Marvin Mattelson’s New York City Portrait & Figure Painting Classes

Continuing Education Classes At the School of Visual Arts

Portrait class in Marvin Mattelson's studio at SVA.

Portrait class in Marvin Mattelson’s studio at SVA.

Once again I’ll be teaching two classes at SVA in NYC for the fall semester on Fridays and Saturdays. For more information about the courses you can check out my site: www.fineartportrait.com. My goal is not only to make my students better painters but to transform the way they think. Here’s a couple of quotes from former students.

I thank Marvin most of all for the recent growth I have seen in my own art. His ability to communicate his knowledge of painting to students is, in my mind, unsurpassed.
Matthew Innis

It seems you’ve developed into the kind of instructor we all wish we’d had early on. I like your kid-in-the-candy-store enthusiasm for what you are teaching. Even the things I was already familiar with you presented so concisely that it made me know it better. The whole experience was well worth the time, effort and money. Not everyone can be fun and serious. It’s a synergistic mix.
Jeff Ott

Realistic Figure and Portrait Painting • FPC-2010-CE
Fridays • 12:00PM – 6:00PM • 12 sessions • First class: Sept. 25, 2015
Click here to register online for the Friday class.

Realistic Figure and Portrait Painting • FPC-2010-CE1
Saturdays • 10:00 AM – 4:00PM • 11 Sessions • First class: Sept. 26, 2015
Click here to register online for the Saturday class.

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

I will be attending a fine art information session on Monday August 24 at 133/141 West 21st Street, room 602C, 6th floor, from 6:30 PM to 8:30 PM. Please stop by and say hello.

Portrait Painting: Not Just a Passion, but a Great Escape!

Richard_W_Matt1

 

Is Anything More Dangerous Than a Frustrated Artist?

According to Friday’s New York Times, one of two escaped inmates bartered his portrait painting skills in order to get an unsuspecting guard to smuggle in tools which the convicts used to break out of Clinton Correctional Facility in Dannemora, New York. The escapee, Richard W. Matt, was pretty talented, as you can see from his above paintings of President Obama and Martin Luther King, Hillary Clinton, Julia Roberts and Marilyn Monroe. All in all, the guard wound up with 12 original paintings. That’s a lot of work for set of needle nose pliers, a screwdriver and a couple of tubes of white paint. Perhaps he broke out in order to attend my 2 week, August 3-14, Portrait Painting Workshop at the School of Visual Arts. Maybe he realized that if he had taken either a class or a workshop with me he may have been able to fully manifest his talents, like so many of my former students. If he had polished his skills, he might have been able to afford a better lawyer, rent a helicopter to aid in his getaway, or perhaps even have avoided a life of crime altogether. Unfortunately for Mr. Matt,  he was killed by police earlier today. A cautionary tale, no doubt!

Until next time…

Marvin Mattelson’s Foundation Painting Class at SVA

Award Winning Painting Student Mary Searless

Marvin_Mary

Marvin and Mary Searless

 

Can any thrill compare to that of being a proud parent? When my sons were growing up, the amount of pride I took from even their smallest achievements far eclipsed whatever I experienced from my own. It was gratifying to feel that I might have contributed to their successes, even it happened to be in the smallest of ways. Now that my sons have grown and flown the nest I no longer have the opportunity to experience their achievements on a daily basis. Fortunately, teaching allows me to share the knowledge I’ve been cultivating my entire life and to watch it utilized by my students in their artistic pursuits. To this day, when a student takes anything I’ve told them and manifests it in a constructive way, I get a tremendous sense of satisfaction.

One of the classes I teach at the School of Visual Arts in New York is Foundation Painting. Each class is run at the discretion of the teacher. My approach is a pretty rigorous training program for kids right out of high school. This past year’s class was great. My students were very talented, extremely motivated and hard working. What more could a teacher ask for? They really bought into my methodology and applied themselves whole heartedly. The Foundation Painting class is unique in that it spans a full school year. It’s a two semester class, while all my other classes are one semester long. The extended time frame gives me the opportunity to bring the students around more slowly and reinforce all the various aspects of my teaching.

My goal is to give the students as thorough an understanding of the technique of oil painting and more importantly, of how to control the illusion of light, solidity, depth and atmosphere. It’s important to me that what they learn dovetails with their own intrinsic artistic identity. I want them to develop their own style, and not be clones of myself.

Elisa_Karjalainen2

Class painting by Elisa Karjalainen

 

In class we work exclusively from live models. I think it’s important that my students experience the spacial aspects of reality, so in the future they know how to integrate these effects if they need to work from photo reference. During the first semester we focus on working from the nude, starting with charcoal drawings to learn better accuracy. Then we move on to doing wash-in (imprimatura) monochromatic under-paintings. From there we go to color mixing and ultimately, building up layers of color to achieve the finished effects. For the second semester we work from a costumed figure and eventually transition to a complex two figure set-up with props and drapery (see the above painting by Elisa Karjalainen which was painted this semester). The students are also required to create paintings on their own as homework assignments.

At the end of the year the school holds a Foundation Painting exhibit. The work was juried from over 300 students. Each was permitted to submit one painting. When I walked into the studio I was stunned to see that out of all those those submissions only 22 were selected to hang in the gallery and be eligible for award consideration. I thought it was astounding that out of all those students, five of mine had been included in the show and that my student,  Mary Searles, had been awarded the medal for third place. The chair of the Fine Arts Department, Suzanne Anker, was at the opening and was extremely complimentary about the quality of the work my students had produced. It was a great night.

I’m very proud to present the paintings here:

Mary_Searless

Mary Searless – Third Place Medal Winner

 

Mayerling-Soto

Mayerling Soto

 

Kaitlynanne-Russo

Kaitlynanne Russo

 

Gene_Zhao

Gene Zhao

 

Elisa_Karjalainen

Elisa Karjalainen

 

Now if that wasn’t gratifying enough, I just received the following notification. At the end of each semester every student is asked to rate their teacher’s performance. On the form there’s an option to anonymously comment and I wanted to share what one student wrote:

Marvin is an extremely well rounded artist, if that’s even a valid term. I am thankful for what I learned in this class, and I will keep it with me for as long as I live. Learning traditional painting techniques was one of the best things I participated in this school year.

It just doesn’t get better than that.

Until next time…

Realistic Portrait Drawing Workshop with Marvin Mattelson in New York City

School of Visual Arts • June 1 – 5 • 9am – 5pm

Dustin-draw2

Dustin by Marvin Mattelson (detail) – Charcoal and white chalk on toned paper

Drawing is the backbone of all representational art. J. D. Ingres said, “Drawing includes three and a half quarters of the content of painting… Drawing contains everything, except the hue.”If you are interested in sharpening your drawing skills and/or improving your portraits, this workshop presents an opportunity to gain the kind of strategic thinking and technical know-how that great master artists have used for centuries. You will gain insight into achieving better accuracy, greater solidity and a life-like essence. This knowledge is not style or subject specific. When you incorporate what you’ve learned into your existing working method you will notice a big difference.

I believe the way art is taught today limits all but the most precociously talented from succeeding. The majority of realistic art instruction is rule oriented. That’s why so much work is easily identifiable by school or instructor. As a result, many potentially good artists are thwarted because they are not provided with the proper understanding and training necessary to seek their own paths. I want my students to fully understand all the options they have at their disposal. It doesn’t make sense to mandate a specific action for each particular circumstance. That kind of rigid thinking is the antithesis of the creative process.

A refreshingly logical and clear approach for artists of all levels.

Whether drawing or painting is your end game, a deeper understanding of the drawing process is the most crucial part. The essence of draftsmanship is having a well-trained eye. If you want to learn how to draw well, the first step is to transform the way you see. The ability to faithfully represent what lies before you is the major factor in achieving long-term success as a realist. When approached logically, mastery over your drawing is far more easily attainable. There is more to drawing than mindlessly copying and obsessively rendering what you’re looking at. Drawing is having the ability to understand what you see and the skill to clearly convey it’s essence.

Dustin-draw1

Dustin by Marvin Mattelson – Charcoal and white chalk on toned paper

We will be working from live models under ideal lighting conditions, the most effective way to learn how to represent the illusion of three-dimensionality. I will demonstrate and explain every step of my method throughout the workshop. I work one-on-one with each of my students during the times I’m not demonstrating.
Here are some of the key points of what I’ll be teaching:
• Achieving accurate drawing and values – which also happen to be the two most crucial aspects of representational painting.
• Creating the illusion of form and atmosphere.
• Varying edges intelligently (not formulaically) so that your drawing has more vitality.
• Understanding how to achieve pictorial unity.

To register online: http://www.sva.edu/continuing-education/fine-arts/realistic-portrait-drawing-15-cu-fic-2148-a

For more info or to register by phone, please call: 212-592-2200

Until next time…

Alla Prima Portrait Painting Demonstration

Marvin Mattelson’s One & Done Technique

Simone-&-Marvin
This past Saturday I did a portrait painting demonstration for my class, alla prima style. The point was to show the students how I approach painting oil studies during my initial meetings with clients. I primarily work from reference photos for my finished portraits, due to the time limitations of my busy clients. This quick approach gives me the opportunity to study their facial structure, get a better sense of who they are and, most importantly, to record their complexion. Judge for yourself, by looking at in the above photo, how I’ve done with regards to matching Simone’s skin tones.

Simone11
This painted study took me three hours and forty minutes – not counting breaks, although in the past I’ve done them in as little as one hour.

Here’s a little movie I put together showing how the painting evolved:

Don’t Try This at Home!

When going the Alla Prima route – trying to nail everything at once – if you are not in complete command, your results will suffer. If you’re having problems, you need to reload; first learn to do things correctly by mastering each of the major aspects of painting: drawing, value and color. That’s the way I break things down for my students. If you wanted to learn to ride a unicycle on a high wire while juggling burning axes would you try to do it all at once? When you break it down in digestible bites you get to dessert way faster?

Sound appetizing? Come study with me, this summer. I’ll be leading a portrait drawing workshop in June and a portrait painting workshop in August at the School of Visual Arts in New York City.

Also, there’s a Fine Arts Information Session on Monday, May 11, from 6:30 pm – 8:30 pm. It will be held at 133/141 West 21st Street, room 602C, 6th floor. If you want to stop in and say hello I’ll be there and I’ll be bringing Simone (the painting) with me.

Until next time…