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Claudemir Bonfim - Thanks so much!
Marina Dieul - Thanks for the kind words. I will definitely post more if I can pluck up the courage hehe.
Alexandra Tyng - Thanks! My training was different in a bunch of really small ways I guess. For instance they didn't make us do a grisaille figure painting (although I never go to this stage...but others didn't have to)...also they only made us do two painted casts because they said that if you were going to do something basically in grayscale than why not do it in charcoal or graphite. Also if we did exceptional work they would sometimes let us skip a bargue/cast if they felt that we didn't need it. This was rare but it happened sometimes.
They also pushed imagination a lot as well. They really encouraged us to do imaginative works as opposed to just academic ones. That was a big difference. Then there were a bunch of little things changed as well. I think the reason that most of florence academy's student work has that muted look is because of the way they approach the rendering/modeling. I think the more you model or render something the more dull the color will become. Sargent's colors are beautiful because he left them alone when he placed them. I think my teacher's valued color more than Florence Academy did and I think I value color more than my teacher's even did. If that makes sense. Work from the water street atelier and some others have a more muted look to them as well because of the level of detail in rendering they provide. I love that style and love paintings like that but I just really like color too hehe.
I painted two casts under my teachers and then one small fruit. Then it was announced that the studio was closing and my wife and I moved to Texas. So I never really studied under them for painting. Drawing and seeing values, edges, etc... is the really important thing anyways and they gave me that foundation. I'm happy to experiment with paint application on my own. I use much more paint than my teachers did hehe...they would be aghast I think if they saw the blobs I placed on my palette hehe.
Sorry for the lengthy response but I hope that helps answer the question. Thanks again for the kind words.
Casey Childs - Thanks man! Just so everyone knows...Casey is one of the nicest guys you will ever meet. Offerred me a ride around provo when he didn't even know me. And if I ever met someone with a goatee like mine (I cut it off btw) I don't think i would trust him heheh. You rule Casey! Any Whitaker workshop...any time...I am game!
Karine Monaco - Thanks for the kind words. I have a little secret too ...I'm not crazy about still life paintings either! I like doing them but I would much rather be painting the figure/portrait in north light. I am going to be getting a new studio in about a month that has north light and enough room for me have live models so I am extremely excited about that. I'm really happy to hear that my paintings were still able to make you feel contemplative. I have a crazy lighting setup that I had to rig in order to work in this small space and i feel frustrated with it constantly. So to combat that frustration I try to put more into these still lifes than just an academic exercise. It's subtle but I'm glad you picked up on it! That's really encouraging to me. I definitely have fallen in love with painting. My wife always comes first but she used to call painting jokingly "the other woman"...well...half jokingly hehe. I will definitely be posting more of my work and thanks for your kind words and warm welcome!
Here is another portrait from my website in case you didn't see it:
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