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Marvin Mattelson interviews himself!

Detail of Marvin’s drawing demo from a previous year:
Dustin-draw2

My 5 Day Realistic Portrait Drawing Workshop at the School of Visual Arts in NYC starts on this coming Monday, June 6th, and runs until Friday, June 10th, so I decided to pose some deeply probing questions to myself so that potential students could get a better idea of why they should sign up today.

Q: Why your workshop when there are so many to choose from?

A: Good question! First you’d be helping me line my pockets with gold. Just kidding, I will receive a check in payment for my services.

Q: No seriously. Why your workshop?

A: I think I offer a different level of understanding than what I’ve come to see in the teaching of others. The majority of teachers give rules and techniques to follow. Me, however, I feel very strongly that unless you know why you are doing something, you’ll never have free will.

Q: That’s a pretty bold statement. Care to explain more succinctly?

A: Yes, it’s like the parable about fishing, the difference between giving a man a fish and feeding him for one day or teaching him to fish and feeding him for a lifetime. Creating art is about making the appropriate choices, moment by moment. Rote reaction to any circumstance makes you a robot at best.

Q: What makes you think this rote way of teaching is so widespread?

A: I see students coming out of learning institutions and all the work looks pretty much the same stylistically. What other conclusions could I draw?

Q: Good point and clever pun (if I say so myself). So what will people walk away with if they sign up?

A: First they’ll have fun. It’s hard to learn in an uptight environment from people who take themselves too seriously. I’m a very irreverent person and I’m an artist because I want to spend my life doing what makes me happy. Being in a relaxed state encourages flow.

Q: Anything tangible beyond this new age mumbo-jumbo?

A: For those who want a more meat-and-potatoes kind of explanation, my students will learn, first, to see more accurately, also a function of being on the moment (Mumbo-jumbo or not…this is key!). They will learn how to convert what they see into a 3D representation on a flat surface. They’ll learn techniques that they can blend into their own way of working. Most importantly they’ll become far more adept at drawing, which is – as Ingres put it – the probity of art. To that end they can have far greater control whether drawing or painting or whatever their end game.

Q: Wow, you make a very compelling argument. I’d sign up for that in a minute. Any last thoughts?

A: Here’s the thing, far too many people get caught up in believing if they can only learn that one elusive technical tidbit, that’s the answer. I know, I’ve been there…and nothing could be farther from the truth. Basho, a Japanese poet said, “Don’t follow in the footsteps of the masters, seek what they sought.” I think anyone would benefit greatly from this approach.

Q: Thanks so much for the interview.

A: The pleasure was all mine!

5 Day Realistic Portrait Drawing Workshop
June 6 – 10, 2016 • 9:00AM – 5:00PM
Find out more information about this workshop
Register online or call 212.592.2200

Where To Draw The Line; Marvin Mattelson’s SVA Summer Drawing Workshop

“Matt-Ellrod-2192"Workshop drawing by Matt Ellrod

G. K. Chesterton once observed, “Art, like morality, consists in drawing the line somewhere.” For advice on morality you should seek spiritual guidance, but as far as where to draw a line, I think I may be able to help. I will be leading a portrait drawing workshop at the School of Visual Arts here in the heart of New York City from June 6-10.

Workshop drawing by Mandy BisestiWorkshop drawing by Mandy Basesti

In this workshop you will learn to create a portrait drawing using charcoal and white chalk on toned paper. It’s my take on a technique used by the great French draftsman Pierre-Paul Prud’hon in the late 18th and early 19th century. This technique, which actually dates back many hundreds of years prior to Prud’hon, allows you to develop a drawing in much less time than simply drawing on white paper. For that reason many artists such as Sir Anthony Van Dyck and Elizabeth Vigee LeBrun (both of which are currently featured in museum retrospectives here in NYC) have used this technique to save themselves valuable time.

Workshop Drawing by Carole KatzWorkshop Drawing by Carole Katz

Although the technical aspects of making a finished drawing will be covered in great detail, the primary focus of this workshop is learning to see proportions and tones more accurately. This will greatly enhance your ability to not only capture a faithful likeness, but also to better assess values, allowing you to render form more effectively. In class we will be working exclusively from live models. I will be demonstrating and explaining all aspects of my drawing methodology and the underlying concepts that govern my actions. You will come away from the workshop with a deeper understanding and a sound strategy for approaching any subject.

Workshop Drawing by Barry GraysonWorkshop Drawing by Barry Grayson

You will learn how to develop the illusion of three-dimensional form bathed in light and surrounded by air. Whether your goal is to improve your drawing for its own sake, or to enhance your drawing skills as a conduit to further improving your paintings, this workshop will provide you with the tools necessary to draw with more confidence.

Workshop drawing by Paul BeaudoinWorkshop drawing by Paul Beaudoin

Throughout this article you are seeing recent drawings by my workshop students. These drawings were done in approximately one day, not obsessively rendered over a period of either weeks or months. Notice the diversity of stylistic approaches. Rather than dogmatically insisting that my students draw in a particular way, my goal is to assist you in becoming the best possible version of yourself.

Workshop drawing by Pete GrillWorkshop drawing by Pete Grill

On Wednesday, May 11, there will be a Fine Arts Information Session: Painting, Drawing, Sculpture and Printmaking at the School Visual Arts at 133/141 W. 21st Street, room 602C, sixth floor from 6:30 to 8:30 PM. I’ll be there if you have any questions about my drawing workshop or my two-week portrait workshop from August 8-19, or just want to stop by and say hello.

Workshop drawing by Matt EllrodWorkshop drawing by Matt Ellrod

5 Day Realistic Portrait Drawing Workshop
June 6 – 10, 2016 • 9:00AM – 5:00PM
Find out more information about this workshop
Register online or call 212.592.2200

11 Day Realistic Portrait Painting Workshop
August 1 – 12, 2016 • 9:00AM – 5:00PM • No class August 7.
Find out more information about the workshop
Register online or call 212.592.2200
This course may also be taken for credit. Please call the registrar’s office @ 212.592.2200 for more information.

Has the Art World Finally Crapped Out?

The Universe Juxtaposes in Strange and Unusual Ways

Toilet art

Today, The New York Times published an article about a new installation at the Solomon R. Guggenheim Museum here in New York City. It is a solid gold fully functioning toilet, with seat. (See the above top image.) The toilet will be located off a gallery and will be available for the public to use. The sculptor, Maurizio Catalan, said, “I don’t see it as a joke.”

Also today, my father-in-law sent the bottom image to me. It was intended as a joke. It’s called a Redneck BBQ and Beer Cooler. Sadly, the artist wasn’t credited. It was captioned, “When you are done, just turn the handle & it puts out the fire.”

Now I ask, which of these two toilets exhibits more creativity and which is the bigger joke?

Until next time…

“When you do what you’ve done, you get what you’ve gotten.” Mark Twain

Marvin Mattelson Summer Workshops at SVA@NYC

Edward_Cripps_full

Recent Posthumous Portrait of Edward Cripps by Marvin Mattelson

Contrary to popular belief, doing the same thing over and over doesn’t necessarily make you better. Many great achievers, such as Mark Twain, have echoed this same sentiment. For example, the writer/philosopher Rita Mae Brown has stated, “The definition of insanity is doing the same thing over and over and expecting different results.

If you want to become a better painter, you need to transform the way you think about making paintings. Simply put, the idea of going to a workshop and picking up a trick or two is not going to make a significant difference in the quality of the work you do. “If you do not change direction, you may end up where you are heading,” cautioned Lao Tzu.

So if doing what you’ve always done isn’t the answer, what is? Wayne Dyer said, “If you change the way you look at things, the things you look at change.” If you want to achieve greatness you need to approach what you do with the same mindset as the greatest painters in history. I have dedicated my life to uncovering the common threads that bind the greatest classical artists, such as Rembrandt, Vermeer, Velasquez, Van Dyck, Raeburn, Lawrence, DeCamp and Paxton.

This summer I’ll be sharing my observations at the School of Visual Arts in New York City during my one-week portrait drawing workshop and my two-week oil portrait painting workshop. In the past, people have made remarkable progress in a very condensed time period. Your mileage may vary. Hope to see you there.

5 Day Realistic Portrait Drawing Workshop
June 6 – 10, 2016
Find out more information about this workshop
Register online or call 212.592.2200

11 Day Realistic Portrait Painting Workshop
August 1 – 12, 2016 – No class August 7.
Find out more information about this workshop
Register online or call 212.592.2200
This course may also be taken for credit. Please call the registrar’s office @ 212.592.2200 for more information.

Edward_Cripps_hs

Marvin Mattelson’s Winter/Spring Classes at SVA in NYC

New York City Portrait and Figure Painting Classes

KarenD_cropMore

I’ll be teaching two classes at SVA in NYC for the Winter/Spring semester on Fridays and Saturdays. Each course is comprised of 12 six hour-long sessions.

Most of the class descriptions I read all sound pretty much the same but the question remains, do they deliver on the promise? Are all instructors created equal? My students tell me that isn’t the case and they’re so glad they found me.

…one of the greatest teachers ever. Marvin Mattelson changes the lives of anyone paying attention. I know I wouldn’t be half the painter I am without his guidance.

Dorian Vallejo

With numerous classes being given in a wide variety of venues I’d like to take this opportunity to explain why choosing to study with me will not only teach you the technical aspects of painting but transform the way you approach painting altogether.

For me as an artist, being told what to do in any given situation was not nearly enough. Painting at the highest levels goes way beyond following dogmatic rules; it’s about making intelligent choices.

Michelangelo said, ”A man paints with his brain and not with his hands.” This can’t happen unless you understand the full ramifications of the options you have available to you at any given moment. Basho, a Japanese poet from the 17th century said, “Don’t follow in the footsteps of the masters, seek what they sought.” My teaching is about empowering students.

You will learn how to easily mix the colors you see, how to create the illusion of solid form in three-dimensional space on a flat canvas, how to capture a likeness and create lifelike figures and portraits, but most importantly, gain great insight to the mindset that informs the choices available to you.

During the course of the semester, I will be demonstrating every step of the painting process. (The above image is a detail from a class demo painting.) I will progress from the underpainting, to the color lay-in and and to the finishing stage. As I paint, I explain not only what action I’m taking, but also my reason for doing it. During the semester we will take a Sunday field trip to the Metropolitan Museum of Art where I will dissect many master works to reveal that the same logical approach that I am teaching you in class is in the DNA of all great paintings.

We will have two set-ups at all times, a figure model and a portrait model. Every student will have an unobstructed view of their model. The lighting is classically inspired. The duration of each pose will last for approximately half of the semester.

The rapid growth I experienced at SVA was only made possible due to the quality of your instruction. It was your roadmap for me to follow. Like a sage boxing couch you showed me what to train and how to go about it. Above all else you fostered an incredible appetite for oil painting and a strong desire to know more, be that through rummaging through yellowing Vermeer notes or staring down Raeburn at the Frick.
What was so enthralling and captivating about oil painting anyway?
I’d like to think that a huge part of the allure and magic, was just how fun and endlessly rewarding you made the medium out to be. You turned what ought to have been a basic freshmen introduction painting class, into the veritable quest for the holy grail.
It takes a very special artist and teacher to set up such an environment. To design such a system of approach and reward, and do it with such seeming ease, that even maddeningly counterintuitive principles comes off as the most natural and beautiful thing in the world.
Your training and the mission you gave me was so jam packed and undeniable that SVA was nearly bursting at the seams to contain it. I am forever indebted to your brilliance as an artist, as a teacher and the deep generosity that powers both.

Billy Norrby

You can read more about my portrait painting and figure painting classes here.

Realistic Figure and Portrait Painting • FIC-2221-CE
Fridays • 12:00PM – 6:00PM • 12 sessions • First class: Jan. 29, 2015
Click here to register online for the Friday class.

Realistic Figure and Portrait Painting • FIC-2221-CE1
Saturdays • 10:00 AM – 4:00PM • 11 Sessions • First class: Jan. 30, 2015
Click here to register online for the Saturday class.

These courses may also be taken for undergraduate credit. For more information please call the Registrar’s Office (212) 592.2200.

I will be attending a fine art information session on Wednesday Jan. 6 at 133/141 West 21st Street, room 602C, 6th floor, from 6:30 PM to 8:30 PM. Please stop by and say hello.

Until next time…