Online Paintings

Although best known for his fashionable formal portraits, Oil paintings, Fine art gallery reproductions John Singer Sargent was equally adept at landscapes paintings and scenes of daily life. His early fame and astonishing facility with a brush prompted the American expatriate novelist Henry James, his close friend, to comment on “the slightly 'uncanny' spectacle of a talent which on the very threshold of its career has nothing more to learn.”

Another of Sargent’s friends was the French impressionist Claude Monet, with whom he shared a love of painting en plein air, or out-of-doors. Street in Venice, created during the second of Sargent's numerous visits to that city, was done on the spot. Mediterranean sunshine penetrates the narrow confines of the Calle Larga dei Proverbi, a back alley near the Grand Canal.

The emptiness of the silent street implies that Sargent depicted siesta, the time when many Italians rest for three hours at midday. One of two men conversing in the shadows is distracted by a girl strolling alone. Her skirt’s rustling hem and shawl’s flowing fringe are rendered with indistinct strokes that suggest her rapid pace will soon carry her beyond his lingering gaze. This combination of technical skill and emotional intensity goes far toward explaining why Sargent received more honors and medals than any previous artist, European or American.

Born in Charlotte, North Carolina, seat of Mecklenburg County, on September 2, 1911, Romare Bearden, an oil painters grew up in a middle-class, African American family. Both parents Bessye and Howard were college-educated, and it was expected that Romare would achieve success in life. About 1914, his family joined the Great Migration of southern blacks to points north and west. Although slavery had been abolished during the early part of the 20th century, Jim Crow laws kept many blacks from voting and from equal access to jobs, education, health care, business, land, and more. Like many southern black families, the Beardens settled in Harlem section of New York City. Romare would call New York home base for the rest of his life.

Throughout his childhood, Bearden spent time away from Harlem, staying with relatives in Mecklenburg County, Pittsburgh, Pennsylvania, and Lutherville, Maryland. Bearden's memory of these experiences, as well as African American cultural history, would become the subjects of many of his works. Trains, roosters, oil paintings, fine art gallery reproductions, cats, landscapes, barns, and shingled shacks reflected the rural landscape of his early childhood and summer vacations. Scenes of his grandparents' boardinghouse, bellowing steel mills, and African American millworkers recalled his Pittsburgh memories.

In Tomorrow I May Be Far Away, Bearden reflects on his childhood memories of Mecklenburg County. There is a focus or elevation of the everyday that becomes a frequent motif in both his North Carolina and Harlem imagery. Bearden employed a variety of media to create this collage, including cuttings from magazines, sample catalogs, wallpaper, art reproductions, oil paintings and painted papers. Parts of the surface have also been reworked with spray oil paint and charcoal or graphite. Over the next thirty years, Bearden's collages would continue to evolve, employing flat areas of color defined by cut papers as wells as more patterned or textured areas created by cuttings of preprinted images, hand-painted papers, foils, and fabrics. Surface manipulation was also an ongoing concern for the oil painting artist, who explored news ways to rework the surface, including the use of bleach or peroxide, sandpaper, and perhaps even an electric eraser.

Although Bearden is best-known for his work in collage he achieved success in a staggering array of media, including watercolor, gouache, oil, painting, drawing, monotype, edition prints, photography, designs for record albums, costumes and stage sets, book illustration, and one known wood sculpture.

As a freelance reporter sketching the Civil War’s front lines for newspapers and magazines, Winslow Homer developed an incisive candor. His debut as an oil painter occurred in the spring of 1863, with the enthusiastically reviewed exhibition of Home, Sweet Home. Two Union infantrymen pause while a military band plays the familiar ballad, reminding them poignantly that their campsite is neither sweet nor home. The conflict of 1861-1865 changed American society profoundly. With men gone to combat, women managed family businesses and assumed professional roles, such as teaching. These newly independent women, working or relaxing, figure prominently in Homer’s postwar subjects.

Homer treated many of his favorite motifs in serial format, creating variations in different media. The Dinner Horn depicts a farm maid who also appears in two other oil paintings, Original oil paintings, oil painting on canvas, fine art gallery reproductions as well as in an illustration in Harper’s Weekly. A crisp autumn sunshine is imparted by the bright shadows on her dress and the colorful flutter of leaves blowing across the grass. As she summons the field hands for their meal, a gust of wind reveals a provocative bit of petticoat and her shapely ankles. The Red School House, showing a solemn young teacher clutching her book, is among his many scenes of country schools. As one personification of a season, Autumn alludes to fashionable attire and, thus, to modern life.

In 1876, Eakins joined the faculty of the Pennsylvania Academy of the Fine Arts. Painted the same year, Baby at Play depicts Ella Crowell, the artist’s two-and-one-half-year-old niece, in the side yard of his own Philadelphia home. Ella is totally absorbed with alphabet blocks, having cast aside her ball, doll, and toy horse and cart.

In accord with late nineteenth-century attitudes about education, she has progressed from infantile pursuits to more advanced stages of development. By stacking up the blocks, the child practices language and motor skills. Eakins communicates his niece’s serious concentration by arranging her into a solid, pyramidal mass that is nearly life-size and aligned geometrically with the toys, blocks, and paved walk. The brown bricks show Eakins' expertise in mechanical drafting and, with the dark shrubbery, set off Ella’s sunlit figure.

Eakins’ skill in modeling with light and shadow also marks three small oil studies in the National Gallery of Art. These quick life sketches of African-American subjects are the same size as their final pictures. Two relate to Negro Boy Dancing of 1878, a watercolor now in New York’s Metropolitan Museum of Art. For an oil painting of 1908 now in The Brooklyn Museum, Eakins made The Chaperone, in which an old servant knits while a young girl poses nude for a fine art sculptor.

In the decade following the Civil War, rowing became one of America’s most popular spectator sports. When its champions, the Biglin brothers of New York, visited Philadelphia in the early 1870s, Thomas Eakins made numerous paintings and drawings of them and other racers. Here, the bank of the Schuylkill River divides the composition in two. The boatmen and the entering prow of a competing craft fill the lower half with their immediate, large-scale presence. The upper and distant half contains a four-man rowing crew, crowds on the shore, and spectators following in flagdecked steamboats.

Himself an amateur oarsman and a friend of the Biglins, Eakins portrays John with his blade still feathered, almost at the end of his return motion. Barney, a split-second ahead in his stroke, watches for his younger brother’s oar to bite the water. Both ends of the Biglins’ pair-oared boat project beyond the picture’s edges, generating a sense of urgency, as does the other prow jutting suddenly into view.

The precision of Eakins’ style reflects his upbringing as the son of a teacher of penmanship. He studied under academic artists in Paris and traveled in Europe from 1866 to 1870. To further his understanding of anatomy, Eakins participated in dissections at Philadelphia's Jefferson Medical College in 1872-1874.

Albert Pinkham Ryder, though a near contemporary of both Homer and Eakins, was a very different sort of oil painter. Hermitlike and visionary, he explored biblical, literary, and mythological themes. His Siegfried and the Rhine Maidens was inspired by Richard Wagner’s The Ring of the Nibelungs. Ryder claimed, “I had been to hear the opera and went home about twelve o’clock and began this picture. I worked for forty-eight hours without sleep or food.” Nevertheless, when he exhibited the canvas in New York in 1891, he had been revising it for three years.

Lit by an eerie moon, the Rhine River nymphs recoil in horror when they realize that the German warrior Siegfried possesses their stolen, magic ring. After he refuses to return it, they predict that he will die violently. To evoke impending doom, Ryder devised tortured shapes, crusty textures, and an unearthly green color scheme.

John Sloan, once a newspaper illustrator in Philadelphia, became a painter at the urging of Robert Henri and moved to New York. The apparent spontaneity in Sloans City from Greenwich Village is deceptive. Noting it was “painted from memory,” Sloan made more preparatory studies for this canvas than for any of his other pictures.

One pencil sketch shows the elevated train tracks at the slight angle they would create from a sixth-story rooftop. In the final oil painting, the railway is pushed down at a steeper perspective, opening the foreground into a vast space of reflections off wet pavement. The soaring Woolworth Building dominates the distant skyscrapers. Since that shimmering vision actually would not have been visible from this low level, the skyline derives from other studies done at higher elevations.

Sloan described the personally meaningful site: “Looking south over lower Sixth Avenue from the roof of my Washington Place studio, on a winter evening. The distant lights of the great office buildings downtown are seen in the gathering darkness. The triangular loft building on the right had contained my studio for three years before.”

This idyllic scene illustrates an episode from Edmund Spenser’s Faerie Queene, published in 1590. The lengthy Elizabethan poem concerns a Christian soldier’s search for Truth. Early in his quest, the knight encounters two lovely personifications of virtue. Faith, gowned in purest white and surrounded by a halo of divine light, holds a chalice with a serpent she need not fear. Hope, garbed in heavenly blue, carries a small anchor that recalls the biblical mention of hope “as an anchor of the soul.” To quote Spenser, the Red Cross Knight himself wears “on his brest a bloudie Crosse.”

The models were the oil painting artist’s own handsome children, now seventeen years older than when they posed for The Copley Family. John, the boy hugging his mother in that oil painting, is the Red Cross Knight. Elizabeth, the daughter standing in the center of the family portrait, is Faith, and Mary, the infant on the sofa, is Hope. The Red Cross Knight, Copley’s only oil painting inspired by literature, was shown at the Royal Academy in 1793.

On 7 April 1778, William Pitt, the first earl of Chatham, rose to speak in the House of Lords. In the midst of debate about the colonial revolutionaries, he suffered a stroke. The earl’s death removed one of Britain’s leading political moderates during the critical years of the American War of Independence. This small oil painting is Copley’s preliminary compositional sketch for a large oil on canvas now in the Tate Gallery, London.

In proper academic procedure, Copley first used browns and grays to work out the overall distribution of the scene before considering the color scheme and details. Sunshine pours in from a roundel window over the throne canopy, spotlighting the stricken Pitt. The pencil lines drawn over this study create a proportional grid called “squaring” that enabled the fine artist to transfer and enlarge the fine art reproduction design. In 1781, after two years’ work, Copley installed his ten-foot-wide picture in a pavilion and charged admission to his popular one-work show. How Copley had persuaded fifty-five noblemen to sit for their oil portraits became the talk of British society.

This gripping pictorial drama resulted from a collaboration between Copley and Brook Watson, a former English sailor. When Watson was fourteen in 1749, he had been attacked by a shark while swimming in the harbor at Havana, Cuba. The blood in the water proves that Watson already has lost his right foot. Rushing to his aid, his shipmates register many different reactions, ranging from heroism to horror. Watson fails to catch a rope hurled by a West Indian. Meanwhile, boathook poised, a harpooner takes aim at the man-eating monster. Copley grouped the rescuers into a dynamic composition that forms the silhouette of a sharply thrusting triangle.

Brook Watson bequeathed the oil painting to a London orphanage, where it conveyed the reassuring moral that anyone can succeed through “activity and exertion”—as stated by the biographical plaque on the original frame. In spite of being orphaned himself and also disabled, Watson had earned ennoblement as a baronet.

The depiction of a noteworthy event in an ordinary person’s life was an American innovation. European oil painters normally restricted such harrowing scenes to saints' martyrdoms. This unusual oil on canvas caused a sensation that assured Copley’s international reputation after its exhibition at the Royal Academy in 1778. A full-scale replica that the artist painted for himself is in Boston’s Museum of Fine Arts Reproductions.

An instructor at the Boston Museum school, Frank Benson created lovely daydreams of women and children frolicking outdoors. One of his daughters recalled their family vacations in North Haven, Maine: "Papa would often have us put on our best white dresses and then ask us to sit in the grass or play in the woods. We thought it was so silly and the maids made such a fuss when they saw the clothes afterwards."

These modeling sessions resulted in such idyllic works as Summer of 1909, now in the Rhode Island School of Design, Providence. In that breezy grouping, Margaret Strong, a seventeen-year-old neighbor, looks uphill toward three other girls who, in turn, converse with her or peer out to sea. Delighted with Benson's art portrayal of their daughter and also anticipating her forthcoming marriage, Margaret's parents asked him to paint her individually just as she had posed in Summer.

In a very daring maneuver for a commissioned portrait, Benson left Margaret's face still turned away from the sun. He did modify the design by raising the beach line of the distant cape so that, here, it would not cut across her profile. Her striking, coppery red hair frames her head, keys into the warm tan grass, and complements the blue Atlantic and the cool, iridescent shadows. Above all, the dazzling virtuosity of Benson's rapid brushwork captures attention.

Peale was a major figure in both art and science during America's revolutionary and federal periods. In 1786 he converted the painting gallery attached to his Philadelphia home into a museum of "Natural Curiosities." Peale's enthusiasm for learning was such that he named most of his seventeen children after famous scientists or painters.

In 1788 the Lamings of Maryland commissioned Peale to paint this double portrait. In addition to working on the picture, which incorporates a "view of part of Baltimore Town," Peale studied natural history and collected specimens while in residence at the Lamings' suburban estate. Peale's diary records his progress from 18 September, when he "sketched out the design" after dinner, to 5 October, when he added the finishing touches "and made the portrait much better."

Peale cleverly devised a leaning posture for the husband so that his portly figure would not overshadow his petite wife. This unusual, reclining attitude binds the couple together and tells of their love. The spyglass and exotic parrot may indicate Laming's mercantile interest in foreign shipping. Mrs. Laming's fruit and flowers, although symbols of fertility, might refer to her own gardening activities. The detailed attention to the bird, plants, scenery, telescope, and complicated poses attests to Peale's encyclopedic range of interests.

The history of Western art painting represent an incessant, however disrupted, custom from ancient times. Until the early on 20th century it relied mainly on representative and Classical motif, after which time more merely theoretical and abstract modes gained favor.

Originally serving religious patronage, Western art painting later on found audience in the nobility and the middle group. From the Middle Ages throughout the resurgence art painters works for the church and a rich aristocracy. Start with the Baroque era artist received confidential commission from a more cultured and rich middle class. By the 19th century western art painters became unconventional from the demands of their benefaction to only depict scene from mythology, portraiture, religion or history. The thought "art for art's sake" began to find appearance in the work of western art painters like John Constable, Francisco de Goya, as well as J.M.W. Turner.

Developments in Western art painting in history parallel those in Eastern painting, in common a few centuries later. Indian art, Chinese art, African art, Islamic art as well as Japanese art each had momentous influence on Western art painting.

Japanese Art painting is one of the oldest as well as most highly advanced of the Japanese arts, around a wide range on kind and fashion. As with the olden times of Japanese arts in common, the history Japanese painting is a lengthy history of synthesis and rivalry among resident Japanese aesthetics and adaptation of import thoughts. Ukiyo-e, "cinema of the floating earth", is a sort of Japanese woodblock prints and fine art paintings shaped between the 17th in addition to the 20th centuries, featuring motif of landscape, the theatre and delight quarters.

It is the chief artistic type of woodblock art printing in Japan. Japanese print making especially from the Edo period which exerts enormous influence on Western art painting in France through the 19th century.

Cerulean Fine Art Gallery at 202 Water St. in Hallowell announces an exhibit featuring the photographic works of Hallowell artist Nancy Jacob. The show, "Northern Maine Woods Trails in Search of Dri-Ki Tribe Artifacts," opens October 10 and runs through November 1. An opening reception will be held Friday, October 10 from 5-8 p.m. In addition, Ms. Jacob will give a talk on Saturday, October 18 at 3 p.m. All events are free and open to the public. For more information call 626-9009 or visit www.ceruleanart.com.

Jacob is known for her large format photography, particularly of the Northern Maine Woods, where she documents the wood remains following a harvesting, commonly referred to as "Dri-Ki". The scale of Jacob's work invites the viewer into the space and encourages one to think critically about the resulted landscape of this process. Jacob states that, "as an artist-what I found while sitting amidst-what I call the `Dri-Ki Tribe' is a peace and solace found no where else." Jacob said, "When I first laid eyes on this part of Maine, I was awestruck and remain so."

Jacob uses a printing process called Giclee, which she uses to print her fine art photographs. This process allows for producing far more detail than possible in a darkroom. Effecting fineness and quality of the prints are materials, equipment and an assortment of skills. All of Jacob's prints are in limited editions of 200, signed and copyrighted. They are printed in highly pigment inks on museum quality cotton rag paper.

"Nancy's work is breathtaking and engaging - one wants to know more, and sees more with further study of each intricately detailed imagery," states Helene Farrar, propietor of Cerulean.

Cerulean also announces their Fall 2008 workshop schedule: Pre-K Art Play for Children ages two to five on Wednesday mornings at 9:30 and Saturday Morning 'Art School for Kids' from 11-12:30, specially designed for school aged children. Additionally, there are adult workshops in Encaustic Painting, Gelatin Printmaking, Drawing for the True Blue Beginner, and Silk Painting. For more information visit www.ceruleanart.com or call 626-9009.

ABOUT CERULEAN

Conceived by artists, mothers, and longtime friends Helene Farrar and Janna Civittolo, Cerulean Fine Art Gallery is contributing to central Maine?s evolving art scene. Cerulean Fine Art Gallery features the work of the Cerulean Collective (a select artist group curated by the gallery), a unique art rental program, working artist studios, private lessons and workshops, and an art lending library. Summer hours are Tuesday, Thursday, Friday, and Saturday from 11:00 a.m. - 5:00 p.m. (first and second Fridays they are open until 8:00 p.m.), and by appointment. For more information, please contact Cerulean Fine Art Gallery at 626-9009, or visit www.ceruleanart.com.

Damariscotta Artist/ Sculptor Jacques Vesery was selected to participate in "Les tourneurs et leurs Projets" during the "Art and Passion du Bois" festival in Breville (near Cognac) France, August 30-31, 2008. This competition brought together 6 wood art

professionals to create work in a public venue. Three prizes were awarded including one by a jury of professionals and local dignitaries.

The theme; "Him and Her"....The challenge; Complete a piece in two days. Jacques' thoughts on how his work would relate to the theme; Two turned forms representing Male and Female specifically, yet to convey several ideas. Although the forms may relate to non-realistic seaforms or creatures and each single form, being unique with an ability to stand alone..... together represent a combined relationship. As with any relationship between two objects [not necessarily human, but including plants, animals and man-made objects] the intent was to reveal compatibility, similarity, individuality and the importance of unity as well....no matter where one comes from or what side of an ocean.

Jacques received the highest honor, the Professional Juror's Award which is based on the criteria of technique, creativity, relation to the theme and emotional provocation. With this comes the honor of returning to Breville in 2009 as President of the Jury for the next competition. He is the only artist outside of France ever to be accepted to this event.

More images and information is available through the artist and/or Cerise Boisseaux in Breville at cerise.boisseaux@gmail.com

Oil Painting Aarhus gallery is excited to exhibit the lively color Original Oil Painting work of the talented Blue Hill Oil Painting artist Heidi Daub September 2-21. The public is invited to an Fine art reproductions opening reception on Friday September 5th from 5-8pm.

With a personal vivid style and recognizable imagery, Heidi's modernistic landscapes play along the border of abstract and representational Original Oil painting.

"I am concerned with ordinary things and the extraordinary ways in which the ordinary shapes our lives. My Oil paintings and Fine art Paintings evolve from an introspection,... an awareness,... There is an aspiration to a holy moment so to speak. How we perceive and feel, the nebulous space between the physical reality of a given situation, person or place, and the perceptions we carry, the curiosity and non-linear ways of looking at time."

Heidi Daub graduated from Montserrat School of Visual Fine Art Reproductions, has lived and worked in Maine since 1984 and exhibited her Oil paintings on canvas widely throughout New England since 1987. Heidi is represented by oil painting galleries throughout New England and her work is housed nationally in many private Oil Painting collections.

In 2008, Heidi has inaugurated the Women of Maine Visionary Fine Arts Reproduction Award to support women involved in audio, visual or literary Fine Arts Paintings who exhibit outstanding commitment and are inspiring to others.

Eastport, Maine?The Tides Institute and Museum of Art gallery and Art Reproduction (TIMA) will open its third exhibition of the season featuring a one-person show of work by one of eastern Canada?s foremost printmakers, Dan Steeves. The exhibition opens on August 23 and will be on view through September 21, 2008. The public is invited to an Opening Reception for the Original Oil paintings artist on Saturday, August 23, 2008 from 5:00 ? 7:00 p.m. A letter in support of the exhibition by New Brunswick?s Premier Shawn Graham will be read at the opening.

Dan Steeves was born in 1959 in Moncton, New Brunswick. He received his B.F.A. from Mount Allison University in 1981. He currently lives in Sackville, New Brunswick where he is Printmaking Instructor and Lecturer in the Fine Arts Reprodcution and Oil painting Department at Mount Allison University. In 2007, Dan won the prestigious Sheila Hugh McKay Foundation's Strathbutler Award, which honors exceptional Oil painting on canvas artistry in the province.

Steeves' work has been exhibited in art galleries in Canada, the United States, Holland, Italy, Japan, Poland, Taiwan and the Ukraine. His prints are represented internationally in both public and private collections including Canadian House, (Nagoya, Japan), Royal Bank, Beaverbrook Art Gallery Reprodcution, Regent College, Istituto Per La Cultura E L'Arte, (Catania, Italy), Chernobyl Disaster Museum, (Kharkov, Ukraine, USSR), Canada Council Art Gallery Bank, Permanent Collection, University of New Brunswick Art Reprodcution Centre and New Brunswick Oil painting Art Bank, among others. He is represented by the Abbozzo Gallery of Oakville, Ontario, and the Peter Buckland Gallery of Saint John, New Brunswick. The prints included in this exhibition are on loan from the Peter Buckland Gallery.

Also on view and on loan to TIMA until October is an Original oil painting by N.C. Wyeth titled, The Little Cockle, originally created to illustrate a passage from the book, The Black Arrow by Robert Louis Stevenson.

The Tides Institute is open Wednesday through Sunday, 10 a.m. ? 5 p.m.

The Tides Institute and Museum of Art gallery and Art Reproduction(TIMA) is located in the former Eastport Savings Bank Building, an 1887 National Register of Historic Places anchor property in downtown Eastport, Maine. Open year round, TIMA curates three to four new exhibitions each year, as well as exhibits works from its permanent collections, which focuses on the international Passamaquoddy region and the broader U.S./Canada northeast coast. Art Gallery and Art Reproduction TIMA operates as a cultural catalyst ? acting as a cultural resource, cultural facilitator, and cultural collaborator working with a wide range of partners on both sides of the U.S/Canada border.

Bayview Gallery presents Of Land and Sea: Online Painting the Bold Coast - an exhibit of marine Online paintings in our Camden gallery, featuring the works of William R. Beebe, Vern Broe, Robert Spring and other gallery artists.

Marine artist William Beebe has been Online oil painting the coast for over 16 years, and he now dedicates himself to rendering the historical wooden schooners of the 19th and 20th centuries. An admirer of Impressionist Claude Monet and Frank W. Benson for their brushwork, palette and interplay of light, Beebe creatively uses layers of various colors to achieve depth in his images. A black hull may have Naples Yellow, Cobalt Blue, or Umber added to create light and dark or warm and cold areas. His crisp lines and detailed renderings bring vitality to his maritime work along with a traditional realism honoring the excitement and joy of the nautical journey. His oils capture movement and place, celebrating the timeless grandeur of these majestic sailing vessels.

Vern Broe has painted the coast from several New England locations - Gloucester, Marblehead, and of course Maine. Versatile marine painter and former draftsman, Broe explores the contrasting qualities of light and dark and their various tones in his Original oil paintings. Water takes on an illusionary sense due to his skillful, delicate use of multiple washes of acrylic paint. Well-studied, keen lines define his vessels, giving them a subdued character against a receding, dream-like backdrop. He pays homage to the sailing and working crafts that grace the coastline.

Maine resident Robert Spring is well versed in portraying images in both oil and watercolors. Influenced by J.M.W. Turner, his oils are luminous and impressive, exhibiting an inventive palette that plays up the frequently subtle nature of his subject matter. Texture and color create a rhythmic energy, bringing new life to his seascapes. A sculptor as well, Robert's use of thick impasto suggests a tangible quality with his oils, texture and movement working in unison. His watercolors evoke a feeling of mystery, leaving the viewer to draw his own conclusions as to the outcome of the oil painting on canvas. A heightened sense of drama with no resolution contrasts with a momentary stillness and peace.

On Friday, August 15, Nina will teach Beyond Green: Oil Painting Exploring Color Through art gallary Landscape. In this five hour workshop participants will study the Oil Paintings complex colors of nature. They will begin with a basic review of the Oil Paintings color wheel and examination of Original oil painting color groupings and relationships. Oil Paint mixing and Art Gallery color exercises will strengthen awareness of how to effectively use Oil painting color in landscape paintings and fine art drawings.

On Saturday and Sunday, August 16 & 17, Nina will offer Oil Painting and art reproduction Drawing the Maine Landscape, a two day, ten hour, workshop. Students will work plein-aire studying the inspirational oil painting on canvas landscapes around the beautiful harbor town of Corea. Emphasis of this workshop will be on rendering basic forms of the landscape, using line and gesture and seeing and expanding the use of Art reproduction color in landscapes. Students will begin with compositional sketches and Oil Paintings color studies and progress to works in the color medium of their choice.

The one day (Friday) workshop is $75 and the two day (Saturday / Sunday) workshop is $140. Each workshop is capped at 15 participants.

Paper marbling Oil Painting is a method of aqueous surface oil reproduction design, which can produce oil painting patterns similar to art reproduction marble or other stone, hence the name. The original oil painting patterns are the result of colors floated on either canvas painting plain water or an art reproduction viscous solution known as size, and then carefully the oil painting transferred to a piece of paper (or other surfaces such as fabric).

This oil painting on canvas decorative material has been used to cover a variety of oil painting surfaces for several centuries. It is often employed as a fine art painting writing surface for oil painting calligraphy, and especially book covers art reproductions and endpapers in book binding and stationery. Part of oil painting appeals is that each oil painting print is a unique monoprint.