Highlights from the art workshop in Provence, France!
Check out some of the wonderful student art from this year’s Art Retreat in Kauai…
I took a group of artists to KAUAI to paint again this year…
Looking back to my art successes — both personal triumphs and award recognition — some credit goes to my art groups.
Getting feedback on my work from other artists is SO valuable. I consider it to be my single most effective resource for inspiring and improving my work.
WHAT A GROUP CAN DO FOR YOU…
Some groups create an incentive to produce art — after all, you’ll want to have something to show at the meetings! Plus, after a few hours of talking art you’ll be wanting to paint.
Some groups get together to paint. My fall 2015 bird class at Village Gallery decided to meet on their own to paint after the classes ended. Here they are with their paintings – some are in progress.
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| Ronna, Mary Lou, Gail, Robin & Meg (JoAnn was painting with me at the Kauai workshop) |
Some groups offer an art critique. Cultivate a culture of respect and trust and you will have access to a wide range of ideas and possibilities. There are times when we get stuck with a painting and can’t figure out what it needs! Feedback from others is SO valuable.
Most groups create friendships and a cross pollination of ideas. You might be introduced to the work of other artists or where to go to print greeting cards or how to set up a studio.
MY GROUPS
I belong to a total of six different art groups now and they all have something unique and valuable to offer!
I joined Westside Critique group 7 years ago. Through their camaraderie and support I have flourished! In working with this group I’ve discovered many of the techniques I use in my art today. We meet once a month and paint together each August at the coast.
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| WESTSIDE CRITIQUE GROUP PAINTING AT JUDI WYGANT’S BEACH HOUSE |
Two large and well established groups — Painters Showcase and Lake Area Artists — pool resources to put on art shows and sales.
The very first travel workshop I led in Tuscany formed an art group of their own, The Melogranos. I am an honorary member and love being connected with them.
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| THE ORIGINAL MELOGRANOS with LINDA & CAROL |
The other two groups started in 2015. They are both intensionally quite small. The Moas, forming out of the momentum of an exploratory trip to France, offers camaraderie, inspiration and a strong emotional connection.
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Critical Mass has just 4 members but is a powerful “teaching” group that helps focus my art career. It began when Liz Walker asked if I would get together with her to critique our work. The next month we asked Geoffrey McCormack and Chris Stubbs to join us. We talk about contests, inspiration and sometimes the “business” of art.
I very much recommend finding a group to join or starting one of your own.
TO START A GROUP…
CHOOSE MEMBERS
Determine how many members you want.
Identify others who produce art regularly and embrace artistic growth.
Look for artists who have integrity and are completely trustworthy.
Welcome a variety of styles and personalities.
Make sure potential participants realize the extent of their commitment to the group.
One way to add to your group is to invite prospective members to submit work and attend one meeting, after which both decide if the match feels right.
MEETING PLACE
Decide where and how often to meet.
SET GROUP GUIDELINES
Intimacy: A group where members feel safe to be completely vulnerable.
Nurturing: Members will support each other in reaching their goals.
Respect: Members communicate thoughtfully and constructively and have a good ability to listen.
Inspiration: Artist members should feel free to share artistic ideas and opportunities.
FORMAT FOR CRITIQUING
How much time does each person get?
Will we use a timer?
Can we meet at a time not used for art making?
How long will our meetings last?
DEFINE INDIVIDUAL GOALS
What is it that’s calling you? (Media, size, subject?)
What are your artistic strengths, weaknesses?
What would you like to say, create, achieve with your art?
What’s holding you back?
What’s your wildest art dream?
What do you want from the group?
How can the group help? best support your vision?
Where do you find your inspiration?
Goal for next meeting?
CREATE A MISSION STATEMENT
Based on joint goals…
CHOOSE A NAME
It is good to have an identity for your group. Some groups prefer to “grow” into their name instead of choosing one too quickly.
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| “The Raven” which hangs in OSA’s 12×12 fundraiser show sold on the opening day! I painted it on a very textured paper called Shizen, treated with matte medium, and over a poured watercolor background. |
Preparing for a portrait session in Hermiston with Watercolor Society of Oregon, I began to think about what strategies work for me when I’m painting. So I wrote them down. I was planning on 5, but the ideas just kept coming!
Approaching my work with these ideas in mind, things seem to flow better for me. They may resonate with you, too…
1/ KNOW WHERE YOU’RE GOING
Your odds of getting there greatly increase. Make several rough sketches to work out the design issues in advance. Be sure to include value shapes and your color palette.
2/ START LOOSE
Once you begin to nit pick, it’s very hard to stop. There’s a place for that, but not usually right off. I often spend 10% of the time creating the bulk of a painting. Adding the last bit of paint takes the other 90% of my time!
3/ LOOK FOR COLOR
You won’t see it there, in your reference, if you haven’t gotten into the habit of looking for it. But when you know where to look, you will find it!
4/ LET PLAY HAPPEN
You will never know if you’re going to like a painting later on unless you give it a chance. Usually the more it’s mucked with the worse it looks. You can always change it later if it’s still not working, but paintings often look best when you aren’t controlling everything.
5/ LOWER YOUR EXPECTATIONS
Don’t imagine it should look refined or finished — it’s still the diamond in the rough. Becoming precious is usually the death of creativity. If even half of your paintings turn out, that’s wonderful! Just make a few extra.
6/ COMBINE ALL THE BEST FEATURES
You can use the face from one photo, the body from another with a background from a different image — just be sure it all reads believably.
7/ BE PATIENT WHILE IT DRIES
Work on several paintings at once and it’s much easier to stop to allow drying time at a critical point. Then check occasionally to see that you like what is happening as the paint dries.
8/ LISTEN TO WHAT THE PAINTING IS SAYING
I spend a lot of time looking at a painting in progress and thinking about where it needs to go. It will tell you, if you listen!
9/ FIND PLACES TO BLUR EDGES
Often what isn’t described becomes more interesting than what is. Experiment with leaving information out to let the viewer fill it in. That way it becomes interactive!
10/ KEEP THE FAITH
Things have a tendency to fall into place if you give it time. Better to wait until you know what the painting needs than to rush in without considering. On the other hand, trying something, even when we’re not sure how it will work out, is how we learn!
I’m busily planning my booth for the Painter’s Showcase art show & sale. If you’re not already familiar with the event,
it has been happening for at least 35 years, and this will be my second year to participate.
Photos from 2014…
You’ll see a whole new slate of paintings this year, and I plan to have prints to sell, for the first time!
And cards, of course.
Where: The Reserve Vineyards & Golf Club
4805 SW 229th Ave
Aloha, Oregon 97007
503. 649. 8191
When: September 18th, 19th & 20th
Hours: Friday & Saturday 10 am to 8 pm
Sunday 10 am to 5 pm
Reception: Meet the Artists
Wine, Appetizers, Music
5 to 8 pm Friday & Saturday night
Admission: Free
Parking: Free
Drawing: Chance to win one of eight original paintings
Website: www.painters-showcase.com
Facebook Page: Painters Showcase of Portland
Here is the postcard…
Check out our Facebook page
I know I will show “The Dance” which is 22 x 30
She is marbled over the painting and then painted over that.
And these northern gannets painted on marbled paper,
painted at Menucha during the Creative Arts Community camp.
“Love Struck” 14 x 14, framed 20 x 20
I’m working to finish unveil a new painting of a brown pelican, 22 x 30
I DO hope to actually be painting there as well — considering I plan to be there most of the time and still need to prepare paintings for my portrait breakout demo in Hermiston for WSO, October 3rd.
Maybe I’ll see you one of those places!
I decided a year ago to join the experimental group, ISEA — seemed like a good fit for me! And I noticed I could join as a lifetime member. So I took the plunge 🙂 and started entering. Nothing the first year — you know how it is.
But this year I am one of four Oregon artists whose work made the show in Traverse City, Michigan — I recently packaged my painting and sent it off. You might enjoy seeing all our accepted work. How diverse each piece is!
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Geoffrey McCormack
“Science for a Changing World / Blue Water.”
This painting is created digitally and printed.
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Susan Greenbaum
“Tactile”
Yes! Look at that texture… it is so beautifully layered. And the color palette
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Rene Eisenbart
“Reincarnation”
Marbling, of course, for me. This piece helped me get NWS acceptance. It was the painting that was NOT used for the Home & Gardens poster (the original poster art was a gift for editor Sandra Rowe).
You can see it before marbling HERE. MUCH better after!
You can see it before marbling HERE. MUCH better after!
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Airi Foote
“Rustic”
It’s “painted” with rust and coffee — no actual paint! How cool is that?!!!
Summer may be over,
but it was certainly memorable.
We had a ton of fun in my backyard with the summer marbling workshops!
Pretty amazing work came out of the marbling bath. No surprise there — I was working with some very accomplished artists. Note the LARGE pieces on the line!
Intense lighting during the first workshop made photographing a challenge — not to mention I was preoccupied with teaching. Still, this will give you a flavor of the experience.
Lots of room outdoors for rinsing and drying.
Lining the walls and carpet inside with plastic and tarps worked perfectly!
Everyone had their own counter-height table.
Smaller trays inside, and we got out the big tray day 2 outside (below)
The quality of work was amazing and magical — even backlit you can see it!
This lovely piece by Donna Jarvis, “Tea and Incense”, took a prize at Painters Showcase. She said it transformed a painting that wasn’t working before. Isn’t it magical?
Sue marbled this cat wine bottle and gifted me with it — full of white wine! After consuming the wine (it was Tom’s birthday after all!) I repurposed it with a pour spout.
After the class I experimented with marbling on prints from my Canon on photo paper — and it worked well! That’s one way to test out patterns before you commit to marbling over an original.
And I marbled this nandina on a 12 x 12 cradled panel. It sold at the Creative Arts Community gallery at Menucha.
Our second group with their favorite marbled pieces.
A few examples of student work from the second workshop…
The feedback on this workshop was very positive!
Here are comments about the experience:
“I’m a realistic painter, and wondered how i would use marbling. My hope was that I could “improve” my art with marbling. It was a very hot day, but we were in Rene’s cool basement, but had sunshine for our papers to dry outside.
Rene prepared for what felt like days and days to make us comfortable, and to have the whole adventure go smoothly. She was patient, accommodating, cheerful, and extremely knowledgeable about all that she shared with us. It was all so much fun, I almost didn’t realize how much I learned in two days.
It was an all round great experience, and I hope to do it again sometime. I am now spending time thinking about my work and which pieces I could marble, and all the effects I can create.
Thanks, Rene, for all you did for us.”
Kris Preslan
“I was so delighted with the results of the marbling over my two “losers” that I am matting and framing them and bringing them to the Painters Showcase Show. I also embellished another plain marbled sheet and will show it also.
I want to be counted as one who thoroughly enjoyed your workshop and appreciated all the extra work you went to, to keep us cool.”
Donna Jarvis
I spent the second half of May leading a workshop in Tuscany.
There were 10 of us.
How lucky we feel, to be in this place with such fabulous traveling companions!
It was a wonderful experience.
How lucky we feel, to be in this place with such fabulous traveling companions!
It was a wonderful experience.
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There is art everywhere in Italy!
Here is a slideshow of beautiful art that was created during this time together.
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We cooked and ate the most amazing food!
Laura prepared our first feast and others followed.
Laura prepared our first feast and others followed.
Here are just a few…
We took long, rejuvenating walks in the countryside.
And enjoyed pleasant evenings under the tuscan sun!
We spent a day painting and seeing the sights in Portovenere.
Janet showed us how she makes
accordion paintings (left) that show a different image viewed from different angles.
And we looked through her detailed sketchbook studies (right).
We visited Mary Lee in Nocchi — here’s her bright and beautiful kitchen…
…and then went on to Pietrasanta to see the huge sculptural installations in the city center.
I could put my foot inside the nostril!
I could put my foot inside the nostril!
Marge Pucchi, an artist living above Lucca, came to visit and brought her work to show us.
And I showed her the portrait I’d been working on…
Laura led us in this group mosaic project…
…and made seafood on the half shell to go with it!
Parting shot — the group is ready to head out on our last day.
I look forward to traveling with many of you again!
next year’s trip will be to France…
Several participants in this workshop group have already travelled with me on two or three trips and are signing up for France next year! This is undoubtably the very best compliment they could possibly give. Here is what they are saying:
As always, the workshop was the epitome of professionalism. You three work beautifully as a team — all conscientious, but also full of the joy of art and travel. The instruction was detailed, precise, focused and beautifully connected to the location. The critiques were kind, useful and encouraging. The food, music and humor were an extra delight — icing on a rich cake. The balance between exploration and time to work was well planned.
Sue
Loved the house where we stayed. Of course the time to paint was wonderful — especially the whole days. An amazing, life changing experience. Everything is beautiful & delicious. You cannot help but improve as an artist.
Peggy
Hard to choose what I liked best — from wonderful accommodations & fellow artists to informative lessons and critiques — all were great. And did I mention the field trips? Loved the flexibility in how we were using time. An incredible, joyful learning experience in a magical environment.
Joni
I would absolutely recommend it. Educationally this was an amazing 2 weeks. Financially the best value ever. Enticement? If you want the chance to learn about painting and have the time to try it out, sign up!
Chris
I look forward to another workshop with Rene for a year. I couldn’t have enjoyed the demos more — inspiration to try a new technique. Thank you —
Verna
I am so filled up with the joy of our shared time together in Tuscany. It was one of my most enjoyable experiences. Your companionship, sparkling personalities, remarkable skill sets from your lives, love of art, courage to be yourself in luminous watercolor, will be a treasure for me to remember.
Immerse yourself in the experience of creating, discussing, loving art outside of your regular routine. You will be uplifted, inspired and form lasting bonds with like minded artists.