Has the book on painting been closed?

[Sharon Knettell]

To think the book on painting is closed is to deny the possibility of creating something that is not only new, but communicates to our age.

I think we owe a tremendous debt to the masters who came before us, but to worship at their feet denies us fulfilling our own possibilities. They all had problems to overcome and were always bravely searching for new methods and ways to communicate. To say real art has stopped say in 1890 and we have nothing more significant to add except to regurgitate the past, ensures that our art will become static and irrelevant. If you were to reread art history you would see that there was invariably tremendous pressure to keep the status quo, if many courageous artists did not comply perhaps we would all be doing Byzantine portraits.

I think one of the most dangerous trends in art, is perhaps not enshrined urinals, but nostalgia. I think when we think of contemporary representational art we should consider it not as a vehicle to recreate the stale motifs of the past, but to give ourselves as artists a more coherent way of communicating in our time. Paraphrasing Diane Arbus, who noted when looking through her lens, if she had seen the picture before, she would not take it.

This of course does not deny that the hard won skills of mastery, scorned though they are today, should be neglected. That goes without saying.

Patricia, bring your paints. Remember how the water when you first jump in is cold, but the more you swim the more comfortable it is.

[Jimmie Arroyo]

Pat, if you can afford the upgrade, you really should do it. You're gonna regret it. Like Kim said, there will be worse and there will be better, but everyone will be there to learn.

I've only done five oil paintings, but it has'nt stopped me from posting them. They stink, but I'm not going to learn anything by hiding them. And if someone is laughing at them, oh well, I'll eventually get better.

You're letting a great opportunity pass you by. And if you don't take the full class, I won't be your friend anymore. Just kidding, my daughter's going through that stage right now.

I wish I could take Marvin's workshop, but I can't afford to take a week off work just for me. Maybe when my wife finishes nursing school and is working again, I'll be able to. I still have'nt hit the lottery, it might help my chances if I played. Hmmmm..... So Marvin, put me in for a 2006 or 2007 (whenever my wife graduates) Manhatten workshop.

JUST DO IT!

[Patricia Joyce]

All of your encouragement is persuading me to take the plunge (I have been tempted to anyways). Of course I am posting my first finished portrait and you may all change your tune!! As far as the extra costs - where there is a will there is a way!! What have I got to lose, right?

Thanks,

ps Jimmie, you just make me laugh, and you will be missed! I expect to meet you at another Marvin workshop and will hold you to it!!

[Allan Rahbek]

Originally Posted by Sharon Knettell

To say real art has stopped say in 1890 and we have nothing more significant to add except to regurgitate the past, ensures that our art will become static and irrelevant. .

Nothing has stopped, but now and then the fashion changes.
By the outbreak of Impressionism in 1872, that is more than 130 years ago, when Monet painted his "Impression of a Sunrise" he started what was to be a development of art. He was basically interested in making the plein air painting as realistic as he could, and was very successful in doing so. The nature of the white light it self became later a trend in the Pointelism and so on and on and on.

But think about this; Artists still paint impressionistic pictures more than 100 years after the boom of that fashion, and I believe that Abstract Expressionism will be painted in a 100 years from now, considering that it don't take anything else than the desire to fiddle with a brush.

Why they do that must be because somebody likes the motives and buys them.

I think that it is a basic need, for people, to relate them selfs to there surroundings. We like to see and feel the things around us, and especially we like to build monuments to prove that we were here.

I think that a well painted portrait will always be interesting to the family, and if it is better than good, it will be a source of aesthetic enjoyment to all.

To me there is only two sorts of art, the good and the bad.

Allan

[Patt Legg]

Patricia,

You sound exactly like me when I had finally made up my mind to take a workshop with Marvin. Trust me, you will learn and understand more after only one with Marvin then you can ever imagine----not to mention "he's really fun and not a stuff-shirt at all" ha

Hip -hip hooray to over 50--me too and loving it. Good luck and welcome to the greatest site on-line. Unfortunately I do not come here as often as I would like but do check in occasionally.

I hear the very same things you are saying from many of my students who have had previous classes in that area of learning.

Go for it and good luck.

Regards,
Patt

[Patricia Joyce]

Thanks, Patt. I will be returning to all of the encouraging words from my friends here at the forum January 1 as I come down with a serious case of the jitters!

Actually, I turn fifty in April and I am looking forward to it!! This is the best time of my life!

[Patricia Joyce]

Quote: "...drop the class and spend those 15 hours a week painting from life and good reference photos when I do not have a model in front of me "

Encouraging update!

We started on the next project in my oil painting class. I convinced the instructor and enough students were interested that we hired a model, one I have drawn in the sorely missed life drawing classes dropped by CIA!

Last night was the first class with the model and again we were given an option. With a majority of votes (by only one) the model is posing nude. Now I have nine class hours to paint from life!

I'm pumped!!

[Michele Rushworth]

in the sorely missed life drawing classes dropped by CIA!

Ha! So the CIA is behind the conspiracy to undermine all serious art education. I knew it!

[Tom Edgerton]

Patricia--

Don't worry so much about painting well in a workshop setting. I generally don't paint very well in workshops, as I am paying the instructor to challenge all of my (many) bad habits and shortsightedness, and to take me out of my comfort zone. Sometimes I leave a week's seminar wondering exactly what I've learned.

Later, however, much of what I've been shown comes out in the work. I'll be working, the bulb will light, and I'll realize, "THAT'S what they meant!" Whatever you do gets in there, and contributes to the whole.

It's about the process. Workshops are an opportunity to learn, not a venue for performance. All of the students will be struggling beside you. You'll learn more from large failures than small successes.

Best--TE

[Patricia Joyce]

Michele - you make me laugh out loud!!!

I am going to go, willing to appear foolhardy, but very hungry to learn. To read of your experiences is VERY encouraging as I so respect your work a great deal. Your words are taken to heart. Thank you.