Showing posts with label Ned Jacob. Show all posts
Showing posts with label Ned Jacob. Show all posts

Wednesday, January 28, 2009

A Member of the Tribe

Twilight Rise
18 x 24 oil on linen
Available at Deborah Paris Fine Art


Ever since Seth Godin published his book, there's been a lot of talk about tribes- how to build them, lead them, market and sell to them. But, whenever I hear that word, I can't help thinking about the first time I heard it applied to artists.

In June of 1992 I took a workshop with Ned Jacob in Maine. I had only recently started painting again after a long hiatus and pursuit of another career, in which I was still fully engaged. I didn't know who Ned was- didn't know that he was practically a legend to representational painters (particularly in the West) and that he was revered as a master draughtsman, painter and teacher. I just knew that I liked the description of the class in the brochure I received and that the dates fit in with the week of vacation I had coming.

The workshop was held at a summer place with an inn and cottages near Rockport. It had a small building that was used as a studio. Everyone stayed on site and meals where taken together-family style. Although the class was billed as a landscape workshop, it soon burst out of those narrow confines into something much bigger and quite magical. Ned loves the figure and soon found a model, so we painted outdoors all day, then did life drawing in the evenings after dinner, looked at thousand of slides of paintings by artists like Sorolla and Levitan, and talked endlessly about art. It was pure heaven.

One morning we were painting at the harbor in town. Ned was in the middle of a demo and we had all learned by that time he expected quiet, rapt attention when he painted. As we stood around in hushed reverence, a woman came over and started talking to him-chatting away about the fact that she too was a painter. When she left, another student made a remark about the intrusion. Ned looked up and smiled and said "its ok- she's a member of the tribe". And, then he explained his idea that all artists were members of a tribe- one that spanned both space and time - a tribe that included the cave painters, Rembrandt, and even me.

That week changed the course of my life- or perhaps more accurately- rerouted it to its original heading. I understood what I was meant to do and that I was indeed a member of the tribe.

Saturday, April 5, 2008

Panels & Palettes


The Pool at Dusk
Oil 20 x 30


After my last post (thanking everyone who responded), I got several emails this past week from people wanting to know what I had discovered on my quest to reproduce the Magic Panel. I got a huge amount of information and some differences of opinion, all of which I appreciate immensely. Right now I am doing my own little R&D project by testing out three different gessos (Artisan, Utrecht, and Art Boards) and Gamblin Ground on hardboard, gatorboard and birch. The plan is to make a bunch of different panels with different grounds and supports, paint on them, then report back.

I've also had several emails over the last few months asking about my palette. I talked a little about that and my technique for doing under paintings followed by layers of transparent color here. When I started to paint again about 18 years ago (yikes!), I started with a limited palette because that's what my teacher and mentor, Ned Jacob, used. I stuck with it for a long time and I'm glad I did. Limited palettes are great for teaching you how to mix color and making you focus on the components of color (value, temperature and chroma). As time went by, I modified the limited palette to suit my needs, but pretty much stayed with primaries, ivory black and white. Last year, when I started working in a more indirect manner, using glazes and scumbling, I knew that I needed to address opacity vs transparency, something I'd not ever really thought much about.

I started out by working with the transparent colors that are well known and obvious- ivory black, burnt sienna, sap green, ultramarine blue. I also already had a color called Shale by Vasari on my palette which is a rich warm transparent dark with a violet undertone. An artist friend suggested I try Indian Yellow - and that was all it took- I was hooked. Wow! what a color! Where had it been all my life!! What other colors had I been ignoring?!?

A little research quickly led me to Gamblin. I was already using some of their products (Gamsol, primarily) so I checked out their line of transparent colors. Now many are in my paint box- transparent orange (every bit as wonderful as it sounds), transparent earth yellow, transparent earth red, ultramarine violet, brown pink (delicious!), hansa yellow light, terre verte, olive green and indanthrone blue. I've also added naples yellow, which is opaque, but mixes beautifully with many of these transparent colors.

So that is how I went from three colors to a "joy ride in a paint box"( as Churchill once famously said) .