Greek Steps, Sifnos
by Thomas W. Schaller, 2008,
watercolor, 12 x 9.
I just finished writing an article on Thomas W. Schaller's watercolor paintings for the April 2010 issue of American Artist, and it occurred to me that Thomas is the third licensed architect whose watercolors I have written about in the past year. I described Stephen Harby's art in the May 2009 issue of the magazine, and Stephan Hoffpauir's in the January 2010 issue.
I’m sure that if I were to search through issues published over the past 20 to 30 years, I could come up with three dozen other architects whose watercolors were featured in American Artist or Watercolor.
Why do so many architects paint watercolors? For generations, architects were trained to make drawings and paintings from their schematic plans so that clients could visualize how their completed buildings would look. When the fine-art departments in colleges and universities discontinued their drawing and watercolor painting courses, the schools of architecture were still teaching students to use graphite, colored pencil, gouache, and watercolor to create believable visualizations. Harby, Hoffpauir, and Schaller enjoyed drawing and painting so much as students that they continued to develop their talents after joining the profession. Hoffpauir and Schaller wound up writing books for architects on watercolor techniques, and all three men taught courses and workshops on the subject.
I've been attracted to watercolors by architects because they often show the medium to its best advantage. There is usually a strong, accurate drawing underneath the flowing blends of transparent color, and the white of the paper is expertly used to bring the viewer's attention through the picture and directly into the center of interest.
Another reason these three architects now focus so much of their time and attention on fine-art painting is that computers have all but eliminated the market for handmade renderings. Most architects are now trained to use computer software to create visualizations of their designs, and only a small number of high-end architectural firms commission original drawings or paintings for their clients. Schaller is fortunate to still have a thriving business working for some of the most renowned architects in the world.
All three of these artists create studio paintings from sketches and photographs, but they also enjoy finding subject matter when they travel. Hoffpauir is inclined to rely on his camera when scouting subjects, while Harby and Schaller prefer painting small watercolors on location. Not surprisingly, buildings often figure into most all of the watercolors.
Attention Watermedia Artists!
The deadline for entering the California Watercolor Association’s (CWA) 41st National Exhibition is February 20. If you want to compete for as much as $15,000 in prize money, have your work included in a show at the Presidio Officers’ Club Exhibition Hall, in San Francisco, and see your painting reproduced in the exhibition catalogue, then visit the CWA’s website at www.californiawatercolor.org and download the prospectus. The juror is Christopher Schink, and the show runs July 14 to September 19. Entries must be digital photographs of your artwork sent as e-mail attachments or mailed on a CD. For more information, visit the website, send an e-mail message to firstname.lastname@example.org, or call Christine Dougherty (510-530-7522), Desmond Elder (925-254-5447), or Emi Beifuss (925-699-8671).