Workshop participants first did quick sketches (on the right), then they created detailed paintings (center) from the sketch and the actual set-up (at left).
Bob Lenz underpainted a grisaille and then glazed colors to capture the appearance of the metal object in his still life.
Bob Lenz underpainted a grisaille and then glazed colors to capture the appearance of the metal object in his still life.
I just finished writing an article on John Bosquet-Morra's (www.johnmorrapainting.com) recent workshop at the Grand Central Academy of Art (www.grandcentralacademy.classicist.org) for the spring, 2010 issue of Workshop (www.artistdaily.com), and I enjoyed writing about an instructor who encourages students to expand their ideas about still lifes. John suggests using non-traditional materials like small appliances, bricks, and hardware as well as standard fruits and flowers; and he shows how artists can select items that all relate to a story, recipe, or theme. For example, he recommended painting a still life of all the items listed in a cooking recipe so they have a practical relationship to each other.
John also demonstrated several painting techniques, include alla prima direct painting and glazing over a monochromatic grisaille ("gray painting"). That is, he showed how to paint wet-into-wet to develop an oil painting without having to wait for each layer of paint to dry; and he explained how to first paint the dark, middle, and light values with a limited palette of colors and later glaze over thin, transparent colors. Bob Lenz, one of the workshop participants, found the grisaille method appropriate for painting a metail object in his still life.
John recently switched New York galleries and is now represented by the Eleanor Ettinger Gallery in Soho (www.eegallery.com).
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