Wednesday, June 6, 2012

Art of the Portrait 2012: Day 1, Breakout Sessions

Casey Baugh demonstrates "The Edges of Reality"

During the afternoon of the first day, the Art of the Portrait Conference offered classes which they call "Breakout Sessions."  Through these classes, attendees are able to customize their schedules, and focus their attentions on a subject in which they have particular interest, or to learn from a faculty member whom they admire most.  There were two of these sessions during the afternoon, each lasting an hour and a half, with five programs from which to choose during each session block.

Wende Caporale, at the podium, discusses her career, while Rhoda Sherbell (l.) and
Ellen Cooper (r.) prepare for their own presentations.

Sharon Sprung mixed flesh tones to match the complexions of volunteers from the audience.

The classes held during the first session were as follows:  Expressing Form Using Color, a demonstration on the main stage where renowned instructor, Sharon Sprung, offered lessons in using color to turn form and create vibrant flesh tones;  Phases of the Artistic Journey, a program designed to follow the 7th Annual Cecilia Beaux Forum Meeting, in which Forum members Wende Caporale, Ellen Cooper, and Rhoda Sherbell discussed turning points in their own careers, and advised the audience how to recognize and take advantage of similar moments in there own lives;  Beyond the Face, where Daniel Greene, Alexandra Tyng, and Mary Whyte presented works from each of their recent solo shows (New York - Hot Mix, Right Here:  New Maine Paintings, and Working South, respectively); Painting for Posterity:  Choosing Oil Painting Materials that will Last for Centuries, where artist and author Virgil Elliott recommended the proper materials, as verified by time and science, which should be used to create oil paintings with the best archival qualities; and a Drawing Workshop co-taught by David Kassan and Ryan Brown, where students were able to draw from live models while under the supervision of these two modern masters.

David Kassan began his Drawing Workshop with a demonstration (notice the binoculars in his hand)

Featured in the second session were these five choices:  The Edges of Reality, an alla prima painting demonstration by Casey Baugh;  Use & Misuse of Photography in Portraiture, a presentation by Judy Carducci on the intelligent and effective use of photo reference, and when to avoid its use;  What is a Portrait?  a question and answer roundtable where Burton Silverman, Daniel Greene, David Kassan, and Rose Frantzen discussed their personal philosophies on what it takes to make a great portrait;  Marketing is a Verb, a lecture by Bart Lindstrom designed to teach the audience practical methods they can employ to reach new clients;  and a Drawing Workshop with live models, co-taught by Susan Lyon and Lea Wight.

Ryan Brown in discussion with one of his workshop students.

Some samples of Ryan Brown's quick-study life drawings.

Breakout Courses require registration in advance, as several of the options have class size limitations.  The Drawing Workshops in particular have few spaces available, and fill up very quickly.  But by providing these smaller classes, the Art of the Portrait is better able to cater to the needs of those in attendance, and those participants involved are in turn rewarded by having more one-on-one contact with the faculty.

Virgil Elliott talks about the archival qualities of lead white oil paint.

Casey Baugh painting on the main stage.

With so many interesting programs occurring simultaneously, it becomes difficult to choose which program for which to register.   For my first session, I registered for Virgil Elliott's class on Painting for Posterity, where Elliott emphasized that the quality of a painting includes the materials used to make it, and that the artist owes their clients a work whose good appearance lasts well beyond the day it was first sold.  In the second session, I took advantage of the opportunity to see Casey Baugh paint, and to hear his near-rebellious attitudes towards "rules" in painting.  If I could have been everywhere at once, I would have attended every other class as well!


Unknown said...

Can I ask what that far right, light-blue is on Casey Baugh's Palette?

Thank you

innisart said...

In the next post, I'll go into a little more detail on Casey's demo, including listing his palette. That blue on the right hand side of the palette, however, is King's Blue, a convenience color – it's a tint of cobalt.

Patricia Bennett said...

Very nice information, thank you. I noticed that Casey Baugh used a light on his easel but Kassan didn't. I admire the way Baugh handled the blue background behind the model's head.

Jason Peck said...

I would love to know where Casey got that easel setup. Looks very lightweight. Love how the light is attached.

martinealison said...

Une publication pleine d'intérêt... Merci pour ce merveilleux partage.
Gros bisous.