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/realistic-portrait-drawing-18-cu-fic-2148-a

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.

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.

 

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…