Sylvia at Seventeen

[ReNae Stueve]

Marvin,

I've been reading your posts for several years now. You don't hold back, you say what you think. You're dedicated to your craft and love teaching all that you have learned.

I have plans (in the dream stage at this point), in the future when my caregiver role has run its course, to begin taking seminars, with several people in mind.

My New Year's resolution though, is that I will, come h*** or high water, if I have to work 2 jobs to get there, make my way to one of your seminars.

Thank you for the inspiration.

Happy Holidays to all,

[Marvin Mattelson]

Thanks Renee,

It's always nice to know that some people actually choose to read my words. I'm quite certain that my smiling face functions as a do not enter sign for others. I seem to have a great talent for polarizing people. They tend to either agree what I have to say or take it personally. It's one of side effects of being passionate.

I think if you make it to one of my classes you'll find it interesting. I love painting and I love to talk about it so teaching is a ntural outgrowth.

Many of my theories seem to run counter to what the vast majority of other teachers have to say. Other teachers tend to not like this about me. I think many very good artists don't really understand what it is that makes them good. They may have great intuition which, I feel, they've developed in spite of what they were taught.

When good artists are invariably asked to teach or write a book, they fall back on perpetuating, what I like to call, the myth (mis) information that they succeeded in spite of. So when I hear what is offered as gospel, it's difficult for me to kind of go along and not ruffle feathers for the sake of maintaining some level of decorum.

It's hard to keep myself from interjecting when I believe that there is the possibility that others may be led astray. Lately though, I have tried very hard to keep myself in check and simply allow those, such as yourself, the opportunity to hear my message and at the same time avoid draining confrontations with those who don't agree with me and never will.

I have observed first hand that in all areas of life, the vast majority of people don't know what they're doing. I think that this is true for doctors, accountants, plumbers, definitely polititions and certainly teachers of art.

So when people inquire about my teaching, I advise them that if they aren't able to study with me, they can always study with another teacher and simply do the opposite of what they are told. People quite often laugh at this silly little notion of mine. After all I am a pretty funny guy..

I look forward to hooking up one day.

[ReNae Stueve]

Marvin,
I'll see you in August in Atlanta.

Until then............You just keep knocking us out.

[Cynthia Daniel]

Marvin,

This is gorgeous. I must include it in the rotating images on the SOG home page.

[Marvin Mattelson]

Thanks Cynthia, I really appreciate it.

[Armin Mersmann]

This is truly a great work, such a strong sense of the serine. The composition is wonderful as well, hats off my friend!

Armin

[Terri Ficenec]

Don't know how I missed this! Just breathtaking!

[Peter Jochems]

This one looks nice, Marvin.

[Marvin Mattelson]

Armin,

We belong to a mutual admiration society!

Terri,

Thanks for your generous response. I appreciate it.

Peter,

Thanks Peter, you don't know how much your words mean to me.

With every painting I create, my mind is geared towards finding the best solution for the assignment in hand. I really don't start with a particular approach in mind regarding content, composition or colors.

When this particular client approached me about doing this painting of his mother, at seventeen, all he had was her very faded and heavily retouched high school graduation photo.

He gave me the freedom to do whatever I wanted artistically. (Where I come from we call this a smart client). He said he just wanted this to be a painting of a beautiful young woman and if anyone knew it was his mom, so much the better.

Every time I would call him with an idea he would say, "I'm leaving it up to you. I trust your judgement. Just do what you think looks good."

I finally settled on the eastern motif since that was commonly used by the American Boston School painters Paxton & Tarbell, who were doing portraits at that time, 1930.

Once I decided on this theme, my client, who is an antique dealer, told me he had a friend whose house was decorated in Japanese and Chinese antiques. We went there and I chose certain objects from her collection and basically rearranged her living room. Once I had a dress that I felt would complete the composition, I took photos of the setup using a model that resembled his mother in size, build and features.

When I painted the actual portrait I was able to bring most of the props into my studio to paint them from life. I also had the model sit for me as well.

I fell that if I can go into planning a painting with an open mind I will be able to find a unique solution which in turn can broaden my horizons and stimulate my artistic growth. I am not interested in painting the same thing over and over.

I always try to incorporate at least some aspect I have never previously attempted in every portrait I do. The portrait I'm working on now has a completely different feel in every way, although it also happens to be a painting of a beautiful woman.

[Marvin Mattelson]

Thanks Sharon. Once I get a brush in my hand I enter another dimension. I'm sure it's the same for you. I love painting fabric.