A question for Marvin about his palette of limited color

[Richard Budig]

Patricia:

Pay attention to Marvin. His is not the only way there is to paint, but he achieves remarkable results. The proof is in the puddin', as they say, and Marvin's puddin' is very tasty, indeed.

And, I, too, would be interested in your observations about his workshop. I've been contemplating going to one, but so far, they are so distant from me. I'm hoping that someday, he will have one in Tulsa.

[Patricia Joyce]

Richard,

I attended Marvin's one week workshop in Atlanta in January and couldn't wait to attend his two week workshop this summer! I tried to get into his two week since New York but was closed out, so that is why I am attending in Vegas next week and the week after.

Marvin is a phenominal teacher. He gives you so much information and it all makes perfect sence. The admosphere in his workshops is very friendly, nonthreatening and very conducive to learning. Before attending his weeklong workshop I had never painted a portrait in oils, so my learning curve was, well, you can imagine!

That is why I cannot wait until this weekend when I get to go back for more...and for two weeks. Will report back!

[Richard Budig]

Patricia:

I'm dying to hear your report about Marvin and his palette.

[Brenda Ellis]

I have looked at this thread several times over the last month. I have looked at that photo of Marvin Mattleson's palette several times. And tonight, looking at it, I finally get it. I finally see what he's got laid out there. It makes sense to me! This is exciting for me because it means I'm learning something by hanging around this forum.

[Patricia Joyce]

Richard and Brenda,

I feel so inadequate. I have tried to write more about Marvin's palette and his approach but feel unqualified as I have only been painting for eight months. Marvin's way is the only way I know. I took oil painting classes in the past two years that left me so frustrated and muddled (mentally and literally, my colors were MUD!!!)

I needed direction and clarity. I got it from Marvin's approach and his instruction. I knew what I wanted to see in my paintings but I didn't know how to get there. Now, though I have years to work this out, I am happy when I put my brush to a canvas, the colors that happen upon my canvas now are exciting in their beauty! I guess Marvin's palette is just exactly what I see in the master's paintings, like Bouguereau , Paxton, Jerome and that is what I want in my paintings - the rich colors of the earth. I don't want to see green and purple in my fleshtones and I never will when using Marvin's palette. I want the reality, the softness, the nuance Marvin can get.

I think that the best way to learn about Marvin's palette is to reread everything he has written here. I would also suggest you talk and listen to Janel Maples and Enzie Shahmiri and Val Warner. They are far better portraitists than I and use Marvin's palette also. And while Marvin works on his book, let's hope it is published in record time!!

Best of luck - you are on the right path!! I've attached a ref pic of a closeup of one of Marvin's paintings I keep in my studio - inspiration!

[Brenda Ellis]

Patricia,

From seeing your portrait from the workshop, I can see that this palette is really working for you.

I will not be able to afford Marvin's workshop for the foreseeable future. (But I can't wait to get his book!)

I have to, for now, rely on the info I get from this forum. It is harder to absorb just by reading and seeing photos than it probably would be in a workshop doing hands-on. I persevere and I am putting Marvin's palette into practice on a portrait I'm working on right now.
We'll see how it turns out. One part reading, one part looking at results in Marvin's and other's work, one part conjecture and one part hubris.

[Patricia Joyce]

Brenda,
I think you are going to do very well. Your last painting, of Betsy is so beautiful. I think the greatest asset an artist has is her/his determination to learn and the attempts made to apply what we learn. Also, I believe that studying others work is so important. I try to go to the art museum in Cleveland as often as I can to view masterworks in person. Some day I will get up the courage to see if I can copy an original at the Cleveland Art Museum, like Janel is doing right now. I think one would learn so much by doing so.

[Janel Maples]

Pat,

I hate to tell you, if you wait around for the courage you will never get to the museum. It is terrifying!!!! But SO EXCITING.

I can not put enough exclamation points at the end of the sentence that I will never regret doing this to myself!

On to Marvin's pallette. There is no excuse not to take Marvin's class if something about his method is talking to you. If you sell your work, one commission will pay for it. And what is your time worth to you now? Do you really want to waste you time practicing how to paint wrong?

I have a husband, I have small children, I missed my sister's wedding, my brand new condo in Cozumel, Mexico was being hit with hurricane Emily the day I started laying in color. Shall I go on? I can tell you if money was a problem.......I would take out a loan.
I guarantee you will get more than what you pay for with his instruction. Other students of Marvin.......Am I WRONG?

I can say this now, becasue the workshop I coordinated for Marvin is over and done and I have NOTHING to gain by being his sales person, if you are serious about your art you owe it to yourself to take his workshop. Ahhhhhh and it is so much FUN. I ran myself ragged for two weeks and had a ball, an absolute ball. Thank you Marvin!

I know I sound like a hard @$$ here but if you would get to know me you would realize I am really not one. I am just trying to get the word out about what this man can do for anyone who is in the dark about color (no punn intended).

: )

[Brenda Ellis]

Thank you, Janel.
Wanna buy a kidney?

[Janel Maples]

That's the spirit........where there is a will, there is a way!

; )