, Artist Magazine
Now you can deepen the dramatic effect of your portraiture with the exciting DVD Courtney mentioned Monday on Artist Daily.
Join virtuosic Ron Hicks for a full hour of step-by-step oil portraiture techniques and an in-depth demonstration.
Follow along as he shows how to create an accurate portrait while keeping true to your artistic voice and vision.
----------------------------------------------------------------------------------------------------------------------------------------------------- It's Not in the Details Excerpts - FROM: Courtney of the Artist Magazine I think photography has altered the way we judge the painted portrait. With the ability to capture a photographic likeness—from the details of a person’s features to the minute expressions on the face—came the idea that the more detail you can render, the better your portrait. When it comes to painting, however, this isn’t always the case. Unless an artist is aiming for hyperrealism, chasing a photograph’s appearance with paint can lead to artwork that feels strained and contrived. Colorado artist Ron Hicks strikes a strong balance between truly seeing his subject and executing a painting that goes beyond the details. In his upcoming Artist Daily DVD, Mastering Oil Portrait Painting with Ron Hicks, the artist explains that the foundation of any portrait is created with four or five distinct shapes. This is because no two individual’s shapes, or the way the light falls on those shapes, are alike. It’s a liberating idea, and gives us all a certain level of freedom to pursue portraiture in our own way. You can seek out those distinguishing shapes and then add your own “discovery,” of your subject, as Hicks calls it. It could be a mood or facial expression that catches your attention. Adding your response to a portrait’s shapes is what makes the work unique. Hicks’ approach to portraiture strongly resonated with me, and I think it’ll inspire you, too. Stay tuned for more information about Ron's upcoming DVD on Artist Daily, and in the meantime there are brand new resources for all genres, approaches, and media in our online store. Enjoy! ----------------------------------------------------------------------------------------------------------------------------------------------------------- Glazing Excerpts - FROM: Courtney of the Artist Magazine "I have a confession to make: I've never glazed with oils. The process intimidates me a bit—creating luminosity and an inner glow on canvas is no easy feat—and I often lose steam after about the second layer. It takes so much time, and having to be so conscious of getting the layers thin sometimes trips me up. However, I've asked around and done some research and I've discovered that I'm not alone in my experience. Many painters don't glaze properly or consistently, and some use it just as a way to mask drawing mistakes. I think it's the waiting that stymies me the most. Pausing until each previous layer is absolutely dry means I'm painting less. This can be really frustrating when all I want to do is paint. But, whether it's easy or not, the effects of glazing are breathtaking. I love the tinted glow it enables painters to achieve. Sometimes my time or inclination don't allow for it, but there is something exciting about immersing myself in a technique just to see how it works and discover what I can learn from the process. I'm open to it, and I think that's enough for now. --------------------------------------------------------------------------------------------------------------------------------- Mildew / Mold Prevention Excerpts - FROM: Ted de Clercq of Naples, Artist and Teacher "This is exactly what I suggest to do. i would also suggest to varnish the painting as soon as it is well dried. Mold loves linseed oil and it grows right into the paint. varnish will stop this from happening. Some people like to wait until six months for the painting to dry but isolation varnish or retouch varnish which can be used between the layers of a painting made of damar or copal. I dont use either but it confirms that a layer of varnish. once a painting is dry would not damage a painting. You may have to varnish it again after six months as the varnish may be absorbed by some areas of the painting and will look mat. Ted" Ted de Clercq -------------------------------------------------------------------------------------------------------------------------------------- A Model’s Pose: It Needs to Come Naturally Excerpts - FROM: The Artist Magazine's Quang Ho "I'm a lounger by nature. Why stand when I can sit? Why sit when I can curl up on the nearest comfy couch? This has made my posture the bane of my grandmother's existence, but it has put me in good stead with artist-friends who need a model that doesn't stiffen up. Having attended demonstrations and been in classes where really good artists work with models, the quality that those artists almost always try to tease out from their sitters is an implicit ease; a natural, unposed quality that seems effortless yet is visually interesting. Allowing models to incorporate clothing and jewelry that indicate their personal style can put them at ease while creating a unique visual treatment. When you have your sketchbook and are out drawing or taking inspirational photos of places and people, think about the kinds of poses you are drawn to. Is the figure compact and curled up or loose-limbed? Supine or prone? Active or at rest? For me, I have always been drawn to more compressed poses that hide more than they reveal and that put more asymmetry into the human form. It's certainly not a classical treatment, but it's what my eye finds engaging. -------------------------------------------------------------------------------------------------------------------------------------- |
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