The Spectator

"A Rising Tide Lifts All Boats"

2011-08-25T13:01:00.000-07:00

Last night, a dear friend and extraordinary man Gordon Wetmore passed away after a brief illness. A prolific and talented artist, he also founded the Portrait Society of America. Gordon was a man of imposing physical stature with a gentle, kind spirit.

For over 40 years he has successfully painted hundreds of portraits for families, business and institutions. He also illustrated several books, and his paintings from his travels represented a diary of Gordon's love of the world around him.

His creation of the PSA will also be a large part of his legacy and will continue to impact many lives as well. It has grown to over 3,000 members strong. It's annual portrait competition is one of the most recognized in the world and important in advancing the field of fine art figure and portraiture. He had a strong belief that together we had the power to grow as artists by sharing with each other. "A rising tide lifts all boats" he often said to me.

I have known Gordon for most of my career. I will miss his phone calls, his visits, and hearing his latest ideas for how to grow and strengthen appreciation for fine art. His encouragement and belief in me as an artist has meant so much. Winning the 2001 Grand Prize at the Portrait Society competition literally changed my career in more ways than I can begin to count. For these things and more I will forever be grateful.

A few years ago, I received an envelope from Gordon with a small printed quote inside. He said one of his daughters had shared a similar one with him. I taped it next to my computer and treasure it to this day. It reads:

"The Lord...has filled him with the spirit of God...and knowledge to design artistic works...and he has put in his heart the ability to teach." Exodus 35:30-34

Certainly a beautiful description of Gordon. He loved art, people, his family, but most importantly he loved the Lord. He was a devoted Christian who lived his life in a way that always pointed directly to his faith and his heavenly Father. I'll miss my friend... a fine artist, but even more importantly, a fine human being.

Paul Stevens • A lesson in Achievement

2011-07-04T10:20:00.000-07:00

One of my favorite parts of my job as an artist is meeting THE most fascinating people. Not only are you working to capture their outer likeness on canvas, you are also getting to know them as human beings... their unique, individual character and personality.

I just delivered a head portrait of a remarkably talented man. Once assistant to President Reagan for National Security Affairs, Mr. Stevens is now President of the national association of US investment companies. He also received the highest civilian honor from the Defense Department for distinguished public service. Oh, did I mention he also argued a case before the Supreme Court!

Well, if that was not enough this husband and father of four is also a author. I recently was introduced to his two "common place" books. I was not familiar with this genre of literature! The dictionary defines it as a "personal notebook of literary excerpts: used for copying down quotations and memorable passages from other books"

I just finished his second common place book entitled "Leaky Ships". You can find it on Amazon.com:

(http://www.amazon.com/Leaky-Ships-Paul-Schott-Stevens/dp/B002RH7BAG/ref=sr_1_3?ie=UTF8&qid=1309800980&sr=8-3)

For those of you who love little pieces of interesting or obscure information, a bit of poetry, or a not so well known turn of phrase.... check out this wonderful collection by a truly fascinating guy.

All I Nose about the Nose--A Few Tips

2011-03-16T09:07:00.000-07:00

(Actor John Barrymore • Collection of the Players Club; NYC, NY)

I have always found painting noses to be so fun! They are incredibly different from person to person. No two noses are the same. Getting the structure of the nose is so important. Understanding that there are planes is invaluable. The goal of the artist is to create a nose on the face that feels three-dimensional. The nose should feel as though it comes forward from the face.

The nose is basically a combination of a box and a ball. The bridge of the nose is more box like in structure and the tip of the nose is more ball like. The forms on the bridge a cleaner and distinct like the planes of a box, the ball or tip or the nose is subtler in form like that of a ball.

I try and look at the nose as a series of planes. Identifying the side planes, the top plane, the tip of the nose and the plane that drops under the tip of the nose as it descends to the mouth area of the face. Usually the side planes of the nose on either side can be a distinctly different value that the cheek plane. Sometimes this can be very subtle, especially in the light and may only change in temperature not value.

I think nostrils are often painted too dark and lacking in color or temperature in many portraits. Look for the warmth in the nostril, especially on the lit side. Sometimes the nostril on the side with the cast shadow can be painted as one, showing no distinct separation between the nostril and the cast shadow, which is usually this cast shadow, is very warm. Look to Sargent for examples.

The nose is generally quite warm in temperature as a whole. This is obviously truer in lighter complexions, but can often be seen even in darker skin as well. The tip of the nose can be very warm in some people.

Follow the highlight as it comes down the bridge of the nose. It sits just on the edge of the top plane and the side plane of the nose closest to the light. It runs down the nose, following the edge of the plane, then breaks just before it gets to the ball of the nose. Then just below the long highlight, there is a highlight on the ball of the nose. These highlights are most often a lighter version of the main color of the nose. But not pure white!

Study noses. Make sketches both in oil and pencil. Try a variety of lighting conditions of the nose to gain a better understanding of its structure and unique qualities. They are fun, unique and a great lesson in structure, volume, temperature and edges.

“Is painting simply an imitative art? continued...

2011-03-10T20:14:00.000-08:00

(Figure of woman: by Everett Raymond Kinstler)

(Figure of child: by Dawn E. Whitelaw)

My post yesterday was a portion of an article I wrote about a" tradition of painting" and some of it's qualities/principles. I shortened it considerably, but here it is in it's entirety. Thanks for all the comments and interest!

While in college taking my first painting class with my teacher, Dawn Whitelaw, an accomplished and gifted artist, she suggested that I go to the library and pick up a book on Everett Raymond Kinstler. She explained that I would be attracted to his work with my natural inclination toward a “brushy” style. Little did I know that my interest and study of Mr. Kinstler’s paintings would spark a long journey of discovery, finding many great artists along the way.

There are many styles and techniques in the world of painting. As John Singer Sargent once said, “There are many roads to Rome. One may get there by a method or no method at all.” John Johansen (a student of Frank Duveneck), one of Mr. Kinstler’s teachers always made a point to tell his students that he was teaching “a way of painting, not the way.” The style of painting that has interested me the most has been called, for lack of better terms, bravura painting, direct painting, painting with impasto, even the very intimidating ala prima painting. These are all adequately descriptive titles, but I like the title “brushy realism.”

There are many artists associated with this style, such as 18^th century artists Diego Velasquez and Frans Hals. Their work has made an impact that has lasted for generations. Other artists directly associated with this painterly lineage are 19^th and 20^th century painters such as Henry Raeburn (1756-1823), Carolus Duran (1837-1917), Édouard Manet (1832-1883), John Singer Sargent (1856-1925), Joaquín Sorolla (1863-1923), Anders Zorn (1860-1920), Robert Henri (1865-1929), Gordon Stevenson (1892-1982), and the more contemporary Everett Raymond Kinstler (1926-), Cedric Egeli (1936-), Scott Burdick (1967-), Dan Gerhartz (1965-) or Bettina Steinke (1913-1999), to name only a very few.

These painters are or were always given to painting with a broad brush, squinting to see the simple effect, editing wherever possible and creating a luminous color from a limited palette. They created not only masterful works of art, but also the illusion of space and light. Selecting visual information and not simply recording information is the object of every artist in this school of painting. The goal is to create the illusion of reality and to give the viewer a rich and almost intoxicating enjoyment of the painting style itself.

As a lover of history I have long had a great desire to understand the past as a way of exploring the future. I am fascinated by the continuity of information through the centuries that has affected the style of painting that is my passion. This information has been passed down from teacher to student with great clarity for generations.

Recently, I discovered a Harper’s Weekly article on the teaching of Carolus Duran written in the 1880’s. A student was enrolled in Duran’s classes in Paris and carefully recorded the critique sessions held in the studio each week. As I read the article, I was reading the words of Duran as he spoke to his students. But as I read, I could hear the same words coming from my own teacher, Everett Raymond Kinstler. I was amazed at how many of these same ideas and principles had survived intact for over 100 years. I would not hesitate to suggest that these recede in time beyond Duran to the days of Diego Velazquez.

In speaking to his students in review of their work, Duran took time to expound upon painting and working as an artist. In one such lesson, Mr. Duran speaks on the value of individuality with respect to tradition, warning his students to not merely copy the great artists of the past.

Duran states, “But what are we all but the result of tradition? –only we ought to be free to choose in the direction that agrees with our aspirations, and not have imposed upon us those of another man, however great he my be.” He continues, “Art lives only by individual expression. Where would we be if the great masters of all times had only looked to the past—they who not only prepared, but made the future?”

There is no doubt we stand firmly on the shoulders of the great artists of the past, as Duran states, but we should not feel compelled to merely imitate their style. While I want to learn as much as I can from them, I also want to experiment in my own work and paint what "I" see the way "I" see it.

Duran continued:

“Is painting simply an imitative art? No; it is, above all, an art of expression. There is not one of the great masters of whom this is not true. Even the masters who were most absorbed by outward beauty, being influenced by it according to the sensitiveness of their natures, understood that they neither could nor ought to reproduce anything but the spirit of nature either in form or color. Thus it happens that these masters have interpreted nature, and not given a literal translation. This interpretation is precisely what makes the personality of each of them. Without this individual point of view there can be no really original work.”

When I study many of the great, bold brush painters from centuries past to those alive today I consistently am interested in one ever present quality; their ability to edit or interpret nature, not simply copy it and their ability to capture the essential character of their subjects is often extraordinary. All painted from life.

This is a characteristic I hope to express in my own work. An “art of expression” free from distractions that sometimes come today from the overdependence on technology. In today’s world with the advancements of digital photography, computer screens and their ever-present seductive qualities of convenience, I must beware of the tendency to rely on my reactions to a photograph instead of my reaction to reality. Technology has the powerful force of eliminating the discovery process that should occur in the creation of a painting. As I have heard from my teachers before, with photos you almost see an end before you begin! We should continue to interact with and react to with our subjects, always interpreting what we see from our own unique perspectives.

Is painting simply an imitative art?

2011-03-09T15:02:00.000-08:00

Duran states:

In today’s world with the advancements of technology and their seductive qualities, we must all beware of a tendency to rely too much on a reaction to photographs--- rather than a reaction to our reality. Technology has the powerful force of eliminating the discovery process that should occur in painting. We should continue to interact with and react to our subjects as much as possible, always interpreting what we see from our own unique perspectives.

Beautiful at Any Age

2011-02-22T15:04:00.000-08:00

I often hear from perspective clients their concern over what age they should be painted or should have been painted as if there is a perfect age for a portrait! "I should have been painted before I was 40!" more than one person has told me. Thank goodness not everyone feels that way. If given the chance, an artist can find what is beautiful or handsome about people at every age.

Recently a wonderfully dignified Lady came to me for a portrait. I'm not quite sure how old she is, but I would say near 80 or a bit more. An artist herself, she enjoyed the idea of seeing how I would interpret her in paint.

She arrived in a full length fur coat and a string of pearls about 6 feet long! Having experienced a good and interesting life, she, like most, has weathered its ups and downs. The most traumatic "down" was surviving a near fatal car accident more than 30 years ago. After lying in a coma for weeks from a serious head injury, she was left basically paralyzed on one side of her face. With a positive outlook on life and the knowledge of a second chance she impresses you with a combination of determination and elegance.

I am excited to know a person who has embraced her years of life lived, in large part, as one of the greatest assets of her beauty.

I hope I captured her just as I found her... beautiful. I am most thankful for another memorable encounter. It's a privilege to be a portrait painter.

NEW Bravura Brush Series from Silver Brush

2010-04-20T21:24:00.000-07:00

www.silverbrush.com

2010-02-24T12:11:00.000-08:00

Traveling with Photo Equipment

If you are like me and paint portraits, you keep trying to refine what you take along for a photo shoot. Although I LOVE natural light and use it when ever I can, sometimes I need an artificial source.

I settled on this set up several years ago. It is not perfect, but works well enough for me. All of these products are small and fit nicely in a carry on bag for airplane travel. Mine has flown thousands of miles (notice my beat up metal reflector--it acts like a barn door) and still works great.

Here is where to find the equipment:

The Light:

http://www.alienbees.com/b800.html

The Light Stand:

http://www.amazon.com/Manfrotto-Retractable-Lightstand-Anodized-3373/dp/B00009XV2E

The Umbrella:

http://www.amazon.com/Westcott-White-Satin-Umbrella-Removable/dp/B0000AQJD8/ref=sr_1_11?ie=UTF8&s=electronics&qid=1267041494&sr=8-11

The Reflector:

http://www.amazon.com/LiteDisc-Reflector-Translucent-White-22-inch/dp/B00009VQEY/ref=pd_cp_e_2

Hands; What's the Point?

2010-02-11T12:34:00.000-08:00

Artists have long enjoyed the addition of hands to any portrait and

suffered over the consequences! You’ve often heard that many

people judge the quality of the portrait by the quality of the hands.

Adding expression and personality, the addition of hands can greatly

increase interest and likeness to any portrait. The most important

factor in painting hands is capturing the gesture. Hands are as

characteristic of the sitter as their face, but usually the way a person

uses their hands expressively in the pose is more valuable than

the detail added to them. Clasping the hands together in a prayerful

pose creates a distinctly different feeling than does a fist with the

thumb hooked on a man’s belt. An artists wants to create hands in

a composition that are characteristic of the personality and pose of

the sitter. The study of hands should remain a lifelong pursuit. Take

time to do studies of hands whenever you can. This may be for a

commissioned portrait or for your own growth as an artist. John C.

Johnasen, one of Mr. Kinstler’s amazing teachers, had a passion for

painting hands. In his lifetime he completed hundreds of studies,

placing the hands of both men and women in most any pose and

lighting condition he could think of. He kept these as references for

future portraits. If he had a pose he was having difficulty with, he

would search back through old sketches for inspiration.

When painting the hands after understanding the gesture, structure

the hand in simple planes. See the top portion of the hand as one

plane, from the knuckles to the first bend of the fingers as the

second plane, and the first bend to the tip of the fingers as the third

plane. Keep in mind that the hand is structured very much like

a box. It has a top and sides. The fingers are structured similarly

in a planed, box-like fashion. Simplify hands where you can, but

you may find that the suggestion of veins in the top of the hand or

fingernails a valuable addition.

Portrait Society of America 2010! I will be demonstrating an approach to painting hands at this years annual conference. For more information go to www.portraitsociety.org

Senator Byrd Celebrates 20,774 Days in Congress

2009-11-18T13:19:00.000-08:00

Today Senator Robert C. Byrd of West Virginia becomes the longest serving member of Congress in our nation's history. With his combined 6 years in the House of Represenatives and his unprecedented 9 consecutive terms in the Senate, he now totals over 56 years of service.

When he first came to Washington as a young Congressman from his home state (Jan. 3, 1953) Harry Truman was president and most Americans still looked to newspapers and the radio for their daily news.

I had the great fortune and priviledge of painting his portrait for the U.S. Senate. He is an amzaing man of dignity and charm and one of the most powerful intellects I have ever had the chance to encounter.

My Palette after Life Sitting

2009-11-13T07:59:00.000-08:00

A friend of mine suggested that I post a photo of my palette after my sitting yesterday. Boring or interesting...don't know????...but...here is a shot of the palette after 2 hours of painting a gentleman from life.

Painting Portraits: An Artist's Perspective Lecture Series

2009-09-01T08:38:00.000-07:00

Painting Portraits: An Artist's Perspective
Tuesdays, Oct. 20, 27, Nov. 3, 10 and 17
3-4:30, p.m., Ezell Center, David Lipscomb University

Nashville, Tennessee
Cost: $50
Instructor: Michael Shane Neal, artist

I will be presenting a series of lectures on my work as an artist paintng portraits. Each class will include a power point presentation as well as a behind the scenes look at some of my recent commissions. For more information contact the Lifelong Learning Office at 615-966-5733 or toll-free at 800-333-4358, ext. 5733 for a registration form. You may also contact Patty Dugger at 615-966-5733 or toll-free at 800-333-4358, ext. 5733 or e-mailPatty.Dugger@lipscomb.edu.

2009-08-28T13:25:00.000-07:00

Senator Ted Kennedy

As an artist who has had the incredible honor of working for the United States Senate, I had the pleasure of meeting Senator Kennedy on two occasions in the last couple of years. The first was after he introduced me at the unveiling of my portrait of Senator Robert Byrd. I was immediately impressed with his approachable nature and genuine interest in others.

A few months later, his office phoned to request a photo of my portrait of Senator Byrd. Senator Kennedy wanted to frame the image along with several mementoes including a handwritten note by his brother President John Kennedy and an autograph by his brother Bobby. The collage was a gift for Byrd’s 90^th birthday.

I was fortunate enough to receive an invitation to the event and enjoyed Senator Kennedy's remarks as master of ceremonies. In closing the festivities, he presented the gift to Byrd. Afterward, I spoke to Senator Kennedy and thanked him for including my portrait in such a special way. Once again I found him to be totally charming, engaging, and well versed in the art of portraiture. He had painted a bit himself and was a devoted art lover and collector.

When I learned early last year of his illness, I created a sketch of him on a small canvas panel and sent it as a sort of “get-well card”.

Although I often refer to my career as having only just begun, when I think of the many opportunities I have been given to meet such historical figures as Senator Edward Kennedy, I am truly amazed and grateful. I was impressed to find a man of such great power, talent and influence exercise grace and genuine curiosity in a young artist's work.

Sorolla: A Master of Color and Value

2009-06-10T07:45:00.000-07:00

My dear friend and teacher Everett Raymond Kinstler was a student of the great painter Gordon Stevenson (1892-1982). Stevenson studied with both John Singer Sargent and Joaquin Sorolla. While in Spain working with the great master artist, Stevenson was amazed at the clarity of color and mastery of value that came from the artist's brush.

Sorolla taught that good color comes from good value and a SIMPLE palette.

All too often we tend to think good color comes from the shelves of the local art store and the dozens of colors that are at our disposal. A friend reminded me recently of the simplicity of Sorolla's palette:

Zink white, Yellow Ochre, Seville Red Earth, Rose Madder, Ivory Black, Cassell Earth (Brown).

Remember...good color comes from good value, color harmony, and a simple palette!

Another Touch of Inspiration

2009-06-05T14:06:00.000-07:00

One of my favorite series of portraits by Everett Raymond Kinstler are those of Katharine Hepburn.

This one, currently hanging in a club in NYC blows me away everytime I see it. Mr. Kinstler's last of the great actress... it is my favorite.

Here is a CLOSE UP I shot recently. Look at those edges, volume, subtle value and temp shifts! Did I mention the likeness....wow! What a MASTER.

May Portrait Workshop

2009-06-03T13:39:00.001-07:00

I had a great week working with a fantastic class in my May workshop. Everyone dug in and worked hard. We enjoyed painting from life and sharing knowledge and experiences with each other. I am honored to have so many dedicated artists who travel from around the country ready and excited to learn and grow as artists.

Sargent.... once more---Ooh, La La

2009-05-06T12:45:00.000-07:00

Mr. Sargent

2009-04-29T19:47:00.000-07:00

I can never spend enough time with the indomitable Mr. Sargent. His paintings that is....which is as close as we get to the man. On Sunday I could not tare myself away from this portrait of Joseph Jefferson at the Players Club in NYC. Here is a neat shot that really shows his mastery of value, color, and edges. The head is so solid, so subtle that the great actor comes to life over 100 years after the final brush stroke!

The Value of Sittings from Life

2009-04-14T07:03:00.000-07:00

Last week I had the most wonderful experience with a family I am painting from Florida. They were gracious enough to pack their bags and come for sittings in my studio. A very large portrait, I have enjoyed the challenge of composing the painting and developing the diverse elements of the portrait. Although I request sittings with most of my subjects, this session was particularly valuable for refining likenesses and altering several of the important details. Working with my sitter, I gained invaluable insight as to the character of the dress and how the folds should fall while seated. We had a chance to create the "ideal" shapes for the dress and my composition. I also find that I adjust key values especially the darker tones. I usually discover a bit more "air" in these areas that I simply can't see in the photographs. Time and time again I find that having the input of my sitters gives me great insight into my subjects and the elements included in the painting. It also connects everyone to the adventure!

P.S. They left "Mountain" the dog at home with a sitter....probably a good idea!

Portrait Society of America Meeting April 23-26, 2009

2009-04-09T09:34:00.000-07:00

The Portrait Society of America will hold their annual conference in Washington D.C. in a few weeks. If you can make the trip, it is well worth it! There is a long list of artists who will demonstrate and lecture on the field of portraiture from setting up studios to marketing your work.

Click here for more information: http://www.portraitsociety.org/

I will be speaking and demonstrating during the weekend. In the upcoming issue of International Artist Magazine, my portrait of Judge Tony Scirica will be included along with a description of the process of creating the portrait. The magazine will be available soon, but here is a preview:

Introduction

I begin the process of creating my portrait of Chief Judge Scirica with a visit to his chambers in Philadelphia. A big believer in homework, I read a great deal about my subject before our first meeting and we enjoyed a nice lunch together shortly after I arrived. To be his official portrait for the court, we completed a photo-shoot in his chambers. I made numerous digital photos trying multiple poses and also created a quick sketch in oil on a canvas board as my first introduction to my subject in paint. No matter how brief the sketching encounter (in this case 40 minutes), I find it to be a very valuable part of the process of getting to know my subject. It will also help me to select good reference photos that more accurately capture the gesture and character of my subject. Like sketching the landscape, I remember more from this experience than I do from any snapshot with a camera. This entire process took most of the afternoon. I am now ready to return to the studio where I will study the reference and begin the portrait.

Step 1: Drawing

I love to draw (it was my first love as an artist), but I love to paint even more! Consequently, I begin by sketching out only the major proportions in soft charcoal. I fear a detailed drawing will lead to a filling in of the shapes and not the massing of the major proportions. The latter I believe can help to create a more “painterly” approach throughout. I want to feel the major proportions on the canvas hopefully with accuracy and energy. Once established I can refine the drawing with paint.

Step 3: The Particular

Now that the canvas is fully covered and the major effect is established, I can now spend time developing the areas of focus such as the head. I am only now thinking of likeness in a more specific way. In the previous steps I was only seeking the character of my model, the gesture of his pose, and the overall effect of the scene.

Step 6: The Finish
In the finished portrait I have spent considerable time on every area of the portrait. No area has not succumb to numerous adjustments as I worked to find my subjects likeness, quiet strength, and character. I am constantly striving for simplicity in effect, brush work and composition. Often I edit once more where I can as I near the finish with the simplicity of my earlier stages in mind.

The Richest Man in Babylon

2009-04-09T09:15:00.000-07:00

I recently read a wonderful book "The Richest Man in Babylon" which gives practical, simple, and time tested approaches to managing your money and business. It's a quick read and helpful to be given good common sense advice in a time filled with worry and noise... check it out!

Available on Amazon: http://www.amazon.com/Richest-Man-Babylon-George-Clason/dp/1607960664/ref=sr_1_1?ie=UTF8&s=books&qid=1239293633&sr=8-1

Exhibit at David Lipscomb 11-14 February 2009

2009-02-04T06:26:00.001-08:00

I am excited to have an exhibit of my work at Lipscomb University. Hope some of my friends can come!

Accuracy of an Impression
An Exhibit of Paintings by Michael Shane Neal

Wednesday, 11 February 2009- Saturday, 14 February 2009

Lipscomb University • Nashville, Tennessee
The Paul Rogers Room, Ezell Center
9:00am - 9:00pm
Reception, Presentation and Q&A
7pm Saturday, 14 February 2009
Swang Chapel, Ezell Center, Lipscomb Campus

Commencement Address

2008-12-22T09:48:00.000-08:00

I had the privilege of addressing the December 2008 Graduates of my Alma Mater, Lipscomb University on December 20, 2008. The follow are my comments to the graduating class. I recently mentioned the TR story in an interview with International Artist Magazine and realized it would be appropriate for the graduates as well. As artists, we have to tackle problems with our work head on if we are going to grow....there are no shortcuts in the life of a working artist... or as a human being!

Address to Graduates, December 2008

Thank you President Lowery, distinguished trustees, faculty, and alumni, proud parents, grandparents, friends, and members of the Class of 2008. I am profoundly honored to receive the Young Alumnus of the Year Award. I want to thank Lipscomb and the Alumni Association for this wonderful honor. I love this university and it has meant so much to my family and me. It is where I found my career, my wife and where I made so many friendships that still endure today. There is no doubt that the time I spent here set me set on a path that I still travel today and I am deeply grateful.

To the December Graduating Class of 2008… CONGRATULATIONS! This is an exciting day and I thank you for allowing me to share this time with you.

I was also a December graduate not that long ago. Since that time I have been a working artist.
I have the opportunity to meet some amazing people in my life as a portrait painter. Painting them often helps me to grow as a person as I learn about their lives, their success and failures.

Recently I had the chance to paint Teddy Roosevelt for the Roosevelt House in Washington DC. He is one of my hero’s…and heroes are important.

TR liked to do something he called “POINT TO POINT” walks. He would pick a point to start, another point as the destination and then map a perfectly straight line between the two.

He had one VERY firm rule. If you encounter an obstacle along the way…an obstruction… You can go over it, under it, but NEVER around it!!!

He also sometimes went through it! —

Once while President he took the Ambassador of France on a point-to-point walk late one evening.

On the hike they came to the Potomac River. The president said something like, “Well, Mr. Ambassador—our destination is on the other side, so well just have to strip off our clothes, bundle them up and swim across.” Wanting to please the President and knowing they were under the cover of darkness, the Ambassador did them same. As they waded in to the water the President looked back and noticed the Ambassador was still wearing his white gloves!!!!!

TR said “"Mr. Ambassador, Mr. Ambassador, you haven't taken off your gloves," to which he promptly responded, "I think I will leave them on; we might meet ladies!"

TODAY is end of one era of your life, and the starting POINT of another.

Make sure you begin with knowing what your PASSION is---some of you have found it, others are still looking. Take it from me there is nothing like waking up every day and loving going to work. Dream BIG!

Then set a GOAL—

Be willing to work hard, ask for help along the way (find a mentor), be patient, and FOCUS, FOCUS always on your goal.

Along the way, you are going to hit some bumps in the road-- some OBSTRUCTIONS---just like TR did on his POINT-TO-POINT walks. Remember over, under, but never around.

Without exception, the most successful people I have painted have been those who encountered many obstacles, but always confronted them head on and conquered them!

People like Sandra Day O’Connor—finished near the top of her class in law school, but was only offered jobs as a secretary when she left school in the 1950’s. She later became the first woman Supreme Court Justice.

Or Wallace Coulter. You probably don’t know the name. While trying to develop a machine that would count the molecules of paint in an effort to make paint stronger and stick better to U.S. Navy ships (and nearly running out of money in his little make shift lab in Chicago), one day he wondered if his device could count blood cells as well. Now, 60 years later---Every time you have blood drawn for a blood cell count, they use a COULTER COUNTER.

Or Senator Robert C. Byrd who grew up with adopted parents, poor, in a coal-mining town of West Virginia. He became the longest serving, brightest and arguably most powerful member of the US Senate in our history.

None of them had an easy road, but none of them let an obstacle stop them as they worked toward their goals. As they know and TR insisted…

Tackling problems instead of avoiding them or going around them BUILDS CHARACTER and WISDOM.
There are NO SHORT CUTS---no cutting corners to achieve success.
It may take time…many of you will work ten years to achieve over night success!

Also, as my mentor and friend Ray Kinstler has reminded me: don't forget to be yourself and know who YOU are! —

Do you think I care if you don’t like my shoes or not!?!

I was in NYC last week to paint a famous actress named Marian Seldes—she is receiving a gold medal next spring for her lifetime of achievements in film and theater. You would know her face, but maybe not her name. Although she has been played major rolls in such films as “The Greatest Story Ever Told” and won Tony’s for her work on Broadway---You might remember her as the grumpy old lady in the movie Home Alone 3 who gives Alex the toy car the crooks are after.

While we were sitting chatting in her apartment, she said to me—

“You know these are uncertain times and so many people are worried, but not me. Last week a friend of mine said she lost 80,000 dollars last month. She said her response was “you had 80,000 dollars to loose? She went on saying, “Do you know why some people are worried,” because money is what defines them---

“But we are not defined by money—we are artists---we are defined by WHO we are and the WORK we produce."

Don’t let the other people, the TV, or magazines define you—know who you are and be yourself.

Finally--Remember what you have learned here.

You have not just had an education, but a CHRISTIAN education---
A positive, Christian perspective that will keep you on a firm foundation while you travel on the path you set. Always ask God to travel with you, build a strong relationship with Him and he will steady you if you feel you are loosing your way, he will help you when you meet an obstacle you have to confront and conquer. You can’t do it alone. You will need the love of GOD and the love of your family and friends. Although you will achieve many things---None is more meaningful than your relationship with HIM and those you love.

So…Start with your passion, draw a straight line to your goals, confront challenges head on---and always work the hardest at strengthening your relationship with GOD and your family and friends.

As TR also said once to a graduating class “Keep your eyes on the stars and your feet on the ground!”

God Bless and good luck!

Senator Specter Official Portrait Unveiled

2008-11-08T11:52:00.000-08:00

Hundreds of supporters, friends and family joined Senator Arlen Specter at the National Constitution Center Friday evening for the unveiling of the Senator's official portrait. It was the largest crowd I have had the honor of unveiling a portrait for and a testament to the popularity of the Senator.

Speakers included Senator Specter's long-time friend and collegue Bob Dole, Governor Ed Rendell, and actor Michael J. Fox, who praised Specter for his work on stem-cell research and Specter's son, Shanin Specter who said "I was struck at how well you captured in my father those qualities of grit, determination, and intesity that we know so well. If I may summarize those quailities in my father, it would be , in one word, 'will'."

Department of Energy Official Portrait Unveiled

2008-10-22T06:27:00.001-07:00

I had the pleasure of painting former Secretary of Energy Spencer Abraham for the Department of Energy. His official portrait unveiling took place last week in Washington D.C. Several current and past administration officials were present as well as many of his friends and family.

For more photos click here:

http://www.michaelshaneneal.com/Abraham_Unveiling.shtml

Interview with Alyson Stanfield

2008-09-27T06:33:00.000-07:00

INSIGHTS are a series of conversations with artists taking place on select Thursday evenings at 8 p.m. ET, 7 p.m. CT, 6 p.m. MT, and 5 p.m. PT. Brought to you by Alyson Stanfield and artbizcoach.com, find out how artists build their careers, the bumps they encountered along the road, the turning points, and what makes them tick.

On November 20, 2008 at 8pm ET, Alyson will speak with me about how I started my portrait career, how I promote my work, workshops, and more!

For more information on how to participate, go to: artbizcoach.com/insights/

Justice O'Connor Portrait Unveiled

2008-09-15T15:56:00.000-07:00

I had the honor and pleasure to unveil my portrait of retired US Supreme Court Justice Sandra Day O'Connor at the Sandra Day O'Connor College of Law in Phoenix, Arizona on Friday, Spetember 12, 2008. Never have I known a more warm, gracious, and engaging person. I am thrilled to have had the privilege of getting to know her both in person and in paint.

For more on the unveiling click here:
http://www.law.asu.edu/?id=1421

Quick & Easy Model Stand

2008-08-01T12:50:00.000-07:00

Looking for a quick and easy model stand? Check this out!!!!! I think I got this from my friend Dawn Whitelaw years ago when I was looking for a simple solution for my workshops. Certainly it can be used in your studio as well. Simply purchase a 4’x8’ sheet of 3/4” ply wood at your local hardware store (Home Depot will cut it in half for free!). Purchase four 5 gallon empty paint buckets from your local paint store. Place them on the floor, put the board on top and you have an instant model stand! Storage is easy too. Stack the buckets in the corner and slide the board up against the wall. A great solution that will serve any artist well.

Great Book on Anders Zorn

2008-06-30T13:28:00.000-07:00

I just returned from a fun trip to Kimberly, Wisconsin where I taught a workshop at the Richeson School of Art. It was a great experience. The facilities were terrific and the students could not have been more passionate or excited about growing as artists.

I learned many things, but one discovery in particular was a great new book from China on Anders Zorn. Jim Hemmpel brought in several great books one day for all of us to enjoy including this wonderful volume on Zorn. I ordered one that day and just received mine. I recommend it to anyone who loves Zorn's work. Regrettably, I can't read Chinese, but the reproductions are terrific!

You can order one through Barn Site Gallery by clicking here. Enjoy!

Summer Workshop in June

2008-05-29T11:31:00.000-07:00

Jack Richeson School of Art
Portrait Class
Kimberly, Wisconsin
June 23-27,2008

I spoke with my friend and mentor Ray Kinstler after he returned from teaching a week long workshop at the Richeson School last year. He was excited about his experience and praised both the quality of the school and the directors.

When they phoned to ask if I would teach a class there this summer, I could not say no! Although I travel the country for portrait commissions, I rarely travel to teach. I am excited about the class and so looking forward to my week in Wisconsin.

During the workshop, we will be painting from live models in a spacious studio. I will be giving one-on-one instruction, demonstrations, and lectures throughout the week. Everyone will receive a nearly 200 page workbook I have written to compliment the week's studies. The class will kick off on Sunday night with a reception honoring the 2008 Figure Portrait Competition. The competition winners will be announced that evening.

If you are interested in attending, contact:

Art School Director, Terry Stanley
Email: artschool@richesonart.com
Richeson School of Art
PO Box 160
Kimberly, WI 54136-0160
920.738.0744

Step 5

2008-05-19T20:16:00.000-07:00

Continued development... A great number of brushes now worn out!

Step Four

2008-05-09T21:03:00.000-07:00

Much of the canvas has been covered. The overall effect is established. I am now refining the overall image, working hard on the illusion, the likeness, and adding more detail.

Step Three

2008-05-09T21:00:00.000-07:00

Constantly refining the drawing, I began to develop the head in more detail. I am also working to find the body inside the clothing.

Step Two

2008-05-09T20:56:00.000-07:00

Working directly I began by massing in large areas, paying close attention to relationships of value, color, and proportion. I try to think simply wanting only the effect of the light.

Step One

2008-05-09T20:50:00.000-07:00

Drawing in charcoal I mapped out the largest proportions. I am working on a white ground as opposed to a stained ground hoping the colors can remain more luminous, especially the thinner layers.

Portrait in Progress

2008-05-09T20:14:00.000-07:00

I have been working on a fun portrait of a man from California for some time now. It has taken up my entire studio at 96" tall and I have to paint much of it from a step stool! He stands 6' 4" tall and wanted a life size painting for his home... makes for a BIG canvas!

I have tried to photograph it as I have worked. I will attach them in several posts due to the number of photos. I hope to have new photos taken this week to show my latest progress.

The are obviously many challenges on a portrait this size, but the sheer scale makes covering the canvas a real workout. I have even greater respect for Sorolla! I am concentrating on the effect of the light, the overall high key of the portrait and the amazing reflective color. FUN!

For this and other demonstrations, check out my website at www.michaelshaneneal.com and click on "demo".

Players Club Gala

2008-05-07T19:49:00.000-07:00

I am just returning from a wonderful adventure to New York where 18 of my friends from around the country unveiled a series of Portraits for the Players Club Hall of Fame. It was a great event and a full house! During the evening I had a chance to visit with artist Linda Smith from New Mexico. Linda always has so many great ideas for painters including the tip on using a freezer zip lock bag for your brush washer! I am so glad to know who passed that one along to me so long ago!

Tips on Survival II

2008-04-25T06:18:00.000-07:00

Here are the remaining 5 tips on surviving as an artist. I'm sure there are many other ideas that come to mind. Let us know if you have anything to add!

6. Identify your market. Who are you painting for? How can you best connect with the clientele that can become your patrons? Recognize “who” can purchase your work. Contribute to auctions that you know are supported by influential people. Contribute work to elite private school auctions, hang a portrait in an expensive children’s clothing shop, propose your work to a successful and well placed gallery, speak and share your work with local business clubs. Offer to paint a portrait for FREE for a highly respected local figure, and request an unveiling event. These are just a few of many ways to help identify your clientele.

7. Fair pricing. Your goal is to have your work seen and to earn enough money to cover your expenses. Price your work fairly and reasonably. when starting the life of an artist, the more work you are completing (even for a modest sum of money) can create excitement and motivation by you and your client.

8. Diversification. Don’t just become a portrait painter! If I had not painted fruit and landscapes along with portraits when I began, I would not still be a full time artist today. Not only does this diversification help you grow as an artist, but it provides other opportunities for you to show your work and advertise your name. Not to mention, providing alternative income! Teaching can also be a profitable experience for you and your students. Not only as an additional source of revenue, but it can also connect you to other artists and potential clientele.

9. Dependability. You are a business as an artist. Go the extra mile and remain dependable at all costs. Be responsive and provide the best customer service possible. Unfortunately artists are not known for keeping schedules, arriving on time for appointments, or generally running their affairs in an orderly and responsive manner. Show your clientele that you respect them, appreciate the opportunity to work for them, and take your work seriously. Always do more than what is expected of you!

10. Develop a support system. Develop relationships with other artists and friends you can trust. Share your work in progress with them. Share problems you are facing or new ideas… get their feedback. These relationships will help you in your life as an artist, making the experience richer and more rewarding.

Tips on Survival!

2008-04-24T08:39:00.000-07:00

A year or so ago the Portrait Society of America did a series of articles in their newsletter on "Traits of a Successful Artist". I was honored to be asked to contribute my thoughts on things that have helped me to survive as a artist. Because this list is fairly long (10 points total) I will post it in two installments. As Mr. Kinstler has said to me more than once "keep the faith"!

1. Set goals and write them down! List things you would like to accomplish both in the short term and in the long term. You might consider committing yourself to a weekly class, list teachers you would like to study with, techniques you would like to improve on, subject and compositions you would like to tackle, galleries you would like to show with, competitions you would like to enter, etc. Setting goals is the first step to accomplishing them. Hang them near your easel as a constant reminder of what you will achieve.

2. Work hard. Whether you have the opportunity to devote your entire day, or just a portion of the day to your art, work hard! I have worked 12-18 hours a day for more than 15 years. It is important to devote as much time as possible to your growth as an artist, but you must work smart as well. An hour of painting free from distraction is worth 3 when the phone is ringing and the kids are home from school.

3. Study. Set aside a portion of each day for study. Read about a favorite artist, visit a museum either in person or via the internet, browse through a favorite art book, sketch from life, etc. Spend quality time developing your skills by reading and studying each day.

4. Tenacity! Don’t take “NO” for an answer! This can be no truer in the life of an artist. You will constantly face defeat and rejection. Galleries, agents, clients, friends, and even family may at times dampen your resolve. Put your passion to work. Remind yourself constantly that you can and will succeed. Pick yourself up after a bad painting, a rejection notice from a competition, or a negative review from a client. Turn each of these situations into learning opportunities. Ask yourself “what can I do better or differently next time?” Commit yourself to growth from every experience. Remind yourself constantly that you will succeed, that you will grow as an artist, and your decision to follow your dreams to become an artist will become or remain a reality.

5. Thrift. For nearly the first 10 years of my life as a full time artist I painted every painting on a $2 easel bought second hand, mostly held together by duct tape and a prayer! I rented a small studio that was prone to flooding and had less than ideal lighting conditions. It was important that I kept my overhead low and focused on living off of less than I made. Survival is your main goal. Living frugally whether by choice or not, is important. Getting to the next painting is your ultimate goal.

Website Updates

2008-04-22T12:58:00.000-07:00

We have just added new content to my website! www.michaelshaneneal.com

New Portraits:

See a few new portraits including John Barrymore for the Players Club in NYC. Visit www.michaelshaneneal.com/portrait_barrymore.shtml for oil and www.michaelshaneneal.com/sketch_barrymore.shtml for charcoal study.

New Demonstration:

Visit www.michaelshaneneal.com/demo_scirica.shtml to view a step by step demo of my portrait of Chief Judge Anthony Scirica.

Workshop Dates:

We have also just announced my workshop dates for 2009. Please visit www.michaelshaneneal.com/workshops.html for more information.

Stuff:

For new "stuff" visit www.michaelshaneneal.com/products.html

The hat is especially great for painting. The bill is black underneath to minimize reflections and color distortion while you paint. Great for indoors or out!

2008 Portrait Society of America Conference

2008-04-17T08:05:00.000-07:00

"You Be the Judge: Creating a Commission from Start to Finish"

On Friday I spoke to a great group at the PSA Conference on creating a portrait commission from start to finish. I shared both my approach of working with clients as well as the stages of creating a portrait. The clients I discussed were Chief Judge Anthony Scirica, Judge Jan DuBois, Sandra Day O'Connor and Senate Judiciary Committee Co-chairman Arlen Specter.

The topics of drawing, value, structure, edges, and color were discussed as well as contracts, correspondence, life sittings, and framing, just to name a few.

S.H.A.P.E.

2008-04-17T06:03:00.000-07:00

I had the honor of speaking at the Portrait Society of America's Conference in Philadelphia, Pennsylvania last week. A high point of the weekend for me was being asked to speak at the Inspirational Hour on Sunday morning. We had a great group, much larger than expected for 7:30 am in the morning! By request, here is the highlights of the talk I presented entitled S.H.A.P.E.

Introduction

Throughout our lives God gives us the opportunity to paint self portrait. As Benjamin West said we should always seek "... the essential character, not the accidental appearance" of our subjects. What does God see when he views our self portrait now in progress? How can we S.H.A.P.E. our lives to grow as people of faith to reflect more of God's vision for His people.

S=Service

Col. 3:24

Are you giving to others through your work? Do you teach, give your time and work to others? http://www.ksdk.com/news/news_article.aspx?storyid=112398

H=Heart

Psalm 78:70-72

Are you following your heart?

"He who works with his hands is a laborer. He who works with his heart and his hands is a craftsman. He who works with his hands, his head, and his heart is an artist." St. Francis of Assisi

A=Approach

I Chronicles 29:17

Psalm 25:21

I Peter 5:5

There are opportunities to do the right thing and the wrong thing everyday. Do you make good choices? Do you remain humble in your life and work? Do you give God credit for what he has given you?

P=Perspective

Luke 10:41-42

Rev 2:2, 4, 5

Do you keep things in perspective? Do you remember the importance of God first in your life? Family? Relationships?

E= Experience

Romans 8:28

Do you use your experiences to grow? Both positive and negative experiences? God does not waste either. Both can help you grow closer to Him.

Conclusion:

God is infinitely kind and patient. Ruth Graham once said after driving through a construction site she saw a sign that read "End of Construction. Thank You for Your Patience." She felt it summed up her life perfectly. Keep striving everyday to SHAPE your lives and self portrait in His image. Think and reflect often on the perfect life of His son, Jesus. Go to God's word and pray for guidance every day.

Traveling with Paints

2008-03-31T07:54:00.000-07:00

I travel over 100 days a year. In most cases I have oil paint, a small wood palette, and a few brushes packed in my carry-on bag. It would be easier in some ways to check the bag, but I prefer to take it with me. Last weekend when having my bags checked for a return flight, I was informed for the first time in months that I could not carry my small tubes of oil paint on board. In today's climate of airport security you hate to cause a fuss, but I knew that I could take them with me under current regulations. After mentioning the TSA rules for artists paint to the head screener, she reminded me that she was in charge and said "It sounds like to me that you think you are an expert on our policies..." I replied "No mam... just on the section related to artists paints." Eventually, after checking the paint with further screening, she let it through. By the way, make sure it will fit in a quart size zip lock bag!

Thanks to my friend Katy, here are the particulars:

The US Dept. of Transportation defines "flammable liquids" as those having flash points of 140 degrees F/61 degrees C or below. Artists oil paints are based on vegetable type oils. They are not hazardous for air travel. While many products that are used to clean brushes may not be taken on a plane such as turp or mineral spirits, small oil tube colors with a flash point above 140 degrees F (most are at about 440 degrees F) are not dangerous for air travel.

Check the website of your particular brand of paint you are carrying to see if they provide a MSDS (Material Safety Data Sheet) data sheet. Print that and take it with you. I would even encourage you to put it with your paints if you check your bags. Highlight relevant material for the screener. Hopefully you will not arrive at your destination with no paint and one of those slips of paper saying hazardous material was removed from your bag!

To confirm this, you may call the TSA at 1-866-289-9673.

Sargent Lecture at the Portrait Society Conference

2008-03-24T06:34:00.000-07:00

I'm looking forward to speaking at the Portrait Society of America's conference in Philadelphia next month. It will be a great event with approximately 800 artists from around the world in attendance. On Friday evening, one of my duties will be to present a program on the life, work, and technique of John Singer Sargent. My favorite artist to study, I recently ran across this interesting piece of information in a tiny "conversation piece" written by a personal friend of the artist, Martin Birnbaum nearly 70 years ago. In speaking about Sargent's personal assistant, Birnbaum said:

"Niccola would often prime an old canvas with white paint mixed with raw umber, on which blues especially were silvery and brillant, but this pigment has an unfortunate tendency to eat through, if the paiting had not dried thoroughly, and then the picture is almost past repair."

Anyone who has read James Montgomery Flagg's "Roses and Buckshot" know of a particular case where this could be the trouble. Pay close attention to the portrait of William Merritt Chase at the Metropolitan Museum each time you visit. You just may see something appear and then disappear!

Shaking off the Dust

2008-03-19T06:21:00.000-07:00

I had a nice comment posted from Adrienne the other day. She specifically mentioned: "Would love to hear your comments about how you stay motivated. What do you do when you feel stale? Or do you ever?"

I do get "stale." Tired might be more accurate. I spend a lot of time in the studio each day hard at work at my easel and managing the many other areas related to the business of being an artist. I have found several things that help if I can't get my mind in the creative spirit.

The most important approach for me personally... getting up early! Sound too simple? I started getting up at 5 am several years ago. It changed my life. Seriously, getting up early has made a huge difference. I often get more done before 8 am than I do in the next few hours of the day. The phone does not ring, the kids are asleep, and if you had at least 6 or 7 hours of sleep the night before, you are good to go.

I read as much as I can, too. Spending time with my art books, pouring over photo reproductions and reading about other artists, their work, and their lives can really get you in the mood to get back to work.

One other "secret." If getting started is the trouble... I start to work on whatever I am having difficulty with. RIGHT AWAY! I just make a mark! Once I stop thinking about why I can't do whatever it is and just try, I begin to solve problems. Slowly, but surely I become inspired! And if getting back to a piece is the trouble... I make a mark! I have often found that so much of painting is problem solving. If I will just take the plunge, I find myself hard at work to make things right.

I have more thoughts on shaking off the dust, but I will save those for another day!

Strong Fathers, Strong Daughters

2008-03-18T21:23:00.000-07:00

10 Secrets Every Father Should Know

By Dr. Meg Meeker

I just finished a wonderful book "Strong Fathers, Strong Daughters" by Dr. Meg Meeker and I recommend it to any dad with girls. As a father of daughters, it is one of the best books I have read on parenting. Dr. Meeker shares indisputable evidence that a father is THE most important influence a girl has in her life. Her outlook on life, the decisions she makes, her faith, and even her view of herself is incredibly influenced by her dad.

She closes the book with this statement: "One day when she is grown, something between the two of you will shift. If you have done your job well, she will choose another good man to love her, fight for her, and be intimately connected to her. But he will never replace you in her heart, because you were there first. And that's the ultimate reward for being a good dad."

Make sure if your daughter is at home or comes home soon... invite her into the studio... hang out and just be together. It's a small interruption and an important one.

Easy Cleanup

2008-03-17T09:45:00.000-07:00

I forget who showed me this quick and easy cleanup idea, but I love it!

Do you ever tire of digging out the goop from the bottom of your turp can? Line it with a plastic ziplock bag instead. When it is time to throw away the buildup, simply remove the bag, zip it up, and throw it away!

Works great!

Always a Student

2008-03-14T19:00:00.000-07:00

I'm just finishing the first day of a weekend workshop. We have a wonderful class full of eager students from around the country ready and willing to try new things and grow as artists. I am always energized by the excitement and interest in the eyes of the students. They want to learn and develop their craft. They want more.

This should always be true of any artist no matter what stage of their career. The problems that face the new artist are similar to the problems that face the experienced one. You are still questioning values, proportion, mood, color choices, composition, etc. Hard work, time devoted to your craft and dedication to growth will make a difference. But any artist worth his salt should remain humble. Because there is a simple truth... the longer you paint, the more you realize how little you really know.

As the folks in the mutual fund business are fond of saying "past performance does not guarantee future results". The great artist is one who appreciates every opportunity to approach a blank canvas, humbled by the work of the master artists of the past and proceeds with caution... ego in check and brush in hand. Past performance will increase your chance for success, but it is never a guarantee.

Great New Book "I'd Rather be in the Studio!"

2008-03-13T08:18:00.000-07:00

Michael Shane Neal and Alyson Stanfield

at the Portrait Society Conference in

Philadelphia, PA

I just read a wonderful new book for artists entitled I'd Rather Be in the Studio, The Artist's No-Excuse Guide to Self Promotion (www.idratherbeinthestudio.com) by Alyson Stanfield (www.ArtBizCoach.com). It is terrific! One of the best books I've read on helping artists to better organize their careers and it is full of excellent tips and strategies for marketing your work. A quick read I devoured it on a plane flight and extended layover in the Atlanta airport. In fact, i created this blog as a result of Allyson's strong belief in the importance of "blogging" by artists. It is a must reference for any artist working today.

"The truth is more important than the facts."

2008-03-12T11:13:00.000-07:00

- Frank Lloyd Wright

Something I keep coming back to again and again is how important it is to balance the pursuit of "feeling" with the technical discipline necessary to create a work of art. Too much of one usually lacks discipline, too much of the other usually lacks feeling and becomes mechanical.

One of the most interesting developments in creating a portrait can occur when you check a measurement. Finding you are "incorrect," you make the change. Suddenly you realize something strange... your incorrect measurement felt better than the correct one! How can that be?! Can't you just simply "copy" nature and get exactly what you are looking for?

One of Mr. Kinstler's teachers John C. Johansen cautioned his students to not simply copy nature, but to "make nature what you feel it should be." He believed your interpretation could feel more like the illusion than simply copying what you see.

While technical skill is very important to the artist, intuitiveness and feeling is as well. Whether it is a landscape, still life, figure, or portrait we should try to recognize the essential characteristics of our subjects, analyzing the mood, motion, and feeling to determine what we want to say.

After all, it is the duty of the artist to interpret what they see. If you really believe Sargent simply chronicled... as he once suggested... then look again!

de Laszlo

2008-03-11T13:05:00.000-07:00

I have long been a dedicated fan of the work of Philip de Laszlo. If you don't have Brush with Grandeur on your shelves in your studio, you've got to pick one up today! A terrific painter and friend of mine, Steve Moppart, recently introduced me to a spetacular website just created by the de Laszlo Foundation. One of my favorite pages on the website includes a short black and white film of the great artist painting on location in Venice. Wouldn't it be incredible if we had a film clip like this on Mr. Sargent! Check it out!