AMO Art Chat
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Descriptions of upcoming AMO Art Chat shows
Just a quick little blogcast in which I talk about the MAC’s Area Art show and my entries into the show–which ones make it and one that didn’t. I also talk about the books and the progress on book four.
Check it out and have a great day!
From time to time I like to share my process and latest paintings here. This one was especially fun. “French Kissed Sunset” started out as a photograph taken by a friend and collector at his place in France. It was a gorgeous sunset and I asked Peter if I could use his photograph for a painting. He agreed and then we discussed his favorite artist–JMW Turner. After the conversation, I knew exactly which Turner painting Peter had in his mind. The challenge was made and accepted! Could I paint something that would remind Peter of a Turner painting? Our styles are so different–so very different.
I love challenges that make me think. As many of you know, I usually start my paintings with a gray scale or value study before I lay down the paint. My concern with this painting was that the gray value study was that I would not be able to get the painting as bright as I wanted it in the final stages. So I decided to start with a series of glazes to set the value and tone of the painting. Here’s the result.
While I was playing with the glazes, I was breaking down the basic color that I wanted in each area. I changed up my palette–I used Michael Harding Brunt Umber, Amethyst, French Ultramarine Blue. I didn’t grab my Michael Hardings Cadmium Yellow because it was buried on my table and I did the glazing for my class. I used instead Gamblin’s Cadmium Yellow. After having used Michael Harding paints for so long and their reputation for high pigment content, I was really disappointed with how dingy the yellow was in this first and second pass.
While I worked, I had in mind values and how I wanted the land to lay, placement of trees and all that good stuff. The sky and its reflection in the water were the star, so as I worked, I was also thinking composition. Here’s a black and white of the first pass glazing:
Not bad, but I wanted that water and sky to sing.
The second session I decided that I would use brushes and lay on a thin layer of paint. As I anxiously waited for my Michael Harding Cadmium Yellow to arrive, I ended up using the Gamblin Cadmium Yellow again. I thought maybe the medium I used to glaze with might have interacted with the Gamblin paint and dulled it. Here’s the result of the second process side by side with the black and white photo to check values.
I definitely did not like that Gamblin Cadmium Yellow. It was not doing what I wanted. I looked at the black and white, and even the lightest value was too dark. I over-played the trees too, but I wasn’t worried about that as I was going to paint them over again anyway. I was still playing with composition and placements too.
So, the last stage was my palette knife and laying on some thick paint. My Michael Harding Cadmium Yellow arrived, and I changed up my palette a little too. My palette consisted of Michael Harding French Ultramarine, Brunt Umber, Alizarin Crimson–which I mixed to make the “black,” Cadmium Yellow, Cadmium Red, Amethyst (which I also mixed with the Brunt Umber to use in the dark land mass), and Lapis Lazuli. Well–that Yellow Cadmium of Michael’s made all the difference as far as I’m concerned!
Here’s the final painting–and you can tell I wanted an O-shaped composition, keeping the eye of the viewer in that O of reflection and sky.
The happiest of all endings: Peter, my friend and collector, loved it! It will be shipped to hang in his home in France where they can compare the sunset de jour to my painting every day!
How cool is that?!!
Thank you for registering for the workshop over on Paypal.
Linda will be in touch with you shortly.
We look forward to meeting you!
New Pickwick Workshop Series Offered in Downtown Middletown
Finally!!! I can finally announce a partnership that promises to bring some nationally recognized artist to Downtown Middletown and we are pretty darn excited about it!
Chris Lohr, owned of the Pickwick House & Studio, and Linda Riesenberg Fisler chatted over lunch one day. Linda expressed her desire to host a workshop series and Chris joined Linda in that desire. After a little more conversation, the Pickwick Studio Workshop Series was created!!
Chris and Linda met a few times discussing the details and then they got to work. After having attended many workshops, instructing, and talking with other artists, it was clear that students lamented that they desired smaller class sizes so that more one on one instruction could be given. They also lamented that they would prefer to have workshop offered to just intermediate to advanced students so that time could be spent on topics not covered due to the limitations of time and class size.
“I’ve always wanted to launch a series of workshops that was geared to a piece of the art market that I don’t think is being addressed; a small class size (ten students) filled with artists who are at the intermediate to advance level and want a fun but intensive experience with a master artist. If we could have gone smaller and made the numbers work, meaning cover the daily rate of the master artist and other costs, we would have. The numbers don’t work for anything smaller, but we are hopeful that this experience will blow artists away!” Riesenberg-Fisler commented. “Chris and I are into a lot of different things–writing, creating music, marketing, and so on. We may even expand our scope a bit in the future. It’s a thought, but for now we are focused on bringing master artists here for workshops that intermediate to advanced painters would enjoy attending. These workshop are designed to help us up our game, be intensive, provide lots of attention, but be friendly and fun too.” The Pickwick Studio Workshop Series is just starting out and just starting to pull its 2017 calendar together, but it is not wasting any time!
Kicking off the series is a nationally recognized master artist who lives forty miles from the Canadian border in Montana. Carolyn Anderson, who has appeared as a guest on Riesenberg Fisler’s Art Chat a number of times, will open the series in March. Carolyn is well known to artists and her work is recognized across the nation. “The workshop will focus on fixed subject with fixed light,” Carolyn explained. “We’ll be painting utilizing live models and on the last day, we’ll discuss painting from photographs.” For more on the workshop, which is entitled, “Interpreting Reality”, Click here.
In July 2017, Pickwick Studio Workshop Series welcome Debra Keirce, who is a master artist who specializes in painting miniatures. Here paintings can sit in the palm of your hand, but the detail achieved is amazing! Debra lives in Virginia and travels across the nation(and sometimes internationally) conducting workshops, attending award shows for miniatures and painting with her group of artist mentors. She also has been a guest on Art Chat. “The benefits of painting in miniature include smaller work and storage spaces, less expense in supplies and shipping, a unique niche audience in the art world, and the camaraderie of a unique group of artists once you are assimilated into the societies and shows.” Debra described. For more information on this workshop, Click here.
You may recall that these workshops are design to accommodate a small number of artists–TEN–to be precise. If you want to attend either or both of these workshops, we advise you to sign up quickly. Don’t take a chance and wait–it may fill up quickly and you’ll be left out in the cold!
For more information, Click Here
We are taking a little break from Art Chat this month, but will be back in November! Steven DaLuz will be joining us. I’m really excited to be talking to Steven. The topic will be about his process and about tapping into our imagination to help us create. More on that in the next newsletter.
In this newsletter, we need a little help from our friends. It’s survey time. I really enjoy conducting the interviews for Art Chat. My goal was and still is, “To provide today’s artist and future artists with information from our current Master artists.” I have always wanted Art Chat to be a historical record of our art journey for future artists to look back on and listen to with enjoyment and maybe a touch of awe. I think about what we would have learned if this technology was available when Claude Monet was painting–or Da Vinci or (fill in your favorite artist here).
However, after a while you wonder if it is making a difference and if people are appreciating the work that goes into getting these done. And you wonder who else we should capture for historical sake. This is where you come in!!
I’ve created a two question survey for Art Chats. If you could take the time to provide me with a little direction–who you would like to hear on Art Chat and the topics you want to hear about, I would be very grateful.