Marvin Mattelson Summer 2018 Workshops in New York City

 

Continuing Ed Classes at the School of Visual Arts

This summer I’ll be teaching two workshops at the School of Visual Arts in New York City: a five-day portrait drawing workshop and an eleven-day portrait painting workshop.

The purpose of both workshops is to transform your ability to make art. Just imagine, for just one moment, that everytime you picked up a brush or a piece of charcoal you could download Anthony Van Dyke’s brain.

Great art is the function of sound strategic thinking. There is a profound underlying mindset that has served as the foundation for the creation of the greatest realist art in history. My goal is to provide you with the opportunity to tap into that mindset. Intrinsic talent is not sufficient enough if you want to excel. 

But worry not, you will get more than your fair share of technical information as well. In both workshops, you’ll learn how to see what’s actually in front of you and how to create the illusion of a three-dimensional reality. The painting workshop adds the dimension of color and there you will learn how to analyze color and how to easily identify and mix any color you see. Also, you’ll learn to create life-like flesh-tones as well as how to use color to unify your subject matter. 

All aspects of my curriculum are fully demonstrated alongside my running commentary. The above portrait of Sarah was my demo from last year’s workshop. At all other times, I’ll be circulating amongst my students while critiquing and giving feedback. 

I’ve heard it said that if you take a workshop you should be happy if you can walk away with a trick or two under your belt. If you’ve been privy to this way of thinking, my advice is to run – don’t walk – as fast as you can from the source of this misinformation. If it’s a teacher, shame on them. Nothing can be further from the truth.

The intent of my workshops is to transform the way you approach making your art. The important question is, are you willing to give up the rules and regulations you’ve come to believe are at the root of whatever successes you’ve experienced to date? 

Rules obfuscate the truth. As my former student, Dorian Vallejo said, “…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. ”  

Whether you’re a portrait artist or not, these workshops will make a huge difference in the way you look at, think about and make art. 

Hope to see you there. Until next time… 

Realistic Portrait Drawing: Course Number: FIC-2148-A

http://www.sva.edu/continuing-education/fine-arts/portrait-painting-the-real-deal-18-cu-fic-2221-ce

Realistic Portrait Drawing

Mon, Tues, Wed, Thu, Fri 9:00AM – 5:00PM Jun 04 – Jun 08

310 East 22nd Street

4.00 CEUs, 5 Sessions

For more info call: 212.592.2050

Drawing lies at the heart of all representational art and unity is the key component. The purpose of this workshop is to develop your ability to approach drawing in a contextual way, where each small part serves the greater whole. We will start with exercises designed to sharpen your ability to see objectively. Working with live models, you will learn how to identify the specific proportions and structure unique to each individual. By weeks end, you will understand what it takes to achieve a full-fledged tonal portrayal of your subject, bathed in light and surrounded by air. Draftsmanship is an easily learned skill. The techniques and approaches you will learn can be readily adapted to any type of subject matter and style. All aspects of this method will be presented logically and coherently. Every step will be fully demonstrated and explained. 

NOTE: A complete supply list will be sent to you prior to the start of the workshop.

Portrait Painting: The Real Deal: Course Number: FIC-2221-CE

http://www.sva.edu/continuing-education/fine-arts/portrait-painting-the-real-deal-18-cu-fic-2221-ce

Mon, Tues, Wed, Thu, Fri, Sat 9:00AM – 5:00PM Aug 06 – Aug 17

310 East 22nd Street

8.50 CEUs, 11 Sessions

For more info call: 212.592.2050

There’s more to painting a great portrait than capturing a likeness; it’s about creating the illusion of life. Portraiture should reveal the character of the sitter and exude a lifelike essence. Whether you are just starting out or very experienced, whether you choose to paint from live models or work from photo references, what you can learn in this course has the potential to transform your art. Taught by an award-winning portrait artist, you will learn how to analyze, interpret and vastly improve your ability to capture a convincing and telling representation of your sitter. Based on the idea that logic, not frivolous rules and superficial techniques are at the core of the greatest portraits ever created, a mindful approach that is both broad in scope, yet simple to comprehend will be taught. Working from live models, you will discover a simple and straightforward way to draw accurately and easily replicate any color you see, particularly the subtle translucent tones of the human complexion. You will also learn to model form and simulate the effects of luminosity, depth, and atmospheric space. All the information covered in this course will be fully demonstrated and explained by the instructor. 

NOTE: A Sunday afternoon field trip to The Metropolitan Museum of Art is included. Please bring a notebook and pen to the first session. A complete supply list will be sent to you prior to the start of the workshop.

To Be An Artist You First Need to Think Like One

Noor Chadha - Sarah

Noor Chadha – Portrait of Sarah

Painting is an extremely complex endeavor. Personally, I think that realistic painting is the most difficult task a human being can hope to undertake. My reasoning is: there are so many variables to contend with. Any difficult task is more easily overcome if you have a clear understanding of what’s involved. However, if you are trying to master anything inherently complex, and have no insight, or even worse, an overcomplicated theory, a difficult task becomes that much more formidable. To me, that’s the problem with most art training.

I have a theory about how teaching painting evolved. Whenever a lesser artist tries to replicate something they see in a masterpiece, the typical reaction is to compartmentalize it by making it into a rule and rigidly applying it. And then there’s the worst rule of all, “First you must learn all the rules before you can break them!” Rules are crippling because they eliminate any opportunity you have to think for yourself.

A prime example of this is the rule about halftones: “Halftones should always be cool”. The truth is, to save time, artists would often scumble their lights over the shadows to create a transition between the two, rather than mix an intermediate value. When a warm translucent light color is laid over a warm shadow tone, the result is more neutral. When a neutral is surrounded by warm tones it appears cool. I don’t know the physics behind this, but it’s the same phenomena that makes the blood vessels below your skin appear blue (yes grasshopper, blood is red!). But many artists, such as Sir Henry Raeburn, Rembrandt and Velasquez, used warm colors to bring halftone planes forward.

The problem with following rules is that a rule is by nature formulaic. Always do this: never do that. For example, the rule stating that chroma should stay consistent within the value range of color depicting a singular object. But, William Bouguereau, Jean Leon Gerome and William McGregor Paxton, shifted chroma extensively.

Even worse, rote learning is self-cannibalizing. A small number of precociously talented students may intuitively supersede the rules they were taught, and produce outstanding results, in spite of and not because of the rules they learned. But as they move up the food chain and eventually become teachers themselves, they will, in all likelihood, reiterate the same rules they were “taught” because there is no way to explain intuitive choices.

Though a school may be run by an accomplished artist, the rule following majority is screwed. When rote learning, which is essentially the memorization of rules, forms the basis of any methodology, the potential for true artistic development is severely curtailed and progress is slowed down considerably. When student work bears a strong stylistic footprint, rule following is at the root.

Leonardo da Vinci said, “practice must always be founded on sound theory… Those who are in love with practice without knowledge or like the sailor who gets into a ship without rudder or compass and who never can be certain whether he is going.” Sound theory is based on understanding, not following rules.

Noor Chadha - Before & After

Noor Chadha – Before & After

Above, are two paintings done by my student Noor Chadha, who has studied with me for exactly one year. The first painting done last fall was her first attempt at a color portrait. She painted the second one this summer. Her progress is astonishing. The number of class sessions she has taken with me is approximately 30. If she were studying full-time at an atelier, for example, she would be about 1 1/2 months in and still rendering her first barge plate. It’s not about the time spent studying, it’s about time well spent.

My goal is to transform the way my students think. l believe my approach can dramatically cut down on the amount of time it takes anyone to progress and reach higher and higher levels. Not because “that’s the way you’re supposed to do it” or “that’s the way so-and-so does it”. As Wayne Dyer said, “If you change the way you look at things, the things you look at change.”

Classes begin this Friday and Saturday, September 15 and 16th.

Realistic Figure and Portrait Painting from Life

Fridays • 12:00PM – 6:00PM • Sep 15 – Dec 15 • 12 Sessions • Click here to register or find out more information about the Friday class.

Classical Portrait Painting from Life

Saturdays • 10:00AM – 4:00PM • Sep 16 – Dec 16 • 11 Sessions • Click here to register or find out more information about the Saturday class.

#PortritPaintingClasses

Marvin Mattelson’s Fall 2017 Continuing Education Classes @ SVA

Class Demonstration Painting by Marvin Mattelson

Summer’s winding down and I’m excited to announce that my Continuing Education classes at the School of Visual Arts for the fall semester are now registering.

I’ve been asked many times why is it that today’s painters seem to fall short when compared to artists of the past? Why is it that although there are many classes and schools focused on replicating the technical aspects of the artists of yesteryear, as well as manufacturers offering so-called historically accurate pigments and mediums, the result tends towards gray, stiff and lifeless? To me it’s pretty obvious what’s missing: a strategic picture making mentality that goes way beyond copying, which I rarely see in contemporary realism.

A mere copier of nature can never produce anything great.
Sir Joshua Reynolds

When I attended art school, at eighteen, it was with the expectation that I was going to learn how to paint. I wanted to be able to recreate the world around me. Unfortunately, the school that I attended emphasized creativity over technical facility (as did the majority of schools at the time) so my expectations were summarily dashed. In fact painting proved so frustrating to me that I didn’t pick up a brush again for almost ten years.

Could we teach taste or genius by rules, they would be no longer taste and genius.
Sir Joshua Reynolds

At that point, it became pretty obvious to me that the books and instruction I was privy to lacked any kind of logical foundation. Although there were multitudes of rules, recipes and regulations, there was never a practical explanation of how it all connected. Then one day I happened upon a reproduction of a small portrait by Sir Anthony Van Dyke and although I couldn’t put my finger on how he did it, I saw that he went beyond mere copying. He was coming from a space of knowing and the painting had such life to it. And thus my quest began in earnest: to discover the contextual way Anthony Van Dyke approached painting.

Based on the way I process information, I realized that only by understanding why something works and knowing the full ramifications of using it, could I truly claim full ownership. Interestingly, I began to realize, that when I studied the works of all the artists I admired most, their choices all seemed to mirror Van Dyke’s mindset.

Practice must always be founded on sound theory… Those who are in love with practice without knowledge are like the sailor who gets into a ship without rudder or compass and who never can be certain whether he is going.
Leonardo da Vinci

After years of study, practice, experimentation and discovery I have been successfully implementing these concepts in both my painting and my teaching. As it turns out, understanding the whys and wherefores makes learning so much easier. My students make astounding progress.

Yes, I teach my students to draw accurately and paint with great facility. But if you want to recreate the life-like essence that distinguishes truly great realistic art, you need to shift your mindset. I believe my focus on the salient underlying principles employed by the greatest painters in history is what differentiates my teaching.

When you change the way you look at things the things you look at change.
Wayne Dyer

I don’t teach a cookie cutter approach or try to turn my students into a mini-me. My goal is for each of my students to become the very best version of themselves with the freedom to paint any subject they choose with great flexibility. All aspects of my teaching are fully demonstrated (see above) and clearly explained. I also take my classes on a field trip to the Metropolitan Museum of Art where I reinforce the ideas I’ve taught in class with prime examples from the museum’s robust collection.

This fall I’ll be teaching two continuing education classes; my Friday class covers both portrait and figure painting in oil while the Saturday class focuses on oil portrait painting. All my teaching is easily adaptable to any genre and medium. We work from live models and all aspects of my teaching are fully demonstrated and precisely explained. I look forward to seeing you in class.

Realistic Figure and Portrait Painting from Life

Fridays • 12:00PM – 6:00PM • Sep 15 – Dec 15 • 12 Sessions • Click here to register or find out more information about the Friday class.

Classical Portrait Painting from Life

Saturdays • 10:00AM – 4:00PM • Sep 16 – Dec 16 • 11 Sessions • Click here to register or find out more information about the Saturday class.

On Monday August 28 from 6:30-8:30 there is an open-house information session for fine art continuing education classes. I’ll be there. Please stop by to say hello, have some snacks and learn more. 133/141 West 21st Street , Room 602C, 6th floor.

Why Settle for Conventionality When Greatness May Be Around the Bend?

Last chance to register for Marvin Mattelson’s portrait drawing workshop in New York City!

A number of years ago Apple had a great advertising campaign entitled “Think Different!” It was quite brilliant, placing the emphasis on innovation by those who went against the norm. One would think that artists in particular would be able to relate to that, because by nature we are different than the majority of people who are non-artists. In lieu of that, I find it really amazing how fearful artists seem when it comes to thinking differently.  I guess there is comfort in the road most commonly traveled. It appears that far too many of us cling to convention as far as creating art goes. Thinking similarly? I tell my students, all the time, that conventional thinking makes for conventional artists.

Several weeks ago I went to a couple of auction previews at Christies and Sotheby’s as well as to an exhibit of contemporary realists. To me the Bouguereau painting entitled “Petite Berg” (see above) was by far the most impressive painting that I saw that day. It wasn’t great solely based on his technique, there were other paintings I viewed where the paint handling was top notch, but Bouguereau’s superior decision-making made it, for me, a far more compelling work of art. The way Bouguereau handled his color, edges, values, light and atmosphere put him in the league of his own. The great thing is, once you understand his thought process – which can be discerned in the works of all great artists – you can adapt these things to your own work in your own style and make yourself the best version of yourself, not a secondary clone of someone else.  It’s not about the application of paint, it’s about the application of knowledge.

Far too many who seek to be better artists think that the end-all is in achieving better technique. As a result the majority of students coming out the schools and teaching academies create work that looks eerily similar to their classmates. Based on the way paint is applied, the choice of colors, the composition and other telltale stylistic artifacts, the work tends to lack the handprint of the individual. When teaching is technique-centric what else can you expect?

There seems to be such a proliferation of artists out there consumed with understanding the exact techniques of any particular artist they admire. “If only I knew how so-and-so painted, then I could paint just like him/her.” Playing on this mind-set, manufacturers are now offering the traditional pigments and mediums used by artists of the past. Do you seriously think that’s going to make a difference? Not that it’s bad to use these materials, but it’s certainly not the end-all.

The truth of the matter is, it’s never the particular technique of any artist in question that makes them great.  In fact many great artists have changed their painting methodologies many times over the course of their careers. Don’t kid yourself, it’s the underlying thought process that makes great artists great. Yes, in my teaching I too cover a myriad of technical aspects – you still need a way to manifest your ideas on a canvas – but it’s this strategic thinking that lies at the heart of it all. It’s exactly what Michelangelo meant when he proclaimed, “A man paints with his brains and not with his hands.

So in my workshops and classes I offer a different point of view. This decision-making is at the heart of all my teaching. Once you understand it you will be able to forge your own path and no longer need to rely on technical convention.  So anyone looking to think differently should think about taking my drawing workshop which starts this coming Monday or my painting workshop which is scheduled for the second week of August, both at the School of Visual Arts in New York City.

And it all starts with the drawing. 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.

Until next time…

Roots and Wings: The Tao of Teaching


Yesterday I received an email from my former student Roger Derrick, which jump-started this post in my mind. Roger wanted to show me some new works in progress. I was astonished to see how far he had come since being in my class. The goal of my teaching is to cultivate each student’s understanding of the underlying principles that inform the decision-making process, giving them the ability to come up with the appropriate course of action in any situation. This approach allows an artist to continue to develop just the way Roger has, through determination, hard work and applied logic.

Teaching is no different than parenting. When people learn that I am a father, the first thing they ask is, “Are your kids artists?” My reply is always, “No, they’re not me! They get to choose their own paths.”

Now, many parents want their children to follow in their footsteps. They want their kids to come back and ask for advice when there are important decisions to make, regardless of their age. Obviously, these parent’s intentions are good. They want what’s best for their children, but they base their counseling on their own priorities. It’s only natural to want what’s best for your offspring! Right? But natural for whom? I raised my children to think for themselves based on understanding and good judgment. I chose to support their interests rather than imposing my own. As a result, they grew up to be independent thinkers, more than capable of making their own life choices. I couldn’t be any prouder or happier of them, regardless of the paths they follow.

My goal as a teacher is the same as my goals as a parent, to allow my students to develop into the best artists they can be, and not a replication of myself. There’s a very famous poem by Dennis Waitley about parenting, entitled “Roots and Wings”. Here’s the poem:

If I had two wishes, I know what they would be
I’d wish for Roots to cling to, and Wings to set me free;
Roots of inner values, like rings within a tree;
and Wings of independence to seek my destiny.
Roots to hold forever to keep me safe and strong,
To let me know you love me, when I’ve done something wrong;
To show me by example, and helps me learn to choose,
To take those actions every day to win instead of lose.
Just be there when I need you, to tell me it’s all right,
To face my fear of falling when I test my wings in flight;
Don’t make my life too easy, it’s better if I try,
And fail and get back up myself, so I can learn to fly.
If I had two wishes, and two were all I had,
And they could just be granted, by my Mom and Dad;
I wouldn’t ask for money or any store-bought things.
The greatest gifts I’d ask for are simply Roots and Wings.

When it comes to teaching art there are two basic approaches:

1)You can teach what you do.

2)You can teach the underlying fundamental principles of understanding.

Those who teach what they do have very specific rules regarding not only technique but what to do in every given situation. In other words a strict edict to follow. Unfortunately this results in students whose work strongly mimics that of their teacher. The better the student, the closer the adherence. Everyone turns into a some version of the master!

I choose the fundamental understanding route. If you know why things work then you have choices in every given situation; you do what you do based on your artistic intent and not anyone else’s. That doesn’t mean I eschew technique. On the contrary, my teaching is very technical because it’s vitally important to have the ability to manifest the choices you’re making.

I love it when no apparent stylistic imprint of myself is evident in the work of a former student. It’s my understanding that Jean Leon Gerome – the great academic painter of the 19th Century and one of the most revered educators of his time – shared the same philosophy. This enabled him to develop students as diverse as Thomas Eakins and William McGregor Paxton. Each of those artists took what they learned and were able to form their own unique personality and point of view.

I thought about the past week, where I had the great privilege of seeing a new show of paintings by my former student, TM Davy, a series of beautiful unique and innovative paintings of horses at the 11R gallery in New York City. I also saw, on Facebook, two great paintings by former students Billy Norrby and Martin Wittfooth. I received an email from Steve Birmbaum, the Assistant Director of Media at SVA. Steve had interviewed another long ago student, Brian Donnelly (aka KAWS), a highly successful Chelsea gallery artist. Steve wrote, “The interview went great and Brian had a lot of wonderful things to say about you and your class during his time at SVA.” A few weeks ago, I learned another of my past students, Daisuke “Dice” Tsutsumi, was developing, for 20th Century Fox Animation, a feature film based on “The Dam Keeper”, his 2015 Academy Award-nominated animated short. The incredible thing about all these artists is that you would never know they all studied with the same teacher. They took their roots and flew to the heavens.

This week my new continuing education classes at the School of Visual Arts will be starting. It’s a perfect opportunity to self-reflect and ask yourself, “Do I follow in someone else’s footsteps or do I want to grow roots and wings?”

Portrait Painting: The Real Deal • Fridays
12:00PM – 6:00PM  • Jan 27 – Apr 21 • 12 Sessions
Register online now for the Friday class or call 212.592.2200.

Portrait Painting: The Real Deal • Saturdays
10:00AM – 4:00PM  • Jan 28 – April 29 • 12 Sessions
Register online now for the Saturday class or call 212.592.2200.

For more information please call the Department of Continuing Education at 212.592.2050 or go to this page on my website.

These classes may also be taken for undergraduate credit. Please call the registrar at 212.592.2200 to register or to find out more information.

A special bonus field trip to the Metropolitan Museum of Art to view and analyze some of greatest portraits in the collection will take place on a Sunday afternoon.