A few samples from Liberace's Ireland.

Elizabeth Schott · 09-21-2005, 09:43 AM

Now that I am a bit back to life, especially after spending an unexpected evening in Newark, NJ without Jimmie's nor Brian Allanson's phone numbers, I wanted to take a moment to post some of my work from two wonderful weeks in Northern Ireland with Robert Liberace and his extensive family - especially his lovely wife Lina , who is not only one heck of an illustrator herself but a person I really love to spend time with.

My studies with Liberace were great! The art center where we did most of our meeting and gallery work will be hosting Tim T. this fall too, so I learned what an incredibly small world it is.

I felt these two weeks with Rob really helped me fine tune his "colorist" palette and the block in for under painting has let me jump into any life situation with out hesitation knowing I will get a good likeness. (Rob just blocks in by two values light and dark shapes.)

I also had my first exposure too plein air painting and it was a real experience. Traveling with my French easel was awful, but it came in handy once there. I did take two lovely panels by Max Howard, but in trying to save on weight, ended up taking the rest in gatorfoam panels by Tim Giles (also great). The foam panels proved a mistake because of the wind in Northern Ireland.

One of the greatest experiences was working with quill and ink, what a joy this was for me and Rob liked this work of mine. I got to show energy in my line, but was able to calm it down with an ink wash.

On many of our rainy days we had the opportunity to work in the studio with models. I have to be honest following Rob's simple way to approach the figure (it takes a bit of time to get used too), one ask themselves why they put themselves through the added frustration and difficulty of NOT working from life. I am always amazed how much easier it is to have all the information right in front of you.

The example I am showing is just about a three hour "sketch". If there was time I am sure I would have smoothed out a bit of the brush work, or trimmed it with a knife. But the color is lively as Rob and his 500 Irish cousins. This one just happens to be Lina's father. 8 x14 on Gesso panel. Note the lighter appearing blue areas are actually the #5 value of Grey Rob uses to tone his supports, he always lets a bit show through to the end. I used it more.

Rob is a treat, I hope you all get a chance to at least take in one of his presentations at the PSOA, or one of his many workshops. For those of you lucky enough to be in the DC, Northern VA area - I hope you get a chance to grab your sleeping bag and camp out to get into one of his classes at the Arts League.

As Bill Whitaker said... I should listen to him because he is a young man who knows his stuff!

Examples shown are Lina's father portrait, one plein air color sketch (this was done with just a palette knife, the cows keep moving), a few pen and inks.

Thanks for looking, Beth

Elizabeth Schott · 09-21-2005, 09:45 AM

Here are a few of the pen and inks.

Chris Saper · 09-23-2005, 05:38 PM

Beth,

I have long wished for the opportunity to study with Rob, and your discussion makes me want to do so all the more!

It sounds like a wonderful workshop packed with (yep) work! I enjoy seeing the range of work you accomplished, and especially like the pen and ink sketches.

Michele Rushworth · 09-23-2005, 07:50 PM

Sounds like a great workshop and a fun time -- nice work too!

William Whitaker · 09-24-2005, 02:32 PM

Beth dear,

I was delighted to read your post and I hope others will believe what you said about working from life. The experience was really worthwhile, wasn't it. Robert Liberace is a singularly gifted artist and I would recommend that everybody practice hard and then take a workshop or class from him. Indeed, follow him around for years!

Notice how so many of the greats are also great human beings too? I guess it's because they have nothing to prove. Seems to be a correlation: the better they are, the nicer they are.

When taking a Liberace workshop, I encourage everybody to do exactly what he says. All his information is good and it will only add to your own personal hoard of knowledge and experience.

Bill

Linda Brandon · 09-25-2005, 11:59 AM

Beth, this looks like a dream of a workshop and you know how jealous I am of you for having taken it! Rob has been on my Top Twenty list for a long time now. I had a chance to watch him work at the PSA workshop at PAFA last fall and again at the PSA convention this past spring. He is a terrific instructor and an excellent artist.

Can you set forth his simplified method for painting the figure?

I really like your work here, by the way. Those plein aire paintings can be so hard to do, especially when the weather is bad, and you get a big

from me.

Alexandra Tyng · 09-25-2005, 08:53 PM

Beth, these are terrific! I'm so envious of you, being able to take the Ireland workshop. I had been eyeing it for a while but I knew my schedule and budget wouldn't allow it. What a great head. I see the mosaic of brushstrokes. It has such a painterly and tactile surface, I want to reach out and touch it. Great landscape, too. How many days did you have for painting outside?

Alex

Elizabeth Schott · 09-25-2005, 10:14 PM

Thank you all for taking the time to comment.

Linda and Alex I do feel blessed to have been on this trip to Ireland, it was so much more than just a "regular" workshop. The people traveled with were great and we became wonderful friends. We stayed in one of Rob's cousins Bed and Breakfast and it was very much like a dorm. Art 24/7 - it was fantastic! Also learning other forms of painting rather than total focus on portraiture.

Quote:

Notice how so many of the greats are also great human beings too? I guess it's because they have nothing to prove. Seems to be a correlation: the better they are, the nicer they are.

Bill you are certainly the first one to prove this true!

Linda I didn't have any images of Rob starting his demo's from Ireland, so I grabbed a few from his Bradenton workshop, hopefully these will give you an idea.

When he masses in the shadows, he then starts with the predominate (he doesn't like the words "local color") mid value flesh. A great easy to remember rule of thumb he teaches is that no white is ever added to the color going over the shadow under painting.

Rob is a "colorist", so you need to remember this when looking at his skin tones. He uses Burnt Sienna for his under drawing then he scrapes it off his palette, there is nothing "earthy" on it. Yet he still comes up with the lovely finished painting below.

Hope this gives you an idea.

Beth

Elizabeth Schott · 09-25-2005, 10:17 PM

Here is one of my favorite portraits by Rob and I had to add this picture of him from Ireland, it was one of my favorites too!

Jimmie Arroyo · 09-27-2005, 04:03 PM

Wow, what a difference in style. I like it even tho you say it's just a "sketch". They make great finished pieces as well. I love the drawings, don't remember if I've seen any drawings from you. You're doing a fantastic job with them, don't give them up.