Making Rhyme Out of Reason: An Oil Portrait Painting Workshop with Marvin Mattelson

Portrait Painting: The Real Deal
New York City • August 14 – 25, 2017
@ the School of Visual Arts

Just to give you an indication,
Here’s Marvin’s last workshop demonstration.

I often post upon this blog my teaching offerings,
Like classes during the school year as well as other things.
It’s always a challenge to vary my message and avoid redundancy.
So this time around I’m communicating to you in the form of poetry.

At the School of Visual Arts each August, I lead an oil portrait workshop.
From the fourteenth through the twenty fifth, the learning is non-stop.
If you truly desire to become the very best artist you can be.
Sign up and take full advantage of this great opportunity.

For two weeks—Mondays through Fridays, nine to five—there’s much to ingest.
The middle Saturday is a field trip to the Met, while Sunday’s a day of rest.
I teach a contextual approach designed to enhance your individuality.
No, this isn’t a cookie cutter system and you won’t turn into a mini-me.

I think most artists searching for answers, are barking up the wrong tree.
It’s not about using some historical pigment or finding a long-lost recipe.
On the other side of the coin, if you’ve been told from your youth,
That making art is intuitive. Nothing could be further from the truth.

There’s a middle ground, a balance, that I find works the very best.
My students tell me my approach is more effective than the rest.
Michelangelo said, “A man paints with his brains and not with his hands.”
I believe this fundamental truth is something that every great artist understands.

What I teach is not rote learning. Why paint someone else’s way?
It’s the difference between learning to fish or being fed for a day.
Style’s a poor substitute for knowledge and shouldn’t be focused on.
Individuality should never be sacrificed, when all is said and done!

When you approach it step by step,
You will become much more adept.

Technique is important and I cover all aspects, but that’s not really the key.
The important fact is that at the core of all great painting is a logical philosophy.
Learn in a short span what might take you decades on your own to master.
Why struggle and suffer needlessly; when you can get there so much faster?

Painting from models is the best way to learn, ‘cause everything’s right there,
You can clearly analyze 3-D structure and the effects of light and air.
You’ll learn how to identify any color you see and to mix it efficiently.
As opposed to your typical hit or miss method, which is pure insanity.

I will clearly explain everything that I’m doing while I’m demonstrating.
At all other times I go from student to student; I’m continuously circulating.
You’ll learn ways to capture a likeness and to see more accurately.
And what it takes to convey on your canvas a real life-like quality.

A contextual methodology lies at the heart of everything I teach.
When you apply this framework all possibilities are within reach.
Please understand, painting isn’t a simple task, it’s very complicated.
But if you can approach it more logically, you won’t be so frustrated.

I hope these verses I’ve penned for you have given you some indication
Of the wonderful experience awaiting you that will enhance your art education.
My workshop, very much like this poem, is designed to keep you entertained,
Making information more easily processed and so it can be fully ingrained.

In three more lines my poem will reach it’s eventual conclusion.
If you want to turn your work around, I’m offering the perfect solution.
You may click on this line in the event you desire some additional information.
To sign up call 212-592-2200, or click this link to access online registration.

 

Marvin Mattelson Realistic Portrait Drawing Workshop

June 5-9 @ The School of Visual Arts in New York City

I’ll be leading a drawing workshop at the School of Visual Arts in New York City from June 5-9 (9 AM- 5 PM daily).

I believe that my workshops are fundamentally different than those led by other people. My main focus it is on changing the way you think about making art. Mark Twain said it best, “When you do what you’ve done, you get what you’ve gotten.” If you want to be a better artist, you need to learn to think like a better artist. It’s not about learning a little trick or two and it certainly isn’t about learning more rules. But don’t worry, the course is packed with more technical information than you could ever imagine.

But why listen to me. Although I’ve been at every workshop I’ve ever led, I’ve never had the opportunity to actually experience one first-hand.  Then it hit me, wouldn’t the best explanation come from a former student who actually participated in one of my drawing workshops. So what follows is the text from an email that my former student, Mary Beth Lumley, sent to me following the workshop she took. I’ve also enclosed some pictures of her exquisite drawing for your viewing pleasure.

Marvin, how can I ever thank you for this week?? What a wonderful, eye-opening adventure it was. I so enjoyed meeting you and having the honor of spending time with you. I can’t wait to put what I’ve learned from you into action and have been working all morning to rearrange my condo (read also: life) to create space for the development of my artwork. I know I’m only one of hundreds of students you’ve encouraged and artists’ lives you’ve helped to transform, but you made me feel so special and have left an indelible impression on my art and my life.

Going into your drawing workshop, I had hoped to gain a fresh perspective and learn some fundamentals I could apply to what I already knew about drawing. I had no idea what I was about to experience. Like so many of your students, I thought I had some knowledge on the subject, but right away I realized the smartest thing I could do would be to leave behind what I knew and fully embrace your incredibly unique methodology. You didn’t just teach me to draw, you taught me to see — a universal skill I can apply to everything I create, regardless of the medium.

So few people have the ability to operate at the level you do artistically, but even fewer have the skills and desire to teach others how it’s done. You took what you learned about us as individuals and you developed custom, innovative teaching methods using them to push each of us to new levels. You understand how people learn and seem to genuinely thrive off of your students’ progress. Selfless with your wealth of knowledge, you jumped at any opportunity to share what you know with your students. After only six days, every one of us walked away with more knowledge than we could have ever hoped to achieve in that time-frame and for that amount of money. This workshop was, without a doubt, the best investment I’ve ever made in the development of my skills as an artist.

I cannot thank you enough for everything you taught me this week, Marvin. You are a spectacular teacher and person, and I will be counting down the days until I can study with you again.

Mary Beth Lumley

 

 

If you’d like to hear what others have said regarding their experience of studying with Marvin, you can read additional student feedback here.

To attend the drawing workshop please call 212-592-2200 or you may register online now. If you are interested in further information, you can read about the course here.

I’m also leading a 2 week workshop: Portrait Painting: The Real Deal from August 14-25. You can register online as well, or call 212-592-2200.

There will also be an open house at The School of Visual Arts on Thursday, May 11, at 6:30. I’ll be giving a short presentation about my summer workshops. I’d love to see you there and I’d definitely love to see you at the workshop.

Until next time…

Oil Portrait Painting Workshop 2016

11 Day Workshop with Marvin Mattelson

August 1 – 12 (No class August 7)

Includes a 1 Day field trip to the Met

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Workshop demonstration by Marvin Mattelson

Painting is a function of problem-solving; the key is understanding how to control pictorial space on a flat surface. Every paining is different, every lighting condition has its own specific issues, and every situation requires it’s own unique solution.

“Common observation and a plain understanding is the source of all art.”

Sir Joshua Reynolds

After having devoted myself to a life-long in-depth study of the old masters, I have come to the conclusion that there’s no one-size-fits-all formula which will solve the myriad of problems an artist encounters in the course of  creating a realistic painting.

Recently I went to see the Van Dyck portrait exhibition at the Frick Collection here in New York City. I went a total of four times. Each time I went back I was able to pick up on more subtle touches, which served to further validate the ideas that have been percolating in my head for over thirty years.

Van Dyck is one of my great heroes and he has played a significant role in my artistic evolution. In 1988, The National Gallery in D.C. had a show of over 100 Van Dyck portraits and figurative paintings. It was there my ideas about painting took a 180 degree turn when I realized it was possible to not merely replicate reality but to greatly enhance it. Compared to the people looking at the paintings in the gallery, Van Dyck’s figures appeared far more alive and dimensional. To be able to achieve that same enhanced sense of reality became my Holy Grail.

I wasn’t interested in having my paintings look like they were painted by Van Dyck. To merely copy his stylistic devices, would be the artistic equivalent of feeding myself a fish rather than learning how to catch them. I didn’t want to merely copy what he did, rather, my sole focus was to get inside his head and fully understand his thought process.

Understanding why and when he varied his approach seemed to be the key, since he solved seemingly similar problems in a plethora of ways. Little by little, I was able to assimilate his thought process and, I realized, when I began analyzing the paintings of the other great artists I admired, they too employed a similar strategic way of thinking and were also able, without compromising their own unique look, to achieve the same sense of enhanced dimensionality and aliveness as Van Dyck.

With each subsequent Frick visit, this past spring, I felt more and more validated in the approach I utilize when I’m painting and teaching. I believe that once understood, this knowledge can help any artist take their work to a higher level.

What I teach is not a dogmatic cookie-cutter solution but a context within which you can make intelligent and appropriate choices. Conventional thinking never worked for me. I don’t believe that keeping halftones cool or shadows warm or any specific action or series of actions comprise the secret to exceptional painting, No magic medium, fancy palette or specific color is going to transform you into a great painter.

I’m leading an eleven day portrait painting workshop at the School of Visual Arts in New York City from August 1-12. I will be demonstrating all aspects of my teaching. (You can see the demo above, from a previous workshop.) We’ll be working from live models and also be spending one day at the Met, where I’ll be analyzing some of the greatest portraits of all time, and showing you exactly what it is that makes them so effective. This is the only painting workshop I do all year, so if you’re interested in what I have to offer you can 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
This course may also be taken for credit. Please call the registrar’s office @ 212.592.2200 for more information.

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

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…