Apparently I wasn't the only negligent student. I pretty much skipped the crucial step of grisaille-painting executed entirely in monochrome or near- monochrome, usually in shades of gray. Because I didn't have burnt umber on my palette (I acquired it for the last two days), I unsuccessfully tried to do a grisaille with burnt sienna and ultramarine blue. There was a good reason for my wimpy shadows. My grisaille warm-up exercise on the second day Rob's critique was kind, but blunt: dark shadows in the head were not dark enough with the result of a chalky-looking painting.įinished grisaille demo of a Revolutionary-era sailor (the "C" on the right is a cartoonish way of drawing a nose wing to be avoided at all costs) Yes, just that much amount of time is what I had and will have on each painting for the rest of the workshop. Below is my first foolhardy attempt, which took about two hours. Not a method appropriate to anybody else. It is assumed that you are an advanced figure painter with a deep understanding of anatomy and a proficiency in color handling and drawing. That is the motto in alla prima painting. With a relatively limited, modern palette of burnt umber, cadmium yellow light, cadmium orange, cadmium scarlet, permanent rose, alizarin crimson, manganese violet, diozaxine violet, phthalocyanine blue, cobalt turq uoise, viridian, phthalo green, and two whites (titanium and lead), he proceeded to "finish" the demo within an hour. It perhaps took about one sitting session of 20 minutes or so.
He started with a grisaille in burnt umber on a mid-gray toned canvas. On Friday, Rob did a quick demo of a model dressed as a Civil War private.
My head is still spinning with what I have seen and done for the past three days in Rob's workshop. In particular, the workshop with Stephen Early in January was so exhausting and, I must say, tedious, that I was looking for a different approach more suitable to my temperament. The promise of learning to paint like Sargent, my hero, in three days was irresistible I have been waiting for this workshop with eagerness for months. Great painters such as Frans Hals and John Singer Sargent, or the contemporary master Richard Schmid, are often linked to this direct, daredevil approach to painting. His regular classes on Fridays at the Art League School are so hard to get into that one has to camp outside of the school building on the first day of registration each term.Īlla prima, or "premier coup," is a way of painting that involves the direct application of color without an elaborate underpainting. I signed up for the workshop-"The Painterly Sketch: Advanced Alla-Prima Portrait"-last September, because this popular teacher's workshops fill up fast.
Last weekend I took a workshop with Robert Liberace at the Art League School in Alexandria, VA. Rob adding "finishing touches" to his demo of the Civil War privateĭetail from "Wayne as a Civil War Private"
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