The Oil Painting Blog : figure painting

The Kitsch Alternative

Michael Gormley — Thu, 09 Aug 2012 03:38:00 GMT

The influential art critic Clement Greenberg (1909-1994) often cited the derisive term kitsch to critique artwork that, in his mind, failed to live up to the tenets of the modernist movement. His theories privileged formalist nonobjective abstraction and greatly influenced the type of art that was exhibited and critiqued in America's post-war heyday. The fallout, particularly for oil painters, is well known: representational work that referenced the figure, offered narrative content, or had sensual appeal was sidelined.


The Kitsch Biennale in Venice, Italy, in 2010 featured oil painting works by Odd Nerdrum among others.

Greenberg's clever adoption of the term kitsch exploited deeply rooted associations with the European art market and German aesthetic theory. Back in the 19^th-century, German fine-art dealers, competing in a mercantile market flooded with mass-produced decorative objects, were keen to distinguish those objects from the one-of-a-kind works they represented. The dealers labeled mass-market items kitsch--roughly translated to mean "thrown together," "derivative," or "shoddily made."

The tactic worked; discreet one-of-a kind objects ascended to the status of high-culture icons. The German philosopher Immanuel Kant (1724-1804), whose writing on aesthetic judgment remains the centric critique defining "high art," expanded upon the definition of kitsch to include art he believed to be inferior. In brief, Kant applied the kitsch label to artwork that referenced a preceding school (which he dismissed as "unoriginal" and lacking individual "genius") or works that were overtly emotional or sensual. Greenberg's theory on kitsch is a logical progression from Kantian thought and squares perfectly with the modernist aesthetic. To be modern was to be new. In one fell swoop, the modern art world nailed the coffin shut on centuries of art practice, oil painting techniques, and tradition.


	Reappropriating the term 'kitsch' allowed Odd Nerdrum to distinguish his work and philosophy in a time when there was great opposition to his approach in the art world.

But cultures shift, and artists by nature are a terribly unruly lot. Greenberg's modernist lockdown on art-making lost ground in the post-modern epoch where the informing "do-it-again" trope holds forth. And yet there remains a considerable institutionalized prejudice against artwork that seriously departs from the modernist party line. Painting figures, work that is sensual, or artworks that aim to be beautiful remain highly suspect.

Odd Nerdrum's work is all of the above. One-upping Greenberg by usurping the term kitsch, Nerdrum turned the tables on his celebrated critic by applying this same term to his own work. Defining one's own minority or outsider group using an oppressor's vocabulary is a powerfully subversive ploy that has noted precedents: for example, gay-identified university academics currently offer "***-studies" courses.

Beginning in 2002, Nerdrum and a group of his students began a series of kitsch exhibitions culminating in 2010 with the Kitsch Biennale in Venice, Italy. Richard Thomas Scott and Adam Miller, both former Nerdrum students, are planning a Kitsch Biennale in New York City in the fall of 2013, continuing to champion the emotive and eternal qualities of art above the contemporary whims of fashion or the dictates of critics.

For further information about the 2013 Kitsch Biennale or to inquire about sponsorship opportunities, contact Richard T. Scott (richardtscottart @gmail.com) and Adam Miller (adam@adammillerart.com).

--Michael

Michael Gormley is the editorial director of American Artist.

Reflections on Creating an Artistic Body of Work

Patricia Watwood — Tue, 21 Feb 2012 19:26:00 GMT


Inkhead, 2009, oil on canvas, 29 x 16.	Dorothy, 2010, oil on canvas, 14 x 14.	Anakin Padawan, 2009, oil on canvas, 44 x 28.

I have been blogging this past year about preparing for my exhibit, "Myths and Individuals." Now, it's time for the opening at The Forbes Galleries in New York City. I can't believe the show is here at last. I have been working on paintings, and planning this show for almost three years, so needless to say, I am just a little bit excited that the big moment has arrived.

I had the "out of town opening" in St. Louis, at the St. Louis University Museum of Art, in the fall. I am including one new figure painting, "Venus Awakes," and a few new drawings to the list of works in the St. Louis show. I will have over 30 oil paintings and 6 drawings on view, from February 17^th to June 9^th.

In reflecting on what I have learned through this journey, there are two takeaways that I want to share with you.

First: "If you build it, they will come." This reflects the principle that in working toward a goal, sometimes you have to build it first, and then the opportunity will fall into place. I have been envisioning my goal of a large show in a New York venue for a long time. Three years ago, that goal seemed elusive, but I began to create the work anyway and trusted that the road would rise up to meet me. When the opportunity came, last year, I was already well underway to having the body of work I needed to have the exhibit at Forbes. In the words of Dorothea Brande, "Act boldly and unseen forces will come to your aid."


Waiting for Supper, 2010 oil on canvas, 18 x 35.

The second lesson: Consider your artwork as a whole—what are the large themes, the connections, and the persistent vision you are expressing? My work is almost all figurative, but sometimes it is mythological, sometimes there are portraits, and sometimes simple figures. I needed to reflect on the whole group and see what common themes they shared. I had to think back to the very first ideas I had in creating a composition, and consider what the original motivations were. Then I began to see similarities and connections in intent and philosophy between paintings, and see the common threads that had been there all the time.

Oftentimes young artists are given the impression that the artist must start with a vision, the grand theme, and then you find the tools to express your big idea. I've come to another conclusion through my personal journey. The artist excavates the vision out of one's body of work, out of the long process of becoming the artist and creating the work. Like a refiner's fire, the artistic process clarifies the vision, and shapes the artist.

So, take a group of your paintings or drawings, and consider them all together to see the underlying themes in your own work. Make notes of your strongest impressions, or even write a couple sentences about each picture, asking yourself "Why did I make this painting?" and "What am I trying to express?" Even if your notes are more word association than sentences, you will see themes emerge. You could also gather a few trusted artist friends, and do this together.

Next, you can ask yourself, "Is this what I wanted to do?" And, moving forward with your artwork, you will have more ability to consider how you shape the underlying themes you express in your work.

--Patricia

For more painting instruction from Patricia, check out her latest DVD, Figure Painting: Realistic Skin Tone.

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Patricia Watwood: Myths & Individuals

February 17 to June 9, 2012

The Forbes Galleries
60 Fifth Avenue, at 12^th St. Manhattan

Free, open to the public  10:00 a.m. - 4:00 p.m. Tues-Sat.
Thursdays open to groups by appt.

212-206-5548

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Patricia Watwood 5-Day Design & Figure Composition Workshop

Want to join me in Northern California? Spend five days in a beautiful north-lit studio, learning how to paint the figure with a live model. Small class = lots of personal attention!

Insane: They've Never Seen Contemporary American Paintings Before!

Patricia Watwood — Thu, 19 Jan 2012 17:44:00 GMT


Venus Awakes by Patricia Watwood, 2011, oil on canvas, 38 x 34.	Karen in White by Paul McCormack, oil on canvas, 40 x 29.	Enigma (Self-Portrait) by David Leffel, 2009, oil on canvas, 52 x 34.

On Sunday, January 22^nd, the ACOPAL group will celebrate it's first museum show of American and Chinese realism at the Butler Institute of American Art in Youngstown, Ohio. Many of my favorite artists and fellow oil painters have work in this show: Nelson Shanks, Jacob Collins, Max Ginsberg, Tony Ryder, and Burt Silverman, to name a few of my heroes. This is the second group ACOPAL exhibit, following the very successful introduction of ACOPAL at the National Arts Club in May 2011.

The next ACOPAL venture will be the presentation of American realism at the Beijing World Art Museum, opening toward the end of this year in September 2012. The exhibit will feature over 100 paintings, and be the first survey of contemporary American realism in China. After the opening in Beijing, the exhibit—a contemporary oil painting gallery of sorts—will tour five major cities in China, including Shanghai and Guangzhou. The Chinese audience is enthusiastic about realism and traditional oil painting, and this exhibit will reach many thousands, many of whom have not seen contemporary American paintings in person ever before.

That's thrilling, isn't it? My painting, Venus Awakes, which I just completed will be included in the Butler exhibit. The painting is an allegory about the rediscovery of the classical nude. Venus and the apple are meta-symbols representing the classical western tradition in art. They are surrounded by the broken remnants of technology and culture, but remain undamaged. The bird wakes Venus from her slumber, and represents my rejection of "trash as conceptual social commentary as art." Flecks of gold in the mire indicate that the labor of gleaning value from the wreckage is not in vain.

Contemporary American realism continues to grow, define itself, and find new audiences all over the world. If you are in the Ohio area, please spread the word about the wonderful show at the Butler. If you are not, but still want to experience what is sure to be an amazing show, you can purchase a catalog of the show at the ACOPAL website.

--Patricia

For more painting instruction from Patricia, check out her latest DVD, Figure Painting: Realistic Skin Tone.

How I Built an Art Network in My Hometown

Patricia Watwood — Tue, 13 Dec 2011 04:45:00 GMT


The Honorable Clarence Harmon, Mayor of St. Louis by Patricia Watwood, oil on canvas, 24 x 18, oval, 2002. Collection of St. Louis City Hall.

Someone recently asked me what I did to get recognized and become part of the art scene in my hometown of St. Louis, and how those connections led to my having a solo exhibit at Saint Louis University Museum of Art. When I lived in St. Louis I wasn't part of the art community. In fact, I was not involved in fine art at all during that time of my life. (I was actually involved in theatre in high school and college).

I left St. Louis right after high school and have been based in New York for the past 15 years. It was only about five years ago that I started to realize that St. Louis could be a wonderful "second base" to balance out my New York art community. (Plus it would allow me to combine work trips with visits to Gramma's house with my kids!)

It all started with a few portrait painting commissions. My mother worked with the former mayor on education policy and when the time for his official portrait came, she suggested, "I know a talented portrait artist you could consider—and she's a native of St. Louis!" (Thanks, Mom!) I submitted a portfolio and subsequently won the commission. Building on that success, I did two commissions for Saint Louis University.

This experience with portraiture taught me that business is built on two priceless intangibles: word of mouth and personal relationships. So, being in the right place at the right time and developing one-on-one connections whenever I went back to St. Louis or corresponded with interested individuals over the phone or email was the key. It's a slow process, but I found that this kind of networking is the most common way to receive new painting commissions.


	Dr. Kenneth R. Smith, Jr. by Patricia Watwood, 2010, oil on canvas, 40 x 40. Collection of Saint Louis University.

In St. Louis, I cultivated my reputation as the "painter from New York" to stand out from the other portrait artists in the community. This allowed me to become better known in St. Louis, both for portraiture and for my studio paintings.

Then two years ago, I decided to have a showcase in St. Louis and do an event to draw people in and get the word out about my paintings. I sent out invitations to my family's extended network of friends, and anyone else we knew in the community with an interest in art. I then converted my mom's living room into an art gallery, bribed my mom to bake a bunch of delicious cakes, and we hosted a party.


Dr. Patricia Monteleone, Dean, by Patricia Watwood, 2008, oil on canvas, 40 x 30. Collection of Saint Louis University Medical School.

I put together a slideshow presentation about the process of commissioning a portrait, and set that up to play on loop in a corner of the "gallery." I also gave a short talk about my art background, the New York art community I'm involved with, and the importance of portraiture.

Two key things developed from this event. One is that I made a good contact with the Director of the Sheldon Art Gallery (a museum), who attended the party. Second, the executive assistant to the President of Saint Louis University came to see the showcase, and she recommended my work to the director at the Saint Louis University Museum of Art.

Father Biondi, the President of the University, is a devoted supporter of the arts with a strong interest in figurative work, and has built an exciting collection for the University. And, happily, they eventually invited me to have an exhibit at the museum. The Museum was pleased to present an artist with St. Louis roots, and to bring the world of contemporary realist painting to the St. Louis audience.

So work to develop key relationships in your circle of art, and over time this can lead to new opportunities. And remember that friends and family can be your greatest allies in spreading the word about your work. And if your mom's an awesome baker—put her to work!

--Patricia

P.S. Have you had similar experiences building your own artistic network? What strategies have you used? Leave a comment and let us know.

For more painting instruction from Patricia, check out her latest DVD, Figure Painting: Realistic Skin Tone.

3 Things I've Got to Have to Keep Going

Patricia Watwood — Tue, 29 Nov 2011 04:57:00 GMT


My family and I at my opening. Cute bunch, right?		The show included works from the last 10 years.

I know it's been a while since I've written. Let's see--the last time was just when I got back from my summer vacation. And now it's....November?!? My, how time flies.

Well, I've been a bit busy. I'm happy to tell you that the project that has been consuming all of my working hours, and much of my personal time, is now on view. My oil painting art is the subject of a solo museum exhibition, Myths and Individuals, at the Saint Louis University Museum of Art. The show opened on October 21, 2011 and will be on view in St. Louis until December 23rd. The show will then travel to The Forbes Galleries in New York City from February 17 - April 23, 2012. There are thirty oil paintings in the show, both portraits and figures, spanning the past 10 years of my career.


	The catalog cover for the show.

Now that the dust has settled after the opening, I am looking around for all the other balls I have dropped in the past few months. So, I thought I'd write a post that muses on the crucial work-life balance and the ever-elusive goal of being a successful parent and a successful oil painting artist. Can I have it all? Do it all? Simply, no. I can't. At least, not all at the same time. And here's my point--it all takes time and lots of it--and usually a lot more than you think. For everyone striving to balance family and personal life and growth with career, we must learn certain wisdoms along the journey. Lessons that I've been reminded of recently.

First, patience: One of the skills that needs to be mastered is the ability to pace yourself, deal with short term issues, but all the while maintaining your focus on long term goals and the big picture. We all have to deal with the small stuff--but keep your eye on the prize, no matter what. I have a note pinned to my studio wall that says "Don't quit!" It's the mantra of an artist juggling all the things that can fill our lives.

Next, a friend mine reminded me to "celebrate small victories." The plans and dreams you have may take a bit longer to achieve, so celebrate small victories to mark the way along the road to larger accomplishments. Pat yourself on the back, raise a glass with friends, and take a moment to say "good job" to yourself.

Last, gratitude: Have you told your friend, partner, kids, parents, siblings, or close friends how glad you are that they support you and love you? Take a moment and send them an email. Go ahead. (Ok, now you're back, keep reading.) Even in the middle of a serious uphill slog, gratitude can be found all around if you remember to look for it. It will give you the energy and peace to keep pushing through.

So remember, artists--be patient, reward yourself for small accomplishments, say "thank you," and DON'T QUIT!

~Patricia

For more painting instruction from Patricia, check out her latest DVD, Figure Painting: Realistic Skin Tone.

Finishing My Oil Painting, Leaves of Grass

Patricia Watwood — Tue, 02 Aug 2011 17:55:00 GMT

Notice the chalk lines drawn over the figure to assess and check the proportion and length of her limbs.

I have finally finished my oil painting, Leaves of Grass, which I have blogged about previously. In all, the painting probably took nearly 2 months of time. In an earlier post, I shared the drawing and small study I made in preparation. I transferred the drawing, worked up the underpainting by copying my study, added narrative details from several different sources, and then went back to working from life with my model, Leah.

But before I finished I had a few steps left: After the first wash of color is on the canvas, I continued in "underpainting" mode with the model, truing up the drawing and reassessing the form and structures. I sometimes use a bit of chalk or pastel and draw construction lines or correction marks on top of the dry paint. This is a great tip on how to "edit" your drawing. Using simple lines in red or white pastel, I note the skeletal landmarks (and their symmetrical partners on the other side of the body), the lengths of the parts of the body, and the axis of the gesture and major forms.

The finished version of Leaves of Grass.

By notating the simple construction lines, you can reveal errors in proportion and parallelism and make corrections. The chalk lines can either be completely wiped off using water or solvent, or you can just incorporate the powder into the oil paint when you work back into it. The correction lines will sit on top of the canvas, like a transparent layer, which is useful in helping you analyze and consider changes without getting bogged down.

--Patricia

For more painting instruction from Patricia, check out her latest DVD, Figure Painting: Realistic Skin Tone.

Oil Painting Odyssey: Making Pandora

Patricia Watwood — Wed, 06 Jul 2011 18:45:00 GMT


Pandora by Patricia Watwood, oil on canvas.

I've had it in my head to make a "Pandora" oil painting for a while now. In the myth, Pandora is overcome with curiosity (well, who wouldn't be??) and she opens the proverbial box and releases all the horrors of the world. Oops.

I guess it is on my radar now because the world seems to be full of doomsday scenarios these days. There's terrorism, environmental disaster, global warming, severe weather, earthquakes, nuclear disasters.... and forecasts of the literal end of the world. My sense is that there is a general level of anxiety in our culture that arises out of a deep seated suspicion that our current course is not sustainable—and that the house will fall on our heads, maybe sometime soon.

The imagery on my canvas arises out of that stew of anxiety and dread. There is a specific reference to September 11. Look carefully for the airplane in the distance. New York is my home, so like all New Yorkers, I remember vividly where I was (on the subway), and what happened that whole fateful day. I was 9 months pregnant, and the feeling of vulnerability and horror was amplified by hormones and maternal instinct. With the whole world, we are left with a gnawing hole and the question, "Why, why, why?"

No simple painting could begin to explain the incredibly complex reasons for terrorism. But, in a way, it starts with questions and comparisons—How does my way of life (religion, culture, worldview) compare to that culture over there? Curiosity, Pandora's natural inclination, leads to clash of civilizations and ideologies. Sometimes we meet the foreign with delight and excitement; sometimes we meet it with abhorrence and fear.

The only thing left in the box is hope. (Isn't it interesting that most people don't know this part of the story---I think it is key!!) The bird in the painting, an Eastern Bluebird, was nearing extinction, but has been resurging in recent years. Because of their beauty and cheerful song, bluebirds have come to symbolize happiness, love and renewed hope, and are often thought of as harbingers of spring. So, this is the important lesson of the story for me. No matter how dire, how untenable, how impossible the situation at hand may seem, there is always hope, which gives us strength and guidance to keep going.

I find narrative so crucial in my own oil painting art, which is why I will be teaching a two day workshop in Long Island, NY on creating meaning and symbolism in figure paintings from July 22-23. Join me if you can! I'd love to paint with you!

--Patricia

For more painting instruction from Patricia, check out her latest DVD, Figure Painting: Realistic Skin Tone.

Building a Bridge to China with Oil Painting and Contemporary Realism

Patricia Watwood — Thu, 16 Jun 2011 03:24:00 GMT


The ACOPAL show featured contemporary American Realist painting.

Whenever I step inside the beautiful and historic National Arts Club, on Gramercy Park in Manhattan, I'm reminded of how long it has been a supportive home for American Realism. In May, the Club held a gorgeous showcase bringing that support to the present with a show of contemporary American Realist painting.

The exhibition was organized by the American Chinese Oil Painting Artists League, known by it’s acronym, ACOPAL. The show pulled together a lot of inspiring contemporary American artists, including Nelson Shanks, Steven Assael, Daniel Greene, Jacob Collins, Charles Pfahl, Anthony Ryder, Burton Silverman and Ron Sherr, amongst many other well known painters.

The show, which started here in the states, is actually a traveling show that is going abroad to five major Chinese museums, including the Beijing World Art Museum, a premier institution in that country. Curators from the museum traveled to New York to review the work of American painters, and when I was able to speak with them they said they were pleased at the strength and range represented in the field of contemporary figurative and realist painting.


	The ACOPAL show travels to five venues in China.

The Chinese have a tradition of academic and figurative painting that is over 100 years old, and the Chinese public is enthusiastic about realism. Fine oil painting art is considered a valued cultural asset, and connoisseurship of oil paintings is a favored pastime among the Chinese. However, many Chinese fans of traditional oil painting are only able to experience the work on the internet and in print publications--not in person.

So, the Chinese audience is eager for an opportunity to view original work from the USA that is emblematic of the best realism and oil painting techniques in the field. ACOPAL will be a cross cultural organization that seeks to showcase contemporary realism in both the United States and China, through exhibitions, teaching, and communication between the artists in both countries.


Patricia Watwood in front of several of her oil paintings at the ACOPAL show.

Future ACOPAL projects will bring Chinese oil painting artists to US museums, and host workshops and lectures in both countries to share our processes and varied expertise in painting. I for one am very much looking forward to it.

--Patricia

For more painting instruction from Patricia, check out her latest DVD, Figure Painting: Realistic Skin Tone.

3 Ways to Assure You Are Always Growing as an Artist

Patricia Watwood — Thu, 09 Jun 2011 17:03:00 GMT


Ellen Cooper’s In Defiance of Erebus won the People’s Choice and First Place Award.

After participating in a panel discussion about career goals for artists at this year’s Portrait Society of America Conference I wanted to share a few more tips that I use to keep my art growing and evolving every day. Or at least, that’s what I’m striving for.

Believe: You’ve got to have faith in something bigger than what is on your canvas. Art is how you express it, but the idea has to be bigger than yourself. One of my favorite spiritual quotes is, “I know not where He leadeth, but I know who is my guide.” You cannot make good oil painting art for the long term without a constantly renewable source of inspiration and support. So believe in something that will give you a foundation no matter what successes and failures, triumph and heartache land at your door.

Eyes on the horizon: Don’t chase previous moments of inspiration—Go to the Source. Great art happens when inspiration meets effort. And inspiration has to come from the source and not by trying to repeat previous conditions of inspiration. So, this also requires continued growth and development and forward thinking. Inspiration is the opposite of doing something by rote. It is by nature original every time. Inspiration happens most readily when you are working at the edge of your comfort level, at the moment between competence and risk. Now, art galleries always want you to do the same thing, and to give them consistently marketable material. However, the best art gallery dealers also know that genuine feeling cannot be faked. So, try to find a balance between consistency, integrity and growth.

Always improving: Never stop trying to improve your work through study. My friend John Morra, a well-known still life painter, recently spent a few months working on Bargue plates because he wanted to sharpen his drawing skills. The best artists are never too proud to go back to square one. Take a year and copy old masters, brush up on your oil painting techniques, draw the figure from life, learn cast drawing. It’s never too late. Long term career planning includes taking stock of your abilities, and taking time for acquiring the skills you need to succeed.

--Patricia

For more painting instruction from Patricia, check out her latest DVD, Figure Painting: Realistic Skin Tone.

Building a Career for the Long Term

Patricia Watwood — Thu, 02 Jun 2011 17:26:00 GMT


	My painting, Fate, was given an honor award at the 2011 Portrait Society of America International Competition.

For the Portrait Society of America Conference in Atlanta this year, I was invited to participate in a panel on Professionalism, Leadership, and Service. I was asked to speak to “Building a Career for the Long Term.” Now, anyone who saw my tax returns for 2010 would NOT have put me on a short list for advice on professional success, but I guess there are different kinds of success.

For artists, commercial and financial success is only one goal. So, don’t ask me for financial advice, but I am happy to share my thoughts on what have been some guiding principles for an oil painter’s long-term career goals.

My 500 paintings: I’ve been thinking about the 500 paintings I’ll be lucky to make in my life, and focusing on how each oil painting will be part of a body of work that expresses my point of view and values. In other words, I have long been thinking “long term” in terms of my chosen subject matter, and how it will reach an audience today, and I hope, in 50 years. So, to develop your career long term, think long term, and envision the work you are doing this year, next year, and in 10 years. We can’t know exactly where we will end up, but think about how what you are doing at this moment will be part of a lifetime of work.

Recognizing what connects it all together: Art careers and recognition are based in part on the audience ability to understand who you are as an artist, and what are the consistent qualities in your work over all. Galleries and collectors will look at your entire body of work in assessing who you are, and what the quality of your work is. You may approach a variety of subjects and even have a range of style in terms of sketching to finish or different oil painting techniques, but there is always an overarching voice, a common quality to your work that will pervade all of what you make which expresses your fundamental nature and values. Strive to understand what this is in your own work, and find ways to make that unique quality shine to it’s best advantage.

No mind readers here: Who knows what the art world will look like in 10-20 years? What will be trendy? Will galleries still be in business and interested in figuration? Will the Internet play a larger and larger part? No one knows. So, my advice is don’t worry about it. What is going to keep you committed to the difficult work of making art when the wind is blowing in the other direction? My advice to you and myself has always been don’t chase the next big thing. You’ve got to dig deep and find the source of inspiration that will sustain you and your work.

--Patricia

For more painting instruction from Patricia, check out her latest DVD, Figure Painting: Realistic Skin Tone.

The Gowanus Ballroom

Patricia Watwood — Thu, 05 May 2011 03:37:00 GMT


The Gowanus Ballroom brought together installation art, contemporary sculpture, and realist painting.

Every once in a while, I get to do something that is comes uniquely from the place where I’ve chosen to live—Brooklyn. My studio is in Gowanus, which is an industrial neighborhood along the canal it’s named for. The buildings are almost all commercial, and it’s one of the few remaining pockets of manufacturing in the city. There are metal shops, wood workers, signage companies, stonecutters, scrap yards, even coffee roasters.

Recently, the magical Gowanus Ballroom sprang into existence for a brief firework show of young artists called “Art + Architecture 2011: a diverse and multidisciplinary exhibition of emerging artists.” Each night, a sparkling array of bands, dancers, and performance artists performed, and the space was filled with paintings, sculpture, and installations. I had five oil paintings hanging in the show, along with some other friends of mine in the New York realist circle: Rob Zeller, Kristin Kunc, and Bennett Vadnais.

Our work was a little different than most of the other contemporary art in the show. And this is exactly why the curators were excited about having our oil painting art included. Often it seems that realist painting is segregated into galleries that only show that type of work or the audience that sees it is only interested in realism and representation alone.


	Works by Patricia Watwood and Rob Zeller.


	The Gowanus Ballroom is a metalwork shop by day.

On the other hand, some galleries are not remotely interested in having anything vaguely academic (studied, trained) in their stable of artists. But a younger generation of curators and art viewers couldn’t care less about historical arguments on representational painting; they are completely open to anything that interests them. And the up and coming contemporary American artist is interested in artwork that is finely crafted, well designed, figurative, and narrative.


Pink Slip by Kristin Kunc.

The audience for realism may seem like it’s a conservative older generation—but tell that to the dozens of excellent artists under 30 who are just breaking onto the scene! A young generation of art makers is connecting to a young art audience eager to see beautifully made work. The mix of art is wide ranging as audiences enjoy different styles of work and types of expression. Diversity is the modality of our day.

I was happy to have an opportunity to showcase my work to an audience that otherwise might not be aware of the strong resurgence in classically trained painting. So, go out there and evangelize about great realist painting by winning over some young art viewers. As Margaret Mead said, “Do not doubt that a small group of thoughtful people can change the world. Indeed it is the only thing that ever has.”

--Patricia

For more painting instruction from Patricia, check out her latest DVD, Figure Painting: Realistic Skin Tone.

What I Get From Other Artists

Patricia Watwood — Wed, 27 Apr 2011 18:24:00 GMT


Wilson uses the visual world as a lexicon of poetic images, as in his painting, Mary. In the 19th century, painters depicted modern life, embracing the “real” and eschewing narrative subjects and symbolism. Now, modern figure painters are embracing poetic language anew, and escaping the limitations of the everyday “real” visual world. All works by Will Wilson.

Like all artists, I draw inspiration from other artists, and this can be especially meaningful if the artist is my contemporary. One of my favorite artists to watch is Will Wilson. Wilson works in San Francisco, in a studio upstairs from his long-time gallery, John Pence. Will studied at the Schuler School of Fine Arts, and at my alma mater, The New York Academy of Art.

Will has been making amazingly consistent, exemplary and individualistic work for about 30 years. He has always been a “guiding light” of mine in the classical tradition of the figure and portrait painting. One of the things I admire in his work is his clear sense of “voice” and individuality. When I look at his painting, I think, “Will and I are barking up the same tree.”

I recently received a card from John Pence Gallery featuring a fantastic recent oil painting portrait of Wilson’s, Mary. The painting is a quiet revolution. I wanted to share the image because it stands in sharp contrast to the predominant style of much figure painting out there today. The alla-prima brushstrokes and dash of impasto that are usually praised as good oil painting techniques are nowhere to be found. Instead, the paint handling is careful, the drawing precise, and the surface is relatively smooth with delicately modeled form.

Wilson isn’t dwelling on the surface of the painting's canvas. Art, for him, is more than that--he’s trying to draw you into the world of the image. He wants you to depart into his painted realm, inside the picture plane, and consider what the world is like from that view. He is implying narrative, but in ways that invites the viewer’s opinion. He uses subtle embellishments in the composition, like the pansies in the girl's hair and the key around her neck, to remove the image from the everyday.

The painting is also very sweet. Do you know how hard it is to make a sweet painting that is not trite, saccharine, or stereotyped? And where is the irony, the mortification, the fashionable disaffection, or the socio-political commentary that critics so often look for? Sweet is not cool, right? But painting a young woman, pretty, yet individual, is a challenge. Wilson goes his own way, not with the maddening crowd, and sticks to his singular vision.


	Entr’acte depicts a moment backstage between acts of a play as the title actor prepares for her final scene as Joan of Arc. Thehelmet symbolizes a halo, the purple robe divinity, and the lilies in her lap foreshadow resurrection.

I asked Will to comment on the picture and he wrote, “Mary is a portrait of my 21-year-old cousin who was about to move to NYC to pursue a career in music. For the background I looked at photos from the Hubble telescope depicting Nebula, clouds of interstellar gas and dust, the place where stars are made.“ Wilson is crafting a background that works on two levels—as a well designed sky that complements the subject, and as a metaphor for the message contained within the painting.

Consider the predominant style in any given painting and ask yourself, why? What are your preferences, and how much are your opinions about “good” or “bad” based on predominance, rather than excellence? Artists can and should break the rules as much as they abide them, so question your own preconceived ideas about style and expression. This will shape your individual voice, and strengthen your commitment to the unique expression you can make, in spite of any countervailing pressure.


String Theory, 2006, 23 x 17.

--Patricia

For more painting instruction from Patricia, check out her latest DVD, Figure Painting: Realistic Skin Tone.

Finding Meaning in the Details of My Painting

Patricia Watwood — Tue, 19 Apr 2011 03:26:00 GMT


Some of the inspiration for the landscape in my painting, Leaves of Grass, came from found images of industrial areas along the New York waterfront.

Sometimes in making a small study for a larger oil painting, an artist will sketch in certain areas very loosely. It's almost as if she says to herself, "and there's some other stuff that fills in this area of the composition, but I'll think about that later." With the set of small paintings I was doing recently, I wanted to push myself to answer those questions earlier, and allow myself more time to critically consider the elements I include, before committing to the time and scale of a large work.

The still life and landscape details in an allegorical painting are the passages that tell most of the details in the narrative story. In what time period is the piece set? Where? What kind of person is this figure? I am interested in creating images that tell viewers they are looking at a world we share and live in. It is important to me that we have images of the human body that show a contemporary experience of the figure in art, as opposed to a sensibility that refers to a time past.

I mentioned in a recent post that Whitman's "Leaves of Grass," was the inspiration for my painting of the same name. So, I wanted this painting to feel like the figure has flopped down on a grassy bank, but not in Whitman's time--in the modern world. I chose the still life objects around her--paperback books, an aluminum water bottle, and an iPod--to show that she is contemporary to our time.


	I often take simple snapshots of landscape elements for my paintings. I don't paint directly from the photo. I use the details to support my imagination.



	Creating plein air studies is also a rewarding way to get a basic knowledge of natural forms that you can draw on for later studio paintings.

The bright colors of these objects also anchor them in modern life. All our stuff is so colorful! What a feast for a painter! To compose the still life painting elements for this work, I gathered objects mostly from my home life, though I'll sometimes shop or borrow for something specific. For example, I knew that I wanted the fabric my figure is laying on to be blue, because it would complement her skin tone, work with the overall design, and to create a relaxed setting. So, I headed to the fabric store to find something that suited the picture.

The landscape is where I departed into the world of imagination. I designed the landscape based on the composition needed for the image. The dark of the trees behind her creates a good contrast for the paleness of the model's skin, and also makes the space feel more private and secluded for a bit of nude sunbathing. The open meadow slopes down to the waterfront of Brooklyn, and shows both nature and industry peaceably cohabitating. Whitman is big on embracing the Holy in the World as it is, not prettified or cleansed of human messes. The waterfront I ended up depicting is not a specific viewpoint, but an amalgamation of elements from the New York waterfront and park landscapes. I combined observation from nature, landscape paintings by other artists, and a few photos from the internet, for my references. I usually print out a set of reference photos and then invent the landscape from my head based on all this material.

For more detail on the landscape, I'll often do outdoor studies, search for found images on the internet, and simply take my own photos for precise details of say, an oak tree branch or a container crane. In general, I paint from life as much as possible, but I am happy to be able to draw on photo reference for background details such as this. I have done many plein air studies, and so have a basic knowledge of natural forms and atmospheric effects to invent from as well. Combined, they express my vision.

--Patricia

For more painting instruction from Patricia, check out her latest DVD, Figure Painting: Realistic Skin Tone.

How To Transfer a Study to a Large Canvas

Patricia Watwood — Wed, 13 Apr 2011 03:49:00 GMT


Study for Leaves of Grass. All works by Patricia Watwood.

With the image of a female figure reading in the summer grass in mind, I began to develop my oil painting, Leaves of Grass. I started with a preparatory drawing. I work with models and from life as much as I can, only using photographic reference when absolutely necessary for practicality.

Models brings their own presence, and sometimes, I have to be patient for the right pose to arrive, or begin with one thing and let it evolve as I work and learn more about the arrangement based on my familiarity with it.






	In the final composition, I adjusted the model's foot position from flat on the ground, as it was inthe drawing, to resting on the ball of the foot, giving the whole pose a freer, more fluid feel.

The early studies are done quickly, so that I can feel free to change things around, and be open about how it will unfold. I spent about 1½ hours on the drawing, and then forced myself to switch to another project so that I wouldn't get locked into my image too quickly. The more hours I invest in any particular picture, the harder it is to break it down, revise it, or throw it out altogether, so I stepped away.

The next thing I did was to transfer the drawing I made to a canvas, to begin an oil study. I liked the pose and the figure so far, and felt ready to move forward in developing it. Here are the steps to transfer a study to canvas:

1. To begin the large painting, I like to transfer the drawing, and copy the information from the study to the large work. This saves me a lot of time by not having to re-draw, and also saves on model fees! I took my small painting and laid tracing paper over it. I traced all the principle lines of the composition, in graphite pencil, reducing the design to a simple linear graphic. You can see that the lines are very simple and in some areas (clumps of grass, for example) there's very little information transferred. In those passages, I will just copy directly from the painted study to the large canvas.

2. Next, I take the tracing paper to a photocopy store, where I get the drawing enlarged. At some stores, you can do this yourself on an oversize black and white copy machine. Some places will do it for you, and you just tell them what the finished dimensions should be. The paper is three-feet wide, on a roll, so you can enlarge the drawing quite a lot, and the machine can enlarge up to 400%. I have had good success enlarging drawings in this manner. I have made photocopy enlargements of original drawings as well as tracings.

3. The next step is to take the photocopy and rub pastel on the back of the paper so you can transfer the lines. I put the paper on my studio window and rub NuPastel (dark red or sienna) on the back where I see the lines. In an area with a lot of detail, I tone the whole area, but if it's a simple line I just trace the line. Next, you tape the paper in place on your prepared canvas. Then, I draw over the lines on the front of the photocopy with a graphite pencil. Make sure you press hard enough to press the pastel onto the canvas. I usually lift up the paper and check to make sure I can see it (if not, press harder or rub on more pastel).

4. When that is done, I set the photocopy aside (tape it to a cardboard or foam core board), and fix the transfer lines on the canvas. To fix the lines, I use a small brush--a round with a good point--and redraw all the lines in paint. I will mix raw umber or burnt sienna with a bit of white, and just a touch of medium. Then I thin the paint with my solvent so that can paint the lines fluidly. I compare the painted lines to the large photocopy as I go to be sure I have drawn the lines accurately. Sometimes I will compare with the study or original drawing to make sure I retain the likeness of the original. Once all the lines are redrawn in paint, I let it dry overnight. Once the lines are dry, I begin the underpainting.

Have you worked the same way? What have you found along the way? Do you have any tips to share with the community?

--Patricia

For more painting instruction from Patricia, check out her latest DVD, Figure Painting: Realistic Skin Tone.

Developing a Narrative Theme for an Oil Painting

Patricia Watwood — Wed, 30 Mar 2011 03:35:00 GMT


Sketch for Leaves of Grass, an oil painting in progress by Patricia Watwood.

For a while now, I have been exploring narrative themes. This is what R. H. Ives Gammell called “poetical pictures.” In the 19th century, this was commonly referred to as “history painting”, but by history they did not just mean world events as we define the term.

“Poetical pictures” are paintings that draw on a narrative story, whether a literary source, or simple metaphor, or allegory. So, the paintings have a “subject,” in addition to being visual compositions or records of visual experience. (This may seem obvious, but after 100 years of breaking down narrative painting, nothing can be assumed!)

So, I think a lot about what would be a good “subject” for a picture. Recently I have been very inspired by Walt Whitman and “Leaves of Grass.” Like me, Whitman lived in Brooklyn, and I have walked on sidewalks and looked at the view of the harbor from the waterfront, knowing that he most likely passed by the same spot. Whitman was a man ahead of his time. He had a sensibility about the body, the unity of the body and soul, and of our spiritual self that 150 years later still seems progressive. He celebrates what I think of as “the holiness of sensuality.” In "Song of Myself", he writes,

    I CELEBRATE myself, and sing myself, 
    And what I assume you shall assume, 
    For every atom belonging to me as good belongs to you.

    I loafe and invite my soul, 
    I lean and loafe at my ease observing a spear of summer grass.

After reading those lines I thought, what a lovely sentiment on which to base a painting. Whitman is not traditional source material for narrative figure painting, in that the reference is not very overt or obvious. But he is well known enough that a person seeing the painting may have enough of a sense of his work to understand the theme of the painting. I was inspired to create a figure painting of a woman on a hillside overlooking the Brooklyn waterfront, reading “Leaves of Grass.” This unites Whitman’s poem and sense of the body with my own visual language of the feminine form, to represent a wholeness of body, mind and spirit. Here's my sketch of the work. I'm still working out all the details but having the figure reclining on the ground lends a sensuality and tranquility to the scene. The fact that she is reading Whitman brings the idea full circle--the poetry is being acted out, and it is being acted out as the figure reads Whitman's work.

Next time I'll share how I developed the painting. Until then!

--Patricia

For more painting instruction from Patricia, check out her latest DVD, Figure Painting: Realistic Skin Tone.