Institute of Academic Realism-Mattelson - Page 3

Elizabeth Schott · 07-03-2003, 12:57 PM

As Marvin will be the first to admit "he loves to paint beautiful girls" and this model, Brooke, certainly fit the bill.

Here Marvin is demonstrating scumbling which is a technique somewhat like glazing, but uses opaque paints and is more like oiling your canvas for the next layer of paint. He uses cold pressed lindseed oil and Michael Harding paints.

Elizabeth Schott · 07-03-2003, 01:01 PM

Here is a shot of Marvin with the three models we had for the week, who were all excellent.

Once again Marvin is blushing, he really is so shy. But I really think he wanted to drive home his point that intensity of color is really one of the three things that brings an object forward in a painting!

That Marvin, he is always teaching.

Elizabeth Schott · 07-03-2003, 01:07 PM

Lastly, I just had to comment on this quote from Marvin;

[quote]

Patt Legg · 07-03-2003, 08:54 PM

OK, here goes again. My PC completely froze up earlier when I tried to post.

I am attempting to send my work started in Marvin's workshop in NC. As I had written before, Crystal is the model; I painted on a 20" x 16" and so here it is for now.

Patt Legg · 07-03-2003, 08:59 PM

The next one is a little closer. Forgive the photography as it has a lot to be desired. The pose that I was attempting was not one that I would have chosen myself. I painted in Crystals right eye and a tiny bit of cheek--then I eliminated the tiny cheek--then painted it back in. My drawing is not my upmost pride at all. As Marvin commented to us many times, the drawing must be right at the beginning. I realize I need help in that area and will attempt to do better.

Patt Legg · 07-03-2003, 09:06 PM

Close up of the eyes; following was my reference, but taken too light so it certainly would not suit the Proper Reference Photo section on this forum.

Patt Legg · 07-03-2003, 09:08 PM

Crystal Reference

Patt Legg · 07-03-2003, 09:12 PM

Bear with me folks as I post Marvin studying his most important of all , his "look at the ink spots here and tell me "what do you see"? Ha

Patt Legg · 07-03-2003, 09:16 PM

and finally Beth after Marvin told her "that's ok Beth, I like you anyway"

Francine Scofield · 07-04-2003, 07:34 PM

Hello, everyone. I'm making my posting debut today, though I've been reading and observing here for a while (not to mention learning from many of your comments). I've taken Marvin's class at SVA for several years now, which is why I haven't put up work for help here on the forum. But I do want to add some things to the workshop discussion.

Yes, you workshop participants have discovered Marvin's great teaching, talent and humor. He's that rare creature, a natural-born teacher who knows how to help you break through to a new level. He can (certainly!) communicate. (Plus he's one whiz of a problem solver; consider all the little gadgets he's come up with to make the painting task easier, and ease any problems you might be having.) And then he's that most vital thing, a fine painter, a problem solver in paint.

What I do have to add that isn't redundant after all your appreciative comments is this: as in John Murray's class, which I also was lucky enough to take, more and more people come back like me semester after semester, year after year, to learn from Marvin. He only gets better. (And so do you.) His Saturday SVA class is 6 hours for 12 weeks. It includes an extra 5-hour tour of the Metropolitan Museum of Art during which he discusses why some of their wonderful masterpieces work, the very techniques he is teaching you--purely fabulous technical knowledge. This fall he is adding a 6/12 Friday drawing class. So if any of you are anywhere near the NY area, you won't be sorry if you decide to join us.

Best,
Fran Scofield