KEN AUSTER

Oil 
Landscape
July 26 - 30, 2010
Pendaries, New Mexico
Tuition $695

“As a painter of my surroundings, I want to communicate and document the reality of our times, the edge between nature and manmade, the vitality of the city and everyday occurrences that we take for granted”.

Painting is easy, it’s seeing that is hard.  With that in mind, learning to see becomes the most challenging thing for an artist to understand yet we can learn to see even without a paintbrush in hand.  Seeing, understanding and creating is the formula of painting fast and loose-the course is structured for all levels.

The workshop is taught in an outline form, easy for beginners to understand and insightful for the experienced.  The focus of this workshop is on learning to see and to interpret quickly.  Painting outdoors on locations, you will learn how to lay down foundations quickly and confidently and also learn how to apply paint in a logical manner that will allow you to understand what you did and why.  Strong attention will be paid to composition, simplification of shapes, creating focal points, and balancing color.  Demonstrations will include landscape, cityscape as well as interior.

BEGINNER TO ADVANCED
INSTRUCTOR DEMONSTRATIONS
INDIVIDUAL ATTENTION
PORTABLE EASEL NECESSARY

After a successful career in printmaking, Ken turned to fine art.  The quickness and immediacy of painting on location taught Ken to “see”.  With this newfound ability to paint, he rejoiced with painting anything and everything, i.e. cities, cafes, train stations, airports and of course the beach.  Developing a unique approach to his paintings, Ken’s work became looser and more confident.  Big, bold brushstrokes strong focal points and lots of paint generally characterize his work..  “The large brushstrokes, I believe, create a strong foundation to painting and quickly set the strength of the piece compositionally.”

Mr. Auster has had numerous solo exhibitions and juried exhibitions throughout the United States.  He has been published in various publications including Southwest Art Magazine numerous times, Art Talk, among others.  His work is collected by many public and permanent collections.  He is a member of the California Art Club, Plein Air Painters of America, and the LaGuna Plein Air Painters Association among others. 

Mr. Auster is represented by New Masters Gallery, Carmel, CA; DNFA Gallery, Pasadena, CA; Howard/Manville Gallery, Kirkland, WA. and others.

Ken’s web site is www.kenauster.com

NANCY BUSH

Oil 
Landscapes-indoor-limited to 8 students
August 2 - 6, 2010
Pendaries, New Mexico
Tuition $750

Beautiful black cows ,full bodied grazing sheep ,and  misty, atmospheric days populate many of  the  pastures of Nancy Bush’s sensitive and emotional landscapes.  The scenes depict various atmospheric scenes from around the country and could exist anywhere that is special in your own memories.  Expressively dreamlike, they capture the chill when the sun goes behind a cloud, the  smell of a drizzling rain and the rustle of leaves shivering in the treetops.

“The variety and vastness of the landscape can sometimes be overwhelming, but  I find myself thinking “less is more.””  Early in her career, Bush emphasized the “more” using bright, colorful strokes alla prima.  Several years ago, she shifted to a subdued tonalist palette and a more methodical technique was perfected.  She treasures the “fleeting moments that you get in the early mornings and late evenings.  They convey more of a mood, a feeling, because of the light”.  She achieves a tranquil universality in her paintings by melding her painted field studies and reference photographs back in the studio.  “I want viewers to feel the physicality and emotional essence of the subject, and to find a little peace, serenity, and quiet moments of reflection”.

This class will concentrate on light, water and atmosphere and its play on a painting.  The class will also cover how to achieve luminosity in the painting through layering and through the application of glazes throughout the painting process. 

INTERMEDIATE TO ADVANCED ONLY
INSTRUCTOR DEMONSTRATIONS
INDIVIDUAL ATTENTION
PORTABLE EASEL NECESSARY

With a poetic economy of color and detail, Bush, a tonalist, paints low light and close values.  When nature lingers in breathless moments, she is there to capture dusk flirting with the last blush of sunset; moon shadows veiling dimension; or mist hushing the earth.  Studies, notes and photos from painting plein air around the country remind her of the tones, colors, scents and feelings so she can take the entire experience back to her studio and depict the lyrical, the profound peace and beauty in a lonely, exquisite sense.

After a successful business career, Nancy Bush threw herself into studying art at a rapid pace.   She attended Mission Renaissance art school in Austin, Texas-a school dedicated to the study of the “Masters”, while also taking  many classes from Laguna Gloria Art Museum School of Art.  She then began taking many workshops throughout the United States. “My early workshop studies were dedicated to colorful landscapes and still life, so many of my instructors were known as colorists.”  Several years later, she felt the need to change her direction after some east coast and European travel. Nancy became very interested in a more subdued tonalist palette and started studying painters from the 19^th and 20^th centuries such as George Inness, Isaac Levitan, Henry Twachtman, and Russell Chatham.  In the early 90’s she became familiar with the work of Michael Workman and Scott Christensen and began to study with them consistently for several years.

JEAN CHAMBERS  & TOM BLACK

Oil 
Animals, Portraits, Still Life
August 9 - 13, 2010
Pendaries, New Mexico
Tuition $695

Tom Black and Jean Chambers will be doing a team workshop.  Life head studies from models in character, Spanish ladies, cowboys, etc.  Also, painting animals from photographs.  Students will be able to choose which subject they want to work from or do a mix of both.  Even still lifes are allowed as long as you bring your own set up.  There is some still life material available in Pendaries, but feel free to bring or ship ahead your favorite still life props.

Demonstrations by one instructor daily, usually quick block ins but whatever is needed or required.  It’s not often that you have two instructors in a normal sized class so you’ll get lots of attention, see more demonstrations and see the similarities and differences of how they work. 

Learn how to put some excitement into your work and turn ordinary head studies into paintings that have a spark.

INTERMEDIATE TO ADVANCED
INSTRUCTOR DEMONSTRATIONS
INDIVIDUAL ATTENTION
PORTABLE EASEL NECESSARY

Respected for her luminous still life painting, as well as her figurative and landscape work, Jean Chambers is the recipient of many awards and holds Signature Membership in Oil Painters of America.  She spent five years traveling extensively after leaving the architectural field to begin her fine arts career.  During that time she studied the Masters in the major museums in this country and abroad.  In addition, she has attended workshops given by her contemporaries and amassed and studied a large collection of art books, videos and maintains them for reference.  Recognizing the importance of continuous artistic growth for any artist, she sets aside time each day from painting to study and draw.  She is represented by Whistle Pik Gallery-Fredericksburg, Tx; Ponderosa Art Gallery-Hamilton, Mt; Trailside Galleries-Scottsdale, Az; and Germanton Gallery-Germanton, N.C.

Tom left the avionics' field over 25 years ago to pursue a career in art.  He says he has never looked back and is so thankful to be able to do what he loves. The first few years watercolor was his medium and then he moved to oils which became his passion.  His method of study is a combination of analyzing the old masters, taking workshops, pouring over his large collection of art books and more recently art DVD’s.  He keeps his drawing skills honed by attending weekly drawing sessions.  

His paintings are hard to ignore, they are masterfully painted with expressive brushstrokes and exciting edges.  His work has that timeless quality and on close examination, there is no weakness to be found.   

You can see his work at Whistle Pik galleries in Fredericksburg, TX and at  www.tomblackart.com

JOSEPH LORUSSO

Oil Painting 
Painting the Figure
September 13 - 17, 2010
Tuition $625 + $20 Model Fee

This class will explore the principles of sound painting by studying drawing, values, edges, color and design. The instructor will also pay attention to the technical aspects of painting with lectures on process and materials. The goal of the class will be to help artists of all levels view the subject differently by selectively editing and incorporating sound design and composition in order to explore each student's personal artistic statement. The instructor will lecture and demonstrate on the process of conveying the essence of the figure. Students will work from the live model, focusing initially on head studies, then working towards incorporating the entire figure in an environment, conveying mood and atmosphere in the process.  There will be individual critiques daily.  Mr. Lorusso will incorporate how to paint from photographs using that as additional reference when working from live models.  Students are encouraged to bring their own photos and may work strictly from photos if they prefer.

BEGINNER TO ADVANCED
OIL AND ALKYD
INSTRUCTOR DEMONSTRATIONS
INDIVIDUAL ATTENTION
PORTABLE EASEL NECESSARY

Joseph Lorusso believes "truly great art serves as a trigger into something much deeper within us." The mood and emotion conveyed in his paintings evoke a deep sense of beauty found in reflective moments. His people are mysterious, romantic, lonely and yet familiar, placed in settings where we may often find ourselves. A native of Chicago, Lorusso received his formal training at the American Academy of Art, and received his degree from the Kansas City Art Institute where he also served as instructor of painting and illustration. Known for its strong sense of emotion and atmosphere combined with confident brushwork and design, his work has been featured in articles in Southwest Art, American Artist and U.S. Art and can be seen in galleries in Scottsdale, Santa Fe, and Kirkland, W A. His work can be seen at Meyer Galleries in Scottsdale, AZ.  and Santa Fe, N.M. among others.

www.josephlorussofineart.com 

PHIL BOB BORMAN

Basics of Oil Painting
September 13 - 17, 2010
Tuition $495

If you are a beginner or want to freshen up on the basics of oil painting, this class is for you.  No previous experience necessary.  You will learn the elements of painting: color, color harmony, values, composition design and more.  We will also apply these principles as we paint.  Different techniques will be taught as well as the use of different tools and their effects.  The goal is for the student to understand these elements so they may further enjoy their journey in painting. 

 This class will take out the  unknown or “scary” part out of painting.  Bring photos of your favorite subjects.  Lots of questions are welcome.  This will be an informative and fun painting experience.

BEGINNER TO ADVANCED
INDIVIDUAL ATTENTION
INSTRUCTOR DEMONSTRATIONS

A LIFE LONG FAN OF Will Rogers, Phil Bob mused that the cowboy humorist brought him to an interesting artistic insight.  “Art is a visual language and like story telling, the content of the story is simply where your start.  It is how you tell the story that brings the smile, crates the mood, and evokes the emotions.”

 Phil Bob Borman has been a professional sculptor for over 25 years.  His education includes an MFA in Art, several CA (Cowboy Artist) workshops, and studied under  sculptor Mehl Lawson and has studied with various artists including Michael Workman, Karen Vance and George Strickland.  His work is held in many collections throughout the US and Europe.  He is represented by El Paisano Gallery, Capitan, N.M. and Fredericksburg Art Gallery-Fredericksburg, TX.

ANN TEMPLETON

Oil/Pastel
Landscape, Still Life
September 20-24, 2010
Tuition $ 895 

This class will focus on lectures emphasizing color, value, and design;  the landscape, different techniques for each medium, and in general Plein Air painting.  Mornings will have lectures and demos with ample time for the participant to work in the afternoons, and will include many hands-on critiques and two formal group critiques through the week.

Participants are encouraged to bring their own photos for indoor use in the event of a rainy day.

When painting on site, Templeton observes dark and light shapes.  “The first major thing that strikes me about a scene is the pattern of value relationships,” she explains.  “If an artist can establish early on the relationships of color to color and shape to shape, then the painting won’t fall apart, no matter how much he or she decorates it.”

Besides design, color is another painting element close to the artist’s heart.  “Brilliant color is very important to me”, Ann says.  “It’s not about detail but about masses, and how a large, dark shape might relate to a small, white one, or how a large mass of blue might relate to a small patch of orange.  “I advise looking at everything as a mass or shape rather than a bunch of parts.”

BEGINNER TO ADVANCED
INSTRUCTOR DEMONSTRATIONS
INDIVIDUAL ATTENTION
PORTABLE EASEL NECESSARY

Ann, an oil/pastel-conceptual impressionist, who likes to describe her paintings as “symbolic expressions”, and with a personal commitment to excellence, has been painting since 1969.  She teaches approximately 15 art seminars a year around the country.  She also lectures and teaches for various art guilds, colleges, and is a sought after jurist for various competitive art shows during the year.

Her style and enthusiasm are rapidly winning her awards all over the country.  She is a major force in the field of oil and pastel painting and is highly recognized for her teaching expertise and color usage.  She is represented by several galleries across the United States including Total Arts Gallery-Taos, New Mexico, Riverbend Fine Art-Marble Falls, Texas, among others.  See her work also on her web site at www.anntempleton.com

 WILLIAM A. SCHNEIDER - OPA, PSA

Pastel/Oil
Design/Composition Secrets of the Masters
September 20-24, 2010
Tuition $550 + $20 model fee

As students we learn (usually in this order) shapes, values, color temperature, edges, and ultimately, design.   Design trumps all the rest! A painting with good composition but mediocre rendering will still fly off the wall.   A painting with wonderfully painted objects that are poorly placed will probably never sell.   There are many classes and workshops that focus on rendering people, landscapes, or still lifes; this workshop will focus on creating a finished, well-designed painting that captures and holds the viewer’s attention. 

Days one through three we will focus on design principals used by such masters as Rembrandt, Waterhouse, and Sargent, as well as contemporary greats like Dan Gerhartz, Mian Situ, and Howard Terpning.   You will analyze masterworks and then immediately apply those principals in your own thumbnail exercises.   On days four and five you will design and develop a painting incorporating those elements.

"The Fountain Villa Tourlonia"
  by  John Singer Sargent

 All the great painters learned by studying masterworks; this workshop will take your understanding to the next level. 

This five day oil and pastel workshop is for intermediate and advanced students. You will learn:

              How to design with a dominant value
              Andrew Loomis’ four basic value structures
              To use the Munsell color system to create an  effective
                 color harmony
              Placement of  key elements on the picture plane
              Alphonse Mucha’s composition theories
              Edgar Payne’s design “stems”
              To create drama in the finished piece
              How to create a visual concept

INTERMEDIATE TO ADVANCED
PORTABLE EASEL NECESSARY
INDIVIDUAL ATTENTION
INSTRUCTOR DEMONSTRATIONS

William was trained at  the American Academy of Art.  He also studied with Harley Brown, Scott Christensen, Dan Gerhartz, Ramon Kelly, Richard Schmid and Huihan Liu.  His pastel paintings have been featured in American Artist, Southwest Art, Art of the West, International Artist, The Pastel Journal, Art-Talk and The Artist’s Magazines.   

He has won numerous awards in national shows including those of: The Pastel Society of America, Salon International, International Museum of Contemporary Masters, and the Portrait Society of America.   His work is represented by Lee Youngman Galleries, Calistoga, Ca (www.leeyoungmangalleries.com), The Talisman Gallery, Bartlesville, Ok (www.talismangal.com), Trees’ Place Gallery, New Orleans, La, among others.  See www.schneiderart.com for Bill’s web site.

KAYE FRANKLIN, OPA/PSA

Oil/Pastel
Landscape, Still Life
October 8-10, 2010
Tuition $ 375 

The elements in her artwork consist of light, color and focal point.  She likes working with both pastels and oils.  Pastels show immediate results and they stay brilliant, oils allow you to create new colors from existing pigments.

What You Will Learn
Kaye brings years of experience to this workshop.  Demos will occur in the morning and one-on-one instruction will be in the afternoon.  Still-life setups will be available or bring reference photos with you. The main focal point of the class will be light:  how it falls on objects and what happens when it travels across the painting.  Space, color, and form will also be addressed.

This class will consist of both oils and pastels, with demonstrations in both mediums.

BEGINNER TO ADVANCED
INSTRUCTOR DEMONSTRATIONS
INDIVIDUAL ATTENTION
PORTABLE EASEL NECESSARY

Kaye Franklin began her art career in 1975 while living in Pagosa Springs, Colorado. She and her family moved to Graham, Texas in 1979, it was then that she began a serious quest for the best schools and instructors.
Franklin took various workshops and studied  with Connecticut artist William Henry Earle.

 Her pursuit of excellence has won her the deepest respect of her students, peers and serious collectors.
She has received many national awards and honors that have culminated in her recognition as Master Pastelist,  and her election to Signature Membership in the Pastel Society of America and Oil Painters of America.  She is a
Member of the Salmagundi Club, Signature Member of the National Academy of Professional Plein-air Painters and Signature Member of American Women Artists 

She has taught classes and workshops for over 20 years and has been published in numerous national publications.

See www.kfranklinstudio.com  for examples of her work.  

GREGG KREUTZ
  
Oil
Still Life / Portrait
October 9-13, 2010 (Saturday - Wednesday)
Tuition $625 + Model fee

This five-day painting workshop for students of all levels will focus on still life and figure-portrait as well as devoting at least one day to landscape.  The class will concentrate on the magical qualities of light.  Mr. Kreutz will teach how to bring together drawing, edges, design, color, and paint quality.  Students will develop the ability to look at form with deeper understanding, which involves heightening one's awareness of how light flows, why shadows fall as they do, and how atmosphere envelopes the whole.  Students will learn oil has a shimmer and texture that needs to be exploited on canvas, that its physical ness can be a tool in creating illusions.  Gregg is an excellent and popular instructor, giving extensive attention to each student.

BEGINNER TO ADVANCED
INSTRUCTOR DEMONSTRATIONS
INDIVIDUAL ATTENTION
PORTABLE EASEL NECESSARY

Gregg Kreutz received his education from New York University and the Art Students league and studied with David Leffel.  He exhibits at various galleries in New York, Wisconsin, Arizona, New Mexico, and Texas.  Gregg is a realist, and imprssionist, a classicist, and blender of originality and tradition.  He brings dedication, enthusiasm and energy to his teaching.  He has repeatedly won awards at the Salmagundi Club, the Audubon Artist's Annual Exhibit at the National Academy, and the Allied Artists annual exhibit.  He won the Grumbacher Award from the Knickerbocker Artist's and an award from the Hudson Valley Art Association.  Gregg's work is featured in Everything You Ever Wanted To Know About Oil Painting (Watson-Guptill) and The Artists Guide to Using Color, and his book Problem Solving for Oil Painters (Watson-Guptill) is in its 5th printing and is now translated into Chinese.

 CHERI CHRISTENSEN

Oil
Oil Painting In The Russian Impressionist Tradition-Indoor
October 22 -25, 2010
(4 Days over A Weekend - Friday through Monday)
Tuition $ 575 

This workshop will focus on creating a painting with the relative use of color, value, temperature and intensity.  We will learn how to interpret this while painting from life and from photos.  First, we will go over the basics of this approach while working on still life.  Later we will work from photographs or life using the previous knowledge and adding an emphasis on composition, and how one decides what might make a good painting.  We will discuss choice of subject, light, composition, and edges to create the kind of painting one has in mind.  Students may choose any subject matter they wish- landscape, still life, figurative or animals.

The instructor will do painting demonstrations using both brush and palette knife techniques.  A short segment will include a brief introduction of using digital cameras, camcorders, computers and how they can aid you in capturing and composing your subject.

We will include a short field trip to gather reference material to use later in the class.  Students are encouraged to bring cameras, camcorders, digital or otherwise to help gather their own reference material.  They may also bring their own photos or digital prints to class.  Experience is not mandatory, but a good attitude, willingness to learn and a sense of humor are.

BEGINNER TO ADVANCED
INSTRUCTOR DEMONSTRATIONS
INDIVIDUAL CRITIQUES
PORTABLE EASEL NECESSARY

“I  am inspired by the simple, everyday interaction of the animals in their environment; the way that light dances across the form, the harmony of color relationships, and the shapes of light and shadow.  I prefer early morning light or late afternoon settings, with extreme back-lighting.  My focus is on the farm animals and the use of color, light and the texture of the oil paint to convey a mood.”

Cheri was born in a rural farm and ranch town and is quite comfortable in that environment.  She attended the University of North Carolina and the University of Washington.  She studied oil painting for three years with Ron Lukas, a protégé of Sergie Bongart, who taught in the tradition of the Russian Impressionists. In her studies, Cheri concentrated on seeing an conveying the effects of color and light on forms.

She has won numerous regional, national and international awards in various shows.  She is represented by several galleries including Howard Mandville Gallery-Kirkland, WA. www.howardmandville.com; McLarry Fine Arts-Santa Fe, NM,   www.mclarryfinearts.com; Bennett StreetGallery-Atlanta, GA,   www.bennettstgallery.com, among others.  Cheri's web site is: http://www.cherichristensen.com/

SHERRIE MCGRAW

Drawing Class
Still Life and figure
October 26 - 29, 2010    Drawing Class
Tuition $650 + Model Fee

BEGINNER TO ADVANCED
INSTRUCTOR DEMONSTRATIONS
INDIVIDUAL ATTENTION
PORTABLE EASEL NECESSARY

SHERRIE MCGRAW

Oil
Still Life and figure
October 30- November 2, 2010  Painting Class
Tuition $650 + Model Fee

When students say, "I would like to learn the basics of painting,"  I wonder what they really mean.  Do they want rules and techniques?  Rules, as desirable as they are, limit the student as he simply does as he is told, leaving little or no chance for understanding the underlying principles producing his desired results.  However, finding out why a background recedes, why a foreground comes forward, and why paint quality can intrigue and hold the viewer to the surface of your painting frees the student and expands his/her ability to appreciate more advanced concepts.  Understanding the principles of the language of painting are the true basics needed.

GUIDO FRICK

Oil Painting 
Landscape/Still Lifes
November 1 - 5, 2010
Tuition $550 

How to create not just a painting, but a piece of art?  How to put soul, power and emotion into your painting to avoid ending up with just a copy of your subject.?  Guido will demonstrate how to combine your visual impressions with you inner sensitivity to find your own artistic language, allowing your individual personality to be recognizable in every brushstroke.  You will be encouraged to show excitement and emotions to bring your painting alive. 

Don’t be satisfied with something that is just pretty and polished, but instead express yourself in a bold and colorful way, by always allowing your enthusiasm about the beauty of a landscape or a still life setup to surface in your painting. 

Do you want to achieve a convincing result in one session?  Do you want to catch a particular mood in one spontaneous moment?  Set your goal, and Guido will describe and demonstrate to you how to get there.  This is done by learning how to see, by making decisions about hue, value, and temperatures quickly and confidently, by concentrating your energy and staying focused on the essential points.  This workshop gives you tools that will enable you to create a thrilling piece of art any time, any place and under any circumstances.  Theorize in this workshop as little as possible, but as much as necessary, and then swing a big brush for five days.

BEGINNER TO ADVANCED
INSTRUCTOR DEMONSTRATIONS
INDIVIDUAL ATTENTION
PORTABLE EASEL NECESSARY

Guido Frick is truly an outdoor painter. “It might sound overstated, but I really consider nature as my original studio.”  The German born painter lives half of the year in Europe and travels the other half almost exclusively through America’s western states. He want to express himself, about places like Montana, Wyoming, Idaho, Utah and others.  In the early 1980’s he met with instructor and painter Sergei Bongart, and still considers this encounter as the most influential experience he has had as a painter.  “Sergei truly opened my eyes and showed me the way.”  Throughout the 70’s Guido has studied with Professor Karel Hodr from Progue, a well respected impressionist painter and art teacher throughout Europe.  He has been published in various publications and is always crossing the line between impressionism and expressionism.  His work can be seen at The Parkside Gallery, Carmel, CA www.theparksidegallery.com.  His work can also be seen at Smith-Klein Gallery, Boulder, Co at www.smithklein.com; Horizon Fine Art in Jackson, WY at www.horizonfineartgallery.com, And Mountain Trails Gallery in Park City, UT at www.mountaintrailsgalleries.com

JEFF C. LEGG
  
Oil
Still Life / Portrait
November 8-12, 2010
Tuition $695 + Model fee

Over the course of his creative life, Jeff has developed an appreciation for the teaching process and the give-and-take relationship that he desires to create with students and emerging artists.  Through challenge and encouragement, he hopes to convey that good art is more than just mirroring a subject, but is also about capturing and interpreting a feeling or a mood, and to show that good paintings are built on principles, not formulas.  Legg believes, “The great artist has not reproduced nature, but has expressed by his extract, the most choice sensation it has made upon him”(Robert Henri-The Art Spirit).  Above all, he desires that those he teaches understand they can do more than they now realize and can eliminate fear from the painting process.

During this five day class, Jeff will demonstrate his approach to still life and portraits from the concept to set up and lighting and the progression to the finished work.  Through demonstrations and individual critique, he will emphasize the time tested principles including drawing, value, edges, color and interpreting light and shadow.  Painting from life will be emphasized and is at the core of Mr. Legg’s artistic sensibility.  Legg says, “Visualization and being truthful about the subject are inextricably linked and are at the heart of creativity.  A painting is a “translation” and can only become as great as the artist’s love and understanding of his subject.”

INTERMEDIATE TO ADVANCED
INSTRUCTOR DEMONSTRATIONS
INDIVIDUAL ATTENTION
PORTABLE EASEL NECESSARY

Jeff studied at Atelier Lack and the Minneapolis College of Art and Design.  He is the “2005 Best Signature Member” of the Oil Painters of America Midwest regional exhibit and won top awards at the 2005 and 206 National OPA Exhibitions.  He has been featured in “The Artists’ Magazine”, “Art of the West Magazine” and “Southwest Art Magazine”, among others. 

Jeff Legg has instructed many workshops and is an excellent and sought after demonstrator.  He has been a full time artist for 16 years.  He is represented by Red Piano Gallery-Hilton Head, S.C. (www.redpianoartgallery.com);  Whistle Pik Gallery (www.whistlepik.com); Astoria Fine Art (www.astoriafineart.com), among others.  He is a member of OPAM.

PHIL BOB BORMAN

Sculpture in Oil Based Clay
November 29 - December 3, 2010
Tuition $495

In this workshop the students will start a sculpture from scratch and will be guided how to go from “thought to finish”.  This class centers on the importance of anatomy proportion, and design, focusing on the human figure and the horse.  Answering the question whether the subject is accurate or in proportion to itself and other subjects of a sculpture, enable the sculptor to focus on his or her artistic expression of the piece.  Phil Bob will teach how to apply the “user friendly” method of bringing on sculptures, “to scale”.  This enables the artist to use real measurements of a subject and bring them down or up to whatever size sculpture they desire.  Also, using a proportional chart (provided), the artist can easily determine size and accuracy of a piece quickly.  Phil Bob will demonstrate with different tools and teach the use of texture, composition, mass, and design to enable the artist to tell his or her story in sculpture. 

The class will also learn to become comfortable with anatomy to the point of using it as your favorite sculpting tool, learning how to emphasize anatomy to create a mood or establish strength in a piece. 

Anatomy answers the question “Why” in sculpture, why figures do this and can’t do that.  Anatomy is to the sculptor as the music scale is to Beethoven

After a short lecture or demonstration each day, the students will sculpt in oil base clay using proportional charts and calipers to rough I a figure and or a horse.  Individual attention is available throughout the week.  A representative from Hoka-Hey art foundry in Dublin, TX will talk to the class regarding the lost wax process of casting and how to continue their sculpture into bronze.

BEGINNER TO ADVANCED
INDIVIDUAL ATTENTION
INSTRUCTOR DEMONSTRATIONS

A LIFE LONG FAN OF Will Rogers, Phil Bob mused that the cowboy humorist brought him to an interesting artistic insight.  “Art is a visual language and like story telling, the content of the story is simply where your start.  It is how you tell the story that brings the smile, crates the mood, and evokes the emotions.”

Phil Bob Borman has been a professional sculptor for over 25 years.  His education includes an MFA in Art, several CA (Cowboy Artist) workshops, and studied under sculptor Mehl Lawson.  He has sculpted from miniature to monumental.  Throughout his career some of his awards include gold and bronze medals in sculpture-George Phippen Memorial Art Show, Phippen Family Award, Western Art Round Up Ranching Heritage Award and Snaffle Bit Award in Sculpture.  Shows include the C.M. Russell Show, Contemporary Masters Invitational, Ellensburg Western Art Show, Mountain Oyster Club Show in Tucson among others.  His work is held in many collections throughout the US and Europe.  He is represented by El Paisano Gallery, Capitan, NM and Fredericksburg Art Gallery-Fredericksburg, TX.

NANCY BUSH

Oil 
Landscapes-indoor-limited to 8 students
November 29-December 3, 2010
Tuition $750

Beautiful black cows ,full bodied grazing sheep ,and  misty, atmospheric days populate many of  the  pastures of Nancy Bush’s sensitive and emotional landscapes.  The scenes depict various atmospheric scenes from around the country and could exist anywhere that is special in your own memories.  Expressively dreamlike, they capture the chill when the sun goes behind a cloud, the  smell of a drizzling rain and the rustle of leaves shivering in the treetops.

“The variety and vastness of the landscape can sometimes be overwhelming, but  I find myself thinking “less is more.””  Early in her career, Bush emphasized the “more” using bright, colorful strokes alla prima.  Several years ago, she shifted to a subdued tonalist palette and a more methodical technique was perfected.  She treasures the “fleeting moments that you get in the early mornings and late evenings.  They convey more of a mood, a feeling, because of the light”.  She achieves a tranquil universality in her paintings by melding her painted field studies and reference photographs back in the studio.  “I want viewers to feel the physicality and emotional essence of the subject, and to find a little peace, serenity, and quiet moments of reflection”.

This class will concentrate on light, water and atmosphere and its play on a painting.  The class will also cover how to achieve luminosity in the painting through layering and through the application of glazes throughout the painting process. 

INTERMEDIATE TO ADVANCED ONLY
INSTRUCTOR DEMONSTRATIONS
INDIVIDUAL ATTENTION
PORTABLE EASEL NECESSARY

With a poetic economy of color and detail, Bush, a tonalist, paints low light and close values.  When nature lingers in breathless moments, she is there to capture dusk flirting with the last blush of sunset; moon shadows veiling dimension; or mist hushing the earth.  Studies, notes and photos from painting plein air around the country remind her of the tones, colors, scents and feelings so she can take the entire experience back to her studio and depict the lyrical, the profound peace and beauty in a lonely, exquisite sense.

After successful business careet, Nancy Bush threw herself into studying art at a rapid pace.  She attended Mission Renaissance art school in Austin, Texas-a school dedicated to the study of the “Masters”, while also taking  many classes from Laguna Gloria Art Museum School of Art.   She then began taking many workshops throughout the United States. “My early workshop studies were dedicated to colorful landscapes and still life, so many of my instructors were known as colorists.”  Several years later, she felt the need to change her direction after some east coast and European travel. Nancy became very interested in a more subdued tonalist palette and started studying painters from the 19^th and 20^th centuries such as George Inness, Isaac Levitan, Henry Twachtman, and Russell Chatham.  In the early 90’s she became familiar with the work of Michael Workman and Scott Christensen and began to study with them consistently for several years.

Nancy's work is collected around the country and has been displayed in numerous museum shows around the United States.  She has been published in numerous magazines including  Fine Art Connoisseur Magazine, Western Art & Architecture, Art of the West, American Art Collector, among others.

Her work is represented by several galleries around the country including Astoria Fine Art-Jackson, WY; Insight Gallery-Fredericksburg, TX; Nedra Matteucci Fine Art-Santa Fe, NM and The Sylvan Gallery-Charleston, SC  See more examples of her work on her own web site at www.nancybush.com.