Art Of Watercolor

Lars Lerin. Interview

2012-03-07T08:32:00.000-08:00

Great and mysterious artist from Sweden Lars Lerin. He has published many books but is not very much represented in internet. Enjoy this rare opportunity!

Was it a “love from a first sight” when you discovered watercolor medium?

No, i started with oil and graphic tecniques, like wood cut and etchings. It grew from there, it was like an attraction or love that get stronger. I noticed slowly it was my medium.

You are often using textures and writing in your watercolors. Do you consider watercolor a painting or graphic medium?

Both, the writing is just to give an other dimension, association to diary, letters- and for me also a way of making the picture richer, more alive.

Lars Lerin. Cityscape. 100x150 cm. 2011

Can you describe a working process on a painting?

it various from straight impressions to more complexe rooms, where i stop and return, let it be and then start again after some time for a more fresh view ...

Lars Lerin. Winter landscape. 100x150 cm.

Do you have some theory about colors?

i got some knowledges from school that still bother me sometimes. all rulse are made to break. But i am thankful for the good teachers i met.

Lars Lerin. Cathedral. 100x150 cm. 2010

What is the part of imagination in your work?

that is for the viewer to decide, I just follow my intuition and try to paint what i see or what i have seen or felt ...

Lars Lerin. Library. 150x300 cm. 2011

Do you more appeal to your memories, fresh live impressions or reference photos?

its a mix of everything, depends on what i do at the moment

What are your preference in colors (brands), brushes (size, shape, material), paper (quality, brand)?

nothing spectacular, just the usual material that you can read about in most litterature

Lars Lerin. Night. 100x150 cm

Did you have some artists who would influence you when you started painting with watercolor?

Many , many- maybe not specific watercolur painters - but classic and contemperary artits that i like. From Munch to Sidney Nolan ...

Do you have some followers, or school of painting maintaining your watercolor approach?

i have noticed that i ve got followers, but all of them just focus on teqnics and motives. that is a dead end.

Lars Lerin. At Home. 100x150cm 2011

most inspiration:
i dont need any special inputs apart from nature itself. Painting and working with pictures (and words) is my way of dealing with life, a daily kind of meditation, routine. To be happy i need to work, its a gift... i am my own student

most important:
tecnic is a provided, basis- like a piano playser that needs tp practise, but it ´s means nothing without soul, emotion, love, impression, expression.Luckily i dont need to wait for ideas to come

Lars Lerin. Part of Light in the East. 206x461cm 2010

imagination ...
i dont know, i just do what i do, trust, faith, intuition

change in water colour:
i dont see water colour painting as different from any other way of contemperary arts. if it has any importans it must come from your heart, to be "open" ...

Lars Lerin

Do you have a message to a new generation?

not really, just follow your heart and keep an open mind

Lars Lerin. Birds.

Does the audience opinion mean a lot for you?

not any more. I just do it to be happy and hopefully surprise myself in the studio

http://www.laxholmen.org/gallery_4.html

Guan Weixing. Interview.

2012-03-01T03:28:00.001-08:00

My recent interview with a great Chinese artist Guan Weixing.
Dear Mr. Weixing,

first I would like to express my deep admiration of your Art. I have been enchanted by your perfectness in watercolor since quite some time. Now I have a chance to share this treasure with my readers in Russia and abroad. I am so grateful that you agreed to answer my questions.

Guan Weixing

Mr. Weixing, would you consider your art approach more western or traditional Chinese painting? Can you explain your vision of the transition of the western and traditional watercolor painting?

I think my art approach goes to the west, because the language of watercolor art is originated from the west. Only the pure western language can be easily understood and accepted by the western audience. Just as the title of an American report says,”Chinese artist Guan doesn’t speak English, but his works does.” However, as an artist bleeding the blood of the Chinese nation, it is natural for me to merge the Chinese traditional painting idea into the watercolor art. In a word, the approach is western while the emotion is Chinese. The works has a strong flavor of rural life, and has become a unique art different from others in the world.

To be honest, the outcome is the natural result of a powerful synthesis of cross reference, but not the simple mixing or splicing. In that case, that will lead to neither fish nor fowl.

Guan Weixing

You are director of China Fine Arts Association, vice president of Chinese Watercolor Association, juror of National Watercolor Exhibition. It should take a lot of time and responsibility. You still keep on painting a lot. How you can find time to be so productive?

As a popular artist, we have to take a lot of responsibility, and of course it will take a lot of time. However, time is mere elastic and it can be squeezed. If you neglect it, it will fly away from you; if you catch it, it will help you succeed. For example, there are 52 weeks a year and you will have two days to rest, you will lose around 100 days. If you make good use of them, you can enjoy another season of time. For almost 30 year I have never rested. Then I have got those works today. By the way, we can have rest and exercise to change during the creation work. Sometimes I can play some easy computer games.

Guan Weixing

Most of your models are sim ple Chinese people. There is a big variety types. Where do you find them? Do you paint them in your studio or while you are travelling?

Yes, they are just common people, therefore I have to go to their life to look for them, understand them, find their inner world of feelings and inner beauty. To be honest, nowadays, the life pace is fast and doing drawing is impossible on the spot. Therefore, taking a quick picture becomes the main means of gathering figure materials. When I get back to my studio, I will look through them one by one. Then through their features and characteristics, we can express our feelings inside.

Take “Widower” for example. The person is an ordinary farmer. I know nothing about his story. He may not be a widower. But his particular glaring reminds me of the familiar middle-aged men, married or unmarried in the village where I spent my childhood. In their eyes always flashed some peculiar looks, showing an unnamed desire. So, I used the look in the quick picture to express this kind of people well known by me for a long time. I joined them together and created the” Widower” in my heart.

All in all, only when I am excited about subject do I begin to put efforts into it. I won’t start without my excitement.

Guan Weixing

What generally inspire you as an artist?

Love of nature, love of us human beings and love of life.

Guan Weixing

Do you have a daily routine or every of your day is different? Can you

describe one of the most typical of your days?

Generally speaking,I have two routines: in the studio and outside. To work in the studio takes the largest part.

In the studio(kind of fixed):

Get up, exercise and breakfast

8:00 start to work in the studio, make good use of the natural light to paint.

12:00 lunch, then nooning (essential)

14:00 go on with the creating

17:30 come to an end

In the evening I no longer painting, but prepare the material, watch TV, surf the internet, and sometimes answer people’s questions online.

Guan Weixing

First you were studying the oil painting. How did it happen that you changed it to watercolor media?

I started oil painting but watercolor is my first love. It is the quality of the watercolor medium that makes me realize that it can offer more than just a tool for field sketches. Just like other media, it can produce great works, especially watercolor figures, sometimes so ravishing and fascinating of peculiar impression that no other media can show. Take “Village woman” by a Romanian artist. The way is skillful and baptized, without any letup. The colors are of incredible richness and luminosity, just like a brilliant glittering precious stone. “ Portrait de Sofia Loukomskaya”, by Russian artist Valentin Serov, used various ways such as wet-in-wet, wet-on-dry, lifting out, scumbling and so on. And it has a variety of color layers with rich connotations and lasting appeal, charming and beautiful, just like a defectless gem. “Our Daily Bread” by Swedish artist Anders Zorn is of precise and stable construction and with lots of exquisite colors, so perfect, just like an impregnable fortress ( as the peak of perfection). “The Bathing Woman on the Beach”by English artist William Russell Flint is so skillful with water that the sea looks so vast, so soft and so refreshing. “The Drifter”, by American artist Andrew Wyeth, forms stable shape and fashion, just like a sculpture with melancholy from innermost. Anybody cannot help feeling moved about it. These works with universal praise display quality of watercolor, no others. The feelings, the elegancy and the charm are peculiar to watercolor. And the florid colors, radiant and enchanting light, the impressive flavor, the degage brushstrokes, and the water free from inhibition, like moving poems, surge the viewers’ hearts.

Besides, the field belongs to the brave, because of the extreme and mysterious hardship and the lower rates of success. I enjoy the challenge. It is appealing. I want to prove to the world it is not fair to regard watercolor as a pleasant pastime on a level with flower arranging. I want to see what watercolor can do in inventive and creative ways. If the special expressive force can be fully mastered, it will certainly add to the art garden, and add an unusual beauty to man, and the painter will enjoy a lot from the work.

Guan Weixing

Can you tell the main rules of watercolor painting?

Generally speaking, only the capable oil artists can be competent for watercolor. It means it is also essential to have the qualifications of an oil artist. It shows in many aspects watercolor is more difficult than oil. The key is that water, the soul of watercolor, likes to do its own, and flow freely without being compelled. No exaggeration, nobody can control it completely to paint his intention. Besides, the plastic manner of watercolor is different from other paintings’. It uses transparent colors, shaping by successive layers of colors, and upper layers without blotting out the lower ones. Therefore there are two difficulties: the first one is that if you want to use a lot of water, you will not get the precise form and structure, whereas if you use less water, the work is easy to result in dead and dull though with precise form and structure. In one word, being too precise may lead to dead and dull while being too free may lead to empty. The second one is that it cannot be corrected or changed. For example, red cannot be changed into green. In this aspect, it is easy for other media to make use of overlaying. In one word, texture of skin and clothing or vegetation is harder to achieve in watercolor than oil.

Transparency and difficulty are the main rules.

Guan Weixing

You prefer natural color pigments, sometimes almost monochrome. Is there some special color theory that you have ?

I have no special color theory. Following are my principles.

All the secret of color lies in “contrast harmony”. Specifically, that is “to get color harmony by means of contrast of warm and cold colors”

Warm and cold is the life of color. Colors can sing and come to life through the rich and delicate contrast of warm and cold ones. Otherwise, the work will certainly become warm or cold color and lose its life. Just like the single note in music, it’s dull and lifeless.

Harmony is the sublimation of color. Without harmony, even the richest warm and cold contrast will become a messy massive of different pigments. Just like some high and low notes without a rhythm, it is worthless.

Guan Weixing

What is more important for you - color or tonal value?

Natural and messy colors are so easy to tell, but the more important is the tone (tonal value) which can express harmony, excellence and emotions, which only the artists can work out.

You are equally perfect in every subject of painting whether it is a portrait, a landscape or a multifigural composition. Do you have a favorite subject?

Peasants. Because I was born into a peasant family. I love their simple looking, goodness, wisdom, and refined way of speaking. From the bottom of my heart I am eager to express them.

Guan Weixing

Your works look so perfect in technique and emotion. Do you have a definite plan in your mind when you start painting?

Before you pick up your brush, it is very important to think it over. We should learn to house our inspiration and passion in our careful thinking. We should do it in a calm and orderly way, and let your passion run out step by step. We mustn’t take for granted that we can lay about in a disorderly way. In this, watercolor painting is quite different from oil painting. All in all, we must be bold and careful and try to control the painting in any case.

There is so much to think about, and each work is different, but the following are in common.

What is the theme and intention of the work? What moves you most? That is what you will finally reach.

Decide the tone, warm or cold, vigorous or tranquil.

Composition of cold and warm blocks.

Distribution of dry or wet areas.

Which parts should be done only once? Which parts need to be overlaid times? And which parts should remain the most fragile details?

When you know fairly well about it, you can go ahead with the step-by-step procedure.

Guan Weixing

You use some masking fluid in very tiny objects. Does it mean that before you start painting you have the whole plan of work in your mind?

Excellent details are precious. They will bring profound connotation and graceful artistic quality. Therefore before we pick up the brushes, we have to take them seriously and have the whole picture in our mind with every detail.

Do you wet the whole paper or only the parts you are working on?

Besides wetting the whole paper while framing, I am used to wetting the part I’m working on.

Guan Weixing

Do you prefer to make a painting in one go or you can make a few approaches to finish a work?

I cannot complete a great painting in one go. I have to work it out using different approaches layer on layer. Only in this way can I make the work expressive, of great artistic value and full of abundant connotation. But the artistic feeling of painting in one go is valuable. If you can express the fluency in one go with the technique of layer on layer, that will be terrific!

If the work goes wrong (does it happen sometimes?) would you leave it for later to see if there is something still to be done?

It is frequent to go wrong, and it is not avoidable. I am often in a terrible fix. To stay calm is what we most need at that moment. I will leave it aside, examine it now and then, think about the way to improve it. Once I get the idea, I will go on with it. In my opinion, during the course of painting, even the work I think ideal can be left aside for some time. Perhaps I can benefit a lot more from it.

Guan Weixing

Do you believe that watercolor can be corrected?

Absolutely! To be frank, in some way, good paintings are all “corrected”. Each progress, big or small, is made after “correcting on the former stage”. I am really desirous to finish one without any “correct”, but I can’t. It is too difficult. This is watercolor.

Guan Weixing

What is in your opinion the direction of development of Chinese Art? Is there any danger that it might loose original routs?

These years, Chinese watercolor has been developing very rapidly, and I think it will go along with the world’s trends. It is certain to have adverse impact on the Chinese traditional painting, but we’ll not lose it, because what is accumulated of the national culture in the long history is bred-in-the-bone.

Do you have any message for your Russian fans?

Making friends by paintings. So many fans make friends with me by understanding my works. Many of them are moved to tears. As an artist, nothing can be happier. However, there is a special meaning to communicate with the Russian fans. In the early years at college, I studied Russian painting. Maybe you can still find some influence in my works. Nowadays, some Russian fans promote my works in their websites, e.g. http://www.lookatme.ru/flows/iskusstvo/posts/25053-master-guan-weixing Here I’d like to express my gratitude. Today, through this interview, I can answer some of your questions. These are all very good ways to communicate. The friendship by the way of art will be treasured in our heart. May we work together to make the watercolor world more beautiful and brilliant.

http://www.guanweixing.com/index.html

Random Watercolors. Animals.

2012-03-01T02:52:00.000-08:00

GerardHendriks

Carol Grigg. Woman Who Watches

Shirley Trevena - Interview

2012-02-21T23:55:00.000-08:00

Shirley Trevena has always tried to break the rules of conventional watercolour painting and over the years she has developed a wonderfully loose way of painting using a dynamic palette of colours. She has an international reputation and is regarded as one of Britain’s most innovative artists in the medium. She has been a member of the Royal institute of Painters in Watercolours since 1994 and is author of 3 best selling books: Taking Risks with watercolour, Vibrant Watercolours and Breaking the Rules of watercolour.

Shirley Trevena. 2-clocks-the-pea-pod-man.

How and when did you discover that you are an artist?
When I was very young all I wanted to do was draw, but somehow my parents did not agree with me going to art school to get a formal art education and so I ended up working in an office.

Was it a long way to watercolor medium or it was the love from the first sight?
In the 1980’s my husband brought me a small watercolour paint box and I took to it straight away.

Shirley Trevena. Blue China.

Is your painting process completely intuitive?

Having had no formal art training, when I first started painting it definitely was all about intuition, but the more I have learnt about putting paint down the less intuitive the work becomes. I love to work hard at experimenting and moving on to save the work from becoming stale.

Shirley Trevena. Black-Gloves-Goldfish

Do you use certain rules or you only “break” them?
It’s hard not to hang on to your own rules, but I do like to work out of my comfort zone at times.

Shirley Trevena. Dilemma Of What To Paint

What is more important attitude for the artist: to know how to do or to feel that it won`t work this way?
You can learn so much from your mistakes. Even though you know something may not work, it’s good to try it.

Is your painting more interpretation than copying the model?
The model is just information for me to interpret into my own colour and form.

Shirley Trevena. Dark Vase Of Lilies

What is your alarm to stop working at the painting?

When do you know it is ready? When my eyes can roam around the composition and feel each part is balanced. If my eye jumps to one small part I know something is wrong.

Shirley Trevena. Chateau De Castelnaud Dordogne

Does your inspiration comes from a model or you get into the right mood and arrange the model for your painting?
Inspiration can start anywhere. Just seeing a friend in a purple jacket sit next to a yellow cushion can make me want to use those colours in the next painting.

Is there a connection between your painting approach and music?

Not generally. Sometimes i get too involved in both and find it hard to separate the emotions.

Shirley Trevena. Disguises In Small Houses

Is there a special significance of white space always left in your painting?

I love the sparkle of small white spaces. It leaves the viewer with a feeling of the picture not quite finished, rather like a drawing, a direct link to the artist.

Shirley Trevena. Four Bunches Of Anemones

You don`t have much of figurative painting. Do you feel more comfortable in still life?

For the first 3 years of my painting life I did figure painting and then moved on to still life. I have just recently completed a few new figurative pieces.

Shirley Trevena. Still Llife On C Check Cloth

How do you work on composition?

I do not draw out a composition on my paper before putting paint down. Sometimes I do a very small sketch. The composition just evolves.

Shirley Trevena in her studio.

What is more important for the artist while painting: concentration or relaxation?

For me there is no such thing as relaxation. When it comes to creating a painting the concentration is intense.

Shirley Trevena. Three Friends

Do you teach your students some concrete rules or your aim is to make them paint how they feel?

I have recently given up teaching, but when I did teach I always wanted the students to express themselves and find their own mark.

You can read an article about Shirley Trevena as well as a big publication about Thomas W. Schaller inApril issue of Watercolor Artist magazine.

http://www.shirleytrevena.com/

Roubloff Brushes

2012-02-21T05:05:00.000-08:00

I`ve just got about 60 painting brushes from the Russian manufacture "Roubloff" to test them and to write an article. I know that the squirrel and sable ones are good, let`s see about the others...

Art brushes by Roubloff.

Art contest - your help?

2012-02-20T08:48:00.000-08:00

I got picked for the 2nd round in the "you be the judge contest"!
http://www.brianneher.com/blog/news/022012.aspx

Here are my instructions for my friends who like my work there and who wants to vote:
go to the link, chose # 15 and press VOTE:)

It will help to keep the watercolor in highlights - there are not so many watercolor works picked there. Here is the painting:

Konstantin Sterkhov. Aku. watercolor, 36x53 cm, 2006

Tony Smibert - Interview

2012-02-11T05:29:00.000-08:00

Tony Smibert's art includes watercolours inspired by ‘The Golden Age of English Watercolour' (c. 1750 - 1850) and others reflecting the minimalism of Japanese Zen. Smibert’s unusual approach to watercolour actually grew out of the study of Japanese martial art. From the study of Aikido he realised that the best way to learn a traditional art form is to apprentice yourself to the best teachers. In the case of watercolour, this meant the great masters and led to his focus on the 19th Century English school - particularly the water colours of JMW Turner (1775 - 1851).

Can you describe the advantages of watercolor medium for those who

appreciate oil painting?

Watercolour is a great medium for sketching, colour studies, experiments, developing ideas and fully resolving ideas. However, it’s not a medium I would compare with oil but, rather, an entirely different experience. Although I also paint in oils and acrylics, watercolour is still my primary mode of expression because I love the fact that each painting is an adventure into the unknown. A journey towards the possible… There are no ‘advantages’ or ‘disadvantages’, simply that watercolour offers a chance to let the medium itself play a role in the creation of your work. Many of the most beautiful qualities of watercolour only occur when you learn to work in harmony with it, rather than trying to ‘master it’ or push it around.

Tony Smibert

Do you need a model or life observation for painting?

I paint from imagination. In watercolour I just start with an empty sheet of paper and start painting.

What is more exiting for you – a process or a finished work?

Absolutely, the process. Painting in watercolour is like surfing. You can’t wait to catch another wave and do it again! So I usually lay out another sheet of paper and start another painting.

Tony Smibert

Where do you find your inspiration?Watercolour itself is inspiring, along with Life, Nature and just about everything. I love mountain scenery, storms, sunrises, sunset, mists, waves and the way that eagles ride the thermals above our farm. It’s all pretty inspiring. Then, in the art world, when I see a great painting, or even something that was simply well painted, they can be inspiring. But real inspiration is something that occurs while painting: that’s when you can almost feel it – in the same way that you can feel hunger and love or thrilling excitement – as a palpable flow of energy. Having studied Aikido I would call this a form of ‘ki’ or spiritual energy. When its there, I paint, but if I’m trying to paint but can’t feel it then I’ll stop and go do something else for a day or two. Alhough creative energy is something you can cultivate, it not something that you can switch on and off at will.

Tony Smibert

Do you make some sketches or some research work when you paint on a large size?

When working on a commission for a client I always do sketches and smaller studies first. The client needs to know what you have in mind and it’s an important part of the business side of art to ensure you get paid. They need to see some sketches so they know what they are going to be paying for. As far as my other work is concerned, small studies are a regular part of my regular process so I’m doing them all the time. But when it comes to the larger paintings, I seldom refer to any studies. The painting comes from the process. I mind have some idea, or be working on a theme, but even so I can truly say that every painting is a surprise. As for research, the answer is yes, absolutely, and lots of it: location sketches, colour studies, small paintings and so on.

Tony Smibert

Why minimalistic painting looks better in a large canvas and a smaller
painting sometimes requires more detailed approach?

Actually, although its an interesting observation, I can’t agree with this statement. I’ll need to think about it…

Should a watercolour painting tell a story or it can be self-valued?

Paintings don’t have to tell a story. They ARE a story. The story IS the painting and each person will read it differently. I guess there are stories behind most paintings - the life of the artist, their dreams, processes, subject matter and so on – but there’s no need for a painting to be an illustration. Paintings are about themselves.

Tony Smibert

Do you consider watercolour more graphical or painting medium?

I consider watercolour to be a very liquid and inherently creative painting medium.

Do you consider black a colour?

It depends who’s writing the dictionary, I guess. For myself, I’d say that black is not a colour, but rather the absence of light and, consequently, colour.

Tony Smibert

What is a stronger expressive means – a stroke or a colour?

Tough question, to which I don’t think there can be a firm answer. I always loved the power of gesture as revealed in brush-strokes and didn’t think of myself as a colourist at all until I studied Turner. Now, I’m starting to understand a little about colour and to love it almost as much as gesture.

Tony Smibert

Why JMW Turner is the greatest?

Its often said that JMW Turner is the greatest watercolourist the west has yet produced. Not simply because he was a wonderful painter – there have been many of them – but because he was a groundbreaker, so thoroughly immersed in his medium, art and life that we can confidently know that his work on any given day was at the forefront of watercolour being done anywhere in the world, on that day. I think he was the greatest watercolour researcher of his time – setting a model for practise and progress that we can all follow. Beyond that, I see Turner as a watercolourist in complete harmony with his medium. And that’s the thing I most admire…

http://www.smibert.com/

A Bridge to XIX Century Watercolor.

2012-02-11T05:12:00.000-08:00

Reminds Zorn so much! Contemporary Swedish painter Stanislaz Zoladz.

Stanislav Zoladz

Stanislav Zoladz. Peters Boat. 75x105.

My Red Fish in Snow

2012-02-11T05:08:00.000-08:00

Konstantin Sterkhov. Red Fish. Snow on the Water Surface. 56x76 cm. 2011

Daniel Gerhartz - Stunning!

2012-02-11T05:05:00.000-08:00

This watercolor displays stunning technique!

Daniel Gerhartz

Denis Ryan. Interview. Jan., 2012

2012-02-07T04:34:00.000-08:00

British painter Denis Ryan was elected into the Royal Watercolour Society In 2008 and is now a full member. His career began in film animation and, later, illustration. Successfully combining both, he worked on award-winning films such as Watership Down and The Wall, as well as numerous TV and film commercials, and has had commissions for illustrations from most of the leading publishing houses. Having worked in commercial art since leaving art school he is now concentrating on pursuing his love of fine art, in particular painting with watercolour.

Denis Ryan

Denis, How did you come to watercolor medium?

Whilst working in advertising and film, I used both watercoour and acrylic paint. Later, when I decided to paint for myself I was heavily influenced by the marvelous watercolours of the super-realists, Goings, Salt and McLean, they really opened my eyes as to what you could achieve with watercolour.

Denis Ryan. Bernini's Elephant, Piazza della Minerva, Rome, Italy

What inspire you as an artist? How you pick the objects for your painting?

The subject matter is dictated I guess by the kind of painting problems I'm interested in. The neon signs offer me the chance to paint the hard, shiny or rusty surfaces, the glass neon tubes reflecting light on or off offer me the challenges I enjoy painting. All I can do is try and put as much of myself into it as I can, give it the attention it deserves.

Denis Ryan. Egyptian Minx Neon, Lisbon, Portugal. 19x24 cm

You work merely with reference photographs. Is there any danger of losing a life impression of the object and getting an abstract image with no connection to reality?

It's true, I take my own photographs, which I consider to be an important part of the creative process, but it's not the whole process. I shoot a lot of photographs for a single painting, some in different light, and different depths of field. This gives me the chance to edit or add whatever elements I consider to improve the painting. It would be totally impractical for me to set up an easel and paint from life, and anyway I don't consider that the finished paintings are a direct copy of the photograph. They end up looking quite different.

Denis Ryan. Crossing the East River, New York. 46x68

What is the part of real impression and imaginary things in your works? What is your opinion – should the painting tell a story or it can be self-valued by its technical quality?

I don't really consider that my paintings tell a story as such. Sure I feel the signs I'm excited by are too often taken for granted, and by painting them I can bring them to people's attention. Hopefully they will enjoy them for the beautifully crafted objects they are before they all disappear. If people enjoy my paintings for their technical qualities then that's a bonus.

Denis Ryan. Night and the City, New York, USA. 35x25cm

How do you work on your painting? Is it the same routine every time or you happen to change the approach or steps of the process? If the painting takes a long time to finish it how do you manage to keep a fresh eye on it?

It's pretty much the same process for every painting. Once the 'watercolour paper', mounted on board, is taped down to another drawing board so it is perfectly flat and does not move or buckle, I then trace down my image, then carefully draw it, making any adjustments I feel are necessary. I then begin to paint, masking out some areas and building up other areas with various washes of colour. The time it takes is not a problem, it passes quickly in fact - it's what I love doing. I may drawing up other paintings in between. When the painting is virtually finished, I put it to one side while I start work on a new picture, then after a few days or weeks I'll go back to it, take a fresh look and make some adjustments maybe, then finish the work.

Denis Ryan. Swimwear, Le Touquet, France, 2007, 15x21 cm

Your colors are more saturated than usual palette of realists artists. Do you have any color preferences?

I love colour - the work of abstract painters like John Hoyland and Peter Haley, the tension and energy in their work is something I really admire. I think that years of working in film animation and being surrounded by colour must have had a subconscious effect on me. I don't set out to make colourful paintings, it's just the way I see things.

I usually build up the image using very thin washes of transparent paint, I use this to get the greatest luminosity I can. I know there are no visible paint strokes as everything is blended in, but that's just the natural way I paint. I had developed over the years in commercial art the skill of airbrushing, so I don't have a problem with using it, but it's not a technique I over-indulge in, I only use it if I feel the painting would benefit from it. As far as colour preferences go, I seem to be drawn to 'Quinacridone Red' a lot, it's like a magnet or a drug! Mostly though I mix all colours, very rarely using something directly out of a tube.

Denis Ryan. All Day, Chinatown, London, UK.14x24cm

Do you consider acrylic a transparent watercolor medium?

Well, to take acrylic paint, an industrial synthetic polymer, developed in the 1950's, carried and bound by water and give it life, needs a fair bit of technical skill/craft, so yes I do consider it a watercolour medium.

Denis Ryan. Ionian Islands, Greece. 26x35cm

What brushes do you use?

I use a mixture of 'Winsor & Newton' and 'Cornellison' brushes, finest sable hair, usually short hairs - I like the springy quality. Various sizes from very small '0' to '8' and then some larger industrial type brushes for big washes or flat colour.

Denis Ryan. Emmanuel, Paris, France. 15x23cm

What is your favorite paints and paper brands?

I use 'Winsor & Newton watercolour and 'Liquitex' acrylic - great paint. I work on Daler-Rowney, Saunders-Waterford 'rough' watercolour board.

Denis Ryan. Crumbling Decadence, Venice, Italy. 28x40cm

Can you determine some special features of the British watercolor school? Do you feel yourselves as a part of it?

There has been a long and illustrious history of watercolour painting in Britain, the public love it. And I'm proud to be an elected full member of the 'Royal Watercolour Society', my technique and approach to painting have improved immeasurably since I was elected. The feedback, ideas and encouragement from other members is terrific.

And last year (2011) I became a founder member of the 'ART OF THE REAL' collective, a group of four like-minded artists sharing the same philosophy, style, and approach to painting. This exchange of techniques and ideas has been fantastic and this year 'AOR' look forward to mixed shows in the UK, USA and China.

http://www.denis-ryan.com/

Random Painting

2012-02-07T04:11:00.000-08:00

Andrew Wyeth

Bengt Jaconsson

Per Vican

Hilde Eilertsen Svetvold

Stanislav Zoladz

Wendy Artin. Interview. Feb.,1, 2012

2012-02-04T02:20:00.000-08:00

Born in Boston, Wendy Artin currently lives and paints in Rome. She has been invited to be Artistic Advisor to the American Academy in Rome for 2011-2012.

All of your works some or other way connected with antique aesthetics. When you got this interest to ancient art and it`s values?
As a child I used to wander through museums and draw, to keep myself entertained. It was a wonderful way to spend a long time looking at one piece. My interest in ancient art, and sculpture in particular, was that I found it stimulating and challenging to draw.

Wendy Artin. Scketches.

There is a big difference in approach when you paint live model and the ancient sculptures. Does it help to see movement behind static figures of frieze?
I have always imagined the live model who posed for the sculpture, the sculpture animated and breathing. I like that imagined animation combined with the silent stillness of the stone. As for my approach, it is quite the same regardless of whether I am painting statues or figures: I look for the shadows and try to capture them with the most simple precision I can muster.

Wendy Artin. Belowing Bull. 103x132. 2011

What light do you use for your painting: for models, for work?
I use daylight coming in through the window until it is too dark, and then I use bright lights, both for illuminating the models and for illuminating my paintings.

Wendy Artin. Antinous. 76x56. 2010

When you work with live models, do you make a drawing or you keep the whole thing in mind?
I paint directly from the models as they pose. The poses vary from 30 seconds to a half hour. The large charcoal figure drawings I made using photos that I took after meticulously combing through my paintings, selecting poses, and carefully recreating the poses with the same light, same model and the same angle. So I worked from the original watercolors and used the photos for additional information. I find that real life contains far more information than my visual memory.

Wendy Artin. Aura Arms Locked. 30x20.2004

Your models seam to dance. Do you really paint them in movement?

My models are quite extraordinary, but no, I am not capable of painting them if they are moving. They take the poses, and sometimes need to get out of the poses and then get back in. At that point there is always some difference in the pose, but I find that if I start and work very quickly on the part of the body that is most likely to move, I have finished it by the time it does move. However, the fact is that quite often it doesn't work out, and then I just don't show that painting!

Wendy Artin. Tamara Touching Her Toes. 20x30. 2002

Do you always work with the same models?
I often work with the same models, of whom I never tire, but I am always happy to try out a new model.

Wendy Artin. Zucca. 20x20. 2000

You have a lot of monochrome paintings but in different colors. How do you decide which color is suitable for a certain object?
I never actually decided to paint the different subjects in different colors. Originally I painted landscapes using black, but that was too dark and cold for the Roman light, even when I added plenty of water. Sepia seemed to give the right luminosity. I then tried sepia for the models, and it was too somber and cold, so I added the red madder. When painting the Parthenon Friezes I had discovered a very nice reddish black to use, that makes very warm grays: it did not even occur to me to use sepia, or red. However in the past I often used sepia for outdoor statue watercolors in Rome.

Wendy Artin. Church at Circo Massimo. 35x50. 1999

Do you wet the paper from the back side or you only paint some areas in wet when you work on a big size painting?
I have never wet the paper from the back side, may give that a try soon. With a large painting I work on one area at a time, spreading outwards from the painted area.

Wendy Artin. Columns. 48x76. 2006

Could you tell about your paper choice?
I love the handmade cotton Khadi paper, despite its various difficulties. It breathes organically, it absorbs unevenly, has a beautiful tooth so that when the brush slides over the surface it makes a wonderful brushy stroke, and then in dark areas the watercolor becomes velvety. For small works I find the Khadi paper too complicated and uneven, and I love Arches watercolor paper. Fabriano is also excellent paper. For quick life drawings I use either Fabriano Ingres, which I like because I like the lines of the laid paper, or if I cannot find it, Canson mi-teintes which have many lovely colors, although a harder pebbly surface which I like less than the laid surface of the Fabriano. For longer nudes I use Rives BFK paper, which gives a softer look. These are the papers that I use here and now, since they are available to me here and now. I am sure that in other places there are fantastic papers that I have never tried: the important thing is to learn to work with the paper you have available to you. I find that once I am used to a certain paper, it is quite time-consuming to change and learn how to use a different paper.

Wendy Artin with Khadi paper

Can you work continuously on a painting or you try to finish it in one go?
I usually work on a painting until it is finished.

Wendy Artin. Lemon. 20x25. 2008

Does it make difference where to paint? For example, is it easier to paint ancient frieze in Italy than in US?
I do not think it makes a difference where you paint, but the lighting conditions and size of your surroundings certainly make a difference!

Wendy Artin. Panorama. 30x76.part. 2008

Do you consider yourselves a spontaneous or a person who acts according to exact plan?
A curious question. I think that we all hope that we are spontaneous, and that however to do things well probably we are all repeating an exact plan within the new circumstances.

Do you teach your methods?
I do not presently teach, since I have two relatively small children and always want more time to paint. But when I did teach, I loved it, and I love to watch other people paint and draw.

http://wendyartin.com/

Liu Yi, watercolor artist

2012-01-26T07:31:00.000-08:00

Liu Yi,Born in 1958. Graduated from Art Dept. of Shanghai Huadong Normal University.

Studied at the advanced training class of watercolor art of China Art Academy.
Taught at Shanghai Applied Technology Institute, Art & Design Institute. Former deputy director of Shanghai
Watercolor Research Society. Member of China’s National Artists Association and China’s Watercolor Artists Association

Liu Yi

Major shows:
Created large size watercolor for Shanghai Concert Hall.
Held solo show at Shanghai Grand Theater Gallery
Participated in the 8th, 9th national fine art exhibitions and other major shows held in Shanghai Art Museum,
Suzhou Museum and shows in Hong Kong.

Liu Yi

“Sacred Music” won Excellence Award of the 10th National Fine Art Exhibition
“Ballet” won “Charles-Outstanding Personnel Award” at Annual Exhibition by Canadian National Watercolor Association
“Flight” won Bronze award at art show sponsored by the government
“Melody of the Heart” won silver award at a national small size watercolor paintings exhibition
“Cherry Flowers” won Excellence Award at National Pastel Show

Liu Yi

Won other awards at various watercolor shows.
“Sacred Music” collected by China’s National Art Museum
“Hometown” successfully auctioned by Sotheby’s in 1995.

Liu Yi

http://artist.artmuseum.com.cn/hisArtistDetail.htm?id=619

David Poxon - Interview, January 2012

2012-01-23T05:31:00.000-08:00

Contemporary watercolour artist painting to achieve almost photo realistic effects using traditional multi glazing techniques with up to 17 layers of transparant paint. Deapth, tonal extremes, and luminosity are prevalent in all the works. In May 2010 David was elected into the Royal Institute of Painters in Watercolours (RI) whos home is the Mall Gallery ,London.

David Poxon. Another World 2.

David, after visiting of your gallery (works painted in 2011) I had a feeling that you spend a lot of time in garage or barn. How do you find your inspiration? What is the background of your artistic search?

I was born in the heartland of England at a time when there was a lot of heavy industry. My childhood was spent happily exploring this arena amongst the thousands of working people that lived and worked there . As a young boy my Grandmother gave me a box of watercolour paints, from that moment I was hooked on the wonders of painting. Through this I was able to discover a whole other world where anything is possible. Now I live in the countryside, but regularly visit old Industrial sites and Farmyards where there is an integrity and honesty in the daily struggle of working men and their machines. As nature reclaims these man made items for itself it creates its own beauty that could not be constructed other than through the passage of time.

David Poxon. Factory at Down.

All the objects of your painting look like actors, whom we see in the strong stage lights picking them from the darkness. They remind me the dramatic Caravaggio`s images. Do you have some references in history of Art?
I have been fortunate to have worked in the music industry and have traveled far and wide, working with some of the worlds greatest performers. There is a close synergy between all the great forms of artistic expression, and many musicians and artists cross over between the disciplines. I do regard the subjects of my paintings as performers on a stage, and approach them with some reverence in order to portray them in their most flattering situation. I do this out of respect for their endurance. It is light that makes our world navigable, and to capture light in a painting is as mysterious as it is important. I purposefully leave nothing out of my painting that is not there in reality, and put nothing in that is not there, seen, or felt. I am not after a quick impression of the subject, I am after a greater exploration to somehow get to the essence of a time and place, to try to get to the soul of a subject is tremendously joyful.

David Poxon. Blue Ford Tractor.

Do you get all your textures` variety by using only transparent watercolours?

Yes I use a pure watercolour technique and do not use any white pigment. The whites in my paintings are preserved paper, or areas where paint has been removed. I use a variety of painting techniques to achieve the desired effect, this is not a quick process as sometimes there are up to 20 layers of thin glaze on certain sections. Each has layer of paint has to dry before applying the next. I spend a lot of time watching the paint dry! Watercolour is a magical medium, during both the application and drying process strange and wonderful things can happen to the surface, I sometimes feel as if the work is painting itself.

David Poxon. Machinery at a Farm.

All your works are very balanced. How do you work on composition? Do you make a sketch first? Do you use reference photos?

Its important for me to understand the construction of the painting elements. The more advance drawing that is done the better. However use as few lines as possible on the w/c surface for the actual painting. I never rearrange my subject in real life, I move myself continuously through the scene to find the most stimulating position where the light brings things to life. Most importantly it is tonal value that transmits the ‘real’ of a subject. Tone is more important in the order of things than colour, but drawing is always first. As I might spend weeks on my larger works preparation and accurate drawing is vital. I take reference photos, and also make sketches, and even rehearse passages of painting that I think may prove difficult later. By the time I draft the subject onto the final painting paper, which is always prestretched on large boards, I have a good idea as to the order of work. Thinking time upfront is never wasted time. I know there is an urge to ‘get painting’ –but it can be frustrating as the best painting technique can never hide bad drawing.

David Poxon. Wiper Control in a Red Tractor

How long it takes to make such a detailed painting?

Depending on the complications, for example ‘Field of Dreams’ was a complex subject that took me a long time to unravel and understand. That painting took about two months from start to finish, but I worked on other paintings at the same time. Other smaller works might only take one or two weeks depending on how familiar I am with the subject.

Do you make versions of the same object or idea?

Yes I sometimes do several versions, and also different sizes. The danger of this is losing the first moment of inspiration . A new subject is always more exciting and gives a fresh time to explore.

David Poxon. Field Of Dreams

I noticed that most of your paintings are not very big but quite detailed but you have also some works bigger than standard sheet of watercolor paper. What is your painting size preference? What goals do you have when you chose a paper size?

After a large work , which for me is 30”x40” (Arches 300lb not watercolour paper) I like to do several smaller ones by way of relaxation as working on the big ones can be quite an intense and exhausting experience.

What is the moment when you know that the work is ready?

The painting always tells you its done. Suddenly its time to walk away! I usually then put them on the floor with a mount round them for about 2 weeks to let them breath and live on their own –and finally they go into y store or off to the framers and a show.

David Poxon. 12111 Zetor Chrystal

Do you consider watercolors more graphic or painting medium?

I believe you can render anything with watercolours. There is no limit if you take the time and have the patience. Look at the great works of Andrew Wyeth –a real master of American painting , watercolour did not restrict his powers of observation and technical mastery.

David Poxon. Plate on a Red Tractor

Do you paint every day?

Yes , everyday I get into the studio to work on some aspect of painting. There is no more meditative state than when you are truly in the ‘zone’ mid painting, time has no meaning !

David Poxon. Pots

Do you prefer the country or the city to live?

We live in the countryside now, and everyday is a joy, but I also like visiting exciting cities!

David Poxon. Milking Machine

Do you keep an eye on Art life? Are you interested in what other artist fellows are doing in Art?

Yes I am always interested in the work of others, all painters are on the same journey of discovery. This year will be very busy. In addition to sending my work to the Royal Institute annual show in London at the Mall Gallery in March, I have also formed a small group of watercolour artists ( 2 x RI members and 2 x RWS members) with who I share similar subject interest. We have called it ‘Art of the Real,’ and will be doing shows together in the UK, China and USA starting in Charleston SC in April and also Adburgh UK at the same time. The tour dates are on my website.

My usual question: what brands of paints, brushes, paper do you use?

I use Winsor and Newton Artists colours. Paper - smaller works I use Bockingford 200lb Not surface up to 18”x26” , larger works I use Arches 300lb which is available as 40” x60” sheets which I have cut in half. Brushes mainly synthetic , and some mop brushes. I also use some hog hair brushes for various techniques.

http://www.davidpoxon.co.uk/

Watercolor of the Day. Random.

2012-01-13T01:39:00.000-08:00

Richard Thorn. Venezia Romantica.

Christopher St Leger

Arnold Lowry

Cao Bei_An. Aqua 12

Javid Tabatabaii

Hilde Eilertsen Svetvold. Nord

Watercolor Of The Day

2012-01-13T01:32:00.000-08:00

Catherine De Ryck. Sleeping Gardian. Arches, 640 g, 2011

http://www.catherinederyck.be/Galerie-des-Aquarelles.html

Jeannie McGuire _Interview

2012-01-11T04:05:00.000-08:00

Dear friends! This is a first post in 2012! I tried to make it a real present to you all - it is an interview with an artist I noticed last year in several magazines, and decided to ask my questions. Here are the answers!

Jeannie, does your personal artistic style comes more from design or Fine Art?

Design is an important element of my work. My composition and drawing become the bones of the painting. Then as I paint I continue to focus on the design, directional lines and shapes that encourage the viewers eye to move about the piece.

Jeannie McGuire. Green Gloves. 22x30

When you start painting, do you have a fixed idea of what you wish to get as a result?

Often I have an idea of a mood or story I would like to develop. Sometimes I accomplish that goal amid a great amount of changing my mind along the way.

Jeannie McGuire.. Birthday. 16x24

What do you think of flexibility of an artist?

Is it important to be able to change the path if the process turns some other way from planned? Artists' must give themselves that flexibility, freedom to change the path otherwise their work would not grow.

Jeannie McGuire. Coral. 18x14

Your images look so nostalgic. They are like parts of someone`s memories or dreams. How do you chose the image for painting?

Old photographs and casual snapshots that we all have in our photo albums are appealing on many levels but mostly I'm intriqued with gestures, expressions and clothing styles during the 1900's.

Jeannie McGuire. Milan Train. 21x28

Do you always paint from reference photos or sometimes you can get inspired by some life impressions?

I take my own photos for specific projecs and will engage in random photo shooting when ever I can, to build up my reference file. I miss so many good people shots because I can't retrieve my camera fast enough. But I really enjoy drawing from live models and will use these drawings for reference as well.

Jeannie McGuire. Pointe.9x9

What can you say about your palette? The colors of your painting are quite impressionistic. Do you have some special theory of your own?

No theory other than I use many opaque and semi transparent pigments as well as titanium white, all of which creates wonderful variety. I have some vibrant colors like Opera and Cobalt teal blue to jazz it up a bit and I was very fortunate to win an entire set, 270 tubes, of Danial Smith pigments a few years ago for an award with the California Watercolor Society. This was a huge benefit and has allowed me great experimentation!

Jeannie McGuire. Ornithion. 24x21

You are working impressively well with silhouette and contrast. Sometimes you even chose to skip the face features in your portraits that is very brave. Can you select several expressive means those are important to make a great art work?

Art should be able to be viewed from across the room. Key elements to consider are design, contrast, even if it is just enough to pop out light and delicate areas, and a unique style. The goal for me is to engage the viewer with a feeling, story or persona. I like to capture the essence of a person through their gesture, stature, relationship to others etc. so the details and facial features are not always necessary.

Jeannie McGuire. Lena 8x8

Do you work with traditional watercolor or acrylic too? Why it is necessarily to use white paint for your artistic goals?

I only use watercolor. The titanium white watercolor pigment allows me to create depth and what I call grounded colors, in other words not necessarily pretty clean colors but rather dusty and dull colors and shades.

Jeannie McGuire. Plum Frost. 21x15

What is your painting background? How did you come to watercolor media?

I've drawn and painted all my life and have a graphic design and photography background. I concentrated on watercolor simply because I liked the flexibiliy of working on paper, being able to crop paintings by tearing a decal edge. Joining the Pittsburgh Watercolor Society brought a large group of artists into my life and learning about tools of the trade followed. I found professional watercolor pigments and papers to be very versatile, allowing me to be as painterly as I choose.

Jeannie McGuire. Prima. 12x12

Do you think it is possible to teach how to become an artist or it concerns only technical skills?

Teaching introduces ideas and technique and can inspire artists of all genres. Creativity comes from within.

http://jeanniemcguire.com/

Merry Christmas and Happy New Year!

2011-12-22T02:35:00.000-08:00

My watercolor Christmas card to my readers!

I wish you all the best in 2012!

International Watercolor Biennale Art-Bridge, St.Petersburg, 2011

2011-12-22T01:20:00.000-08:00

21.12.11. 17.00 @ The Artist Union exhibition hall in St.Petersburg, Russia. Some photos.

A part of the exhibition hall.

Me against my wall.

Konstantin Sterkhov. Mother. White Sari. 2009

Christmas coming..

Sergey Temerev and Konstantin Sterkhov

Konstantin Kuzema

Elena Bazanova

Z. Wishes Merry Christmas To All!

2011-12-16T07:47:00.000-08:00

Joseph Zbukvic wishes Merry Christmas to all who reads it! His latest photo and congrats from Facebook.

Joseph Zbukvic

Some New Works By Old Acquaintances

2011-12-16T07:43:00.000-08:00

Atanas Matsoureff. Morning Coffee. 55x68.2011

Milind Malik. Bullock Cart.

Sergey Temerev. Pumpkin Seeds. 61x46. 2011

Some Art from Serbia

2011-12-16T07:38:00.000-08:00

These works were posted on other Russian watercolor blog. A watercolor lover represented Watercolors from Serbia.

Djurdja Vilagostesic

Branislav Markovic

Cenderia Penova. Awakening

Dragoslav Husar

Endre Penovac

Andrey Sklyarenko

2011-12-16T07:29:00.000-08:00

Couples of days ago I found this great artist from the list of Shanghai Biennale. I checked and found he is a teacher in the Repin Academy of Fine Arts which I graduated from. Enjoy! He is a master of composition.

Andrey Sklyarenko

Nicholas Simmons. Interview. Dec, 2011

2011-12-08T03:11:00.000-08:00

Here is the interview with Nicholas Simmons, innovative water media artist from US, the member of North American Watercolor Artists group, ambassador of Da Vinci Paint and Escoda Artist Brushes, judge representing the Americas at the Shanghai Zhujiajiao International Watercolour Biennial Exhibition in 2010, 2012. Enjoy, it is GREAT!

Hi, Nick.
I saw only a few short extracts from your videos, perhaps I would have all the answers to my questions if I saw the whole video, so please forgive me if some answers seem to be obvious. ..and sorry for my English)

I have looked through the available paintings of yours in internet. Of course I couldn`t get a live impression but they look like batik technique (I tried something like this long ago when I took a couple of lessons of painting on silk).My version of the "batik" technique isn't real batik, but rather a method that mimics the effect. I do it by washing away paint from the surface. I don't use it on many paintings, but it has been popular in workshops and is explained in my DVD. It is very good for obtaining organic-looking textures and patterns.

Nicholas Simmons. Tokio Express. 41`x41` 2008

So is the idea of the technique to create some borders to experiment within reserved areas?
Yes. Results are dictated by how wet/dry the paint is, and how forcefully it is sprayed or washed off. The technique can be done with straight watercolor or acrylic watercolor.

It looks like a compromise between of control and spontaneity. Which of them is closer to you?
Controlled spontaneity might be the best characterization. With some notable exceptions, I'm not usually attracted to paintings that look overly controlled or calculated -- I like to see the medium working on its own, and evidence of the artist taking a chance. It's easy to be spontaneous in watercolor on a small scale, more difficult to be so on a large scale. In any case, I make an effort to at least create the illusion of spontaneity.

Nicholas Simmons. Nassau #4. 38`x38` 2008

Lots of effects in your works are made by water but I saw in your video your confidence. Do you plan the process in details before you start and trying to follow the rout or you are pretty flexible in any stage of your work?
I have found that rigidly adhering to a plan or vision can make the work suffer. The paint is a much better artist than I am, and almost always does something more interesting than anything I could invent. So, while I typically have a general idea of how I want things to look, I'm quite OK when the painting takes an unexpected turn, and I enjoy going along for the ride. This is where intuition and imagination come into most critical play, and the medium and artist truly work in concert. I subscribe to Alvaro Castagnet's saying: "I'm not interested in your knowledge, I'm interested in your intuition -- that's where genius resides." My "comfort zone" is not really having a clear idea of where I'm going, just as a musician who improvises can't tell you what he'll play in the next chorus. Hopefully some of that danger and excitement comes through in the finished work.

Nicholas Simmons. Fresh Sushi. 41`x41` 2007

Liquid acrylic paint is not on the Russian market. We actually don`t know it yet. Is it different from the traditional watercolor paint? Does it behave differently? Do you consider it a traditional watercolor technique or something completely new?
Many people credit me with the term "acrylic watercolor." I did not coin the expression, I first heard it from the late, great American watercolorist Valfred Thëlin. It is simply acrylic paint thinned with water and used in the watercolor technique. Fluid acrylic paint is my preference, but any acrylic paint can be used. There exists a lot of ignorance about this in the traditional watercolor world. Foremost is the notion that use of acrylic necessarily means opaque application. This is completely wrong. I do a demonstration in the first minutes of all my workshops that quickly dispels this myth (to the surprise of onlookers), showing that acrylic paint can be used with beautiful transparency -- just as straight watercolor can be used opaquely. It's amazing to me how few painters know this basic fact. There is the gross misconception that using acrylic is easier because "you can cover up mistakes," but this can be done with any medium when applied heavily. Most all of my work is transparent, whether in acrylic or straight watercolor. Properly done, an acrylic watercolor is indistinguishable from a straight watercolor. Why use it? Permanence; straight watercolor can move when rewet, acrylic watercolor does not, which is useful in a variety of situations. In that sense, acrylic watercolor is actually more difficult than straight watercolor because once it's dry, it's there forever and can't be lifted. No mistakes allowed! In the end, both versions of watercolor have their advantages and disadvantages, and that's why I use them, alone or in combination.

Nicholas Simmons. Olga Ivanova. 97`x97` 2011

How do you work on your painting – do you finish it at once or in several approaches?
Some of them happen in one go, others get to a point that requires fresh eyes and decisions. They get put away in the "curing shed" while I think about them, or alternatively, forget about them. I like how Alex Kanevsky talks about this phase: "As far as I'm concerned, I'm working on them." I go back to them days, weeks, months later to find that the next step is obvious, or that I can't even remember what I didn't like before. As a result, I usually have several paintings in various stages of development at any given time.

Nicholas Simmons. Russian Woman. 127x127 cm, 2010

How do you develop the idea? Do you make some sketches or prefer to use ready material?I rarely make sketches and never make value studies. I see it all in my head, and know things will change during the course of the painting, anyway. The ideas are either from imagination or manipulation of photographic references, often both.

Nicholas Simmons. Sevillana. 97x97.2011

Your artistic approach is so innovating that any coincidence could be taken as acceptable. Do you have something you consider mistakes and how you would determine them? Does your approach allow you to correct your mistakes or you have to start a new painting every time?

"Mistakes" are not always bad things per se, only things that were not part of my original vision. This brings up a very critical moment in the process: letting go of a preconceived idea in favor of something that might be just as good, or even better. I have noticed this is most difficult for developing artists to accept, but for me it's the threshold to new horizons and discoveries. It's like hitting an unintended note in musical improvisation, which can propel things in a new direction superior to the original intention. If the errors are serious enough to ruin the effort, I then go into super-experimental mode, an opportunity I relish. Aside from that, occasionally I employ safety mechanisms that allow for error, especially where experience has taught me to expect it!

Night Lights. Lord & Taylor. 29`x37, 2006

About the material. How did you come to use Escoda brushes, the brand that you represent. Is there any big difference with other brushes? Do you prefer to work with flat or round ones?
I was endorsing another brush that was a very good value for the money, and I had other brushes of various brands that were professional grade. I had been hearing raves about Escodas for years, but never actually tried one until last summer while giving a workshop in France. I was instantly hooked, and then I received a phone call from Ricard Escoda, and things developed from there. I've just returned from touring the factory outside of Barcelona and was very impressed by the materials and craftsmanship that goes into making the brushes. Decades of tradition coupled with technology and human skill. The point on the round brushes is beyond compare. I use rounds and flats, and my signature set comprises five synthetics: #8, 12, 16, 20 rounds, and a #18 mottler (1 1/2" flat). Of course I have the entire 1410 Barroco round line my series is based on, in addition to the full line of flats, and their line of Reserve kolinskys. For my series, I chose the medium stiffness of the Gold Toray fiber for its endurance and versatility with all forms of watermedia; I only use the kolinskys with straight watercolor. I'm convinced they are the best brush made.

Do you limit your palette? How many colors do you use? Do you like to mix them on the palette or let them mix right on the painting?
I have no system regarding palettes, arrangement, number of colors, etc. I know very little about pigments or even color theory, everything I do is quite intuitive. I will say that after using most of the popular brands of paint, I settled on Da Vinci -- well before they sponsored me. And I was delighted when they started their fluid acrylic line (smartly based on the watercolor palette), so everything I do is with one brand. Top artist quality, and they blow away everyone on price.

Nicholas Simmons. Xin Jin #4. 84`x84` 2011

Your paper choice?
Usually Fabriano 140 lb. hot or cold press -- in rolls so I'm not limited by size or shape.

You came to painting from music. Did you have someone as authorities in painting who would be like a guru, or a goal to reach, or a source of inspiration?
The aforementioned Valfred Thëlin was my first and most important mentor, a walking encyclopedia of watercolor techniques and styles. He got me painting on 30" x 40" watercolor board from the beginning, so size was never an intimidating factor. Probably 90% of the paintings I did back then were strictly from imagination without any drawing or planning, just reacting to the medium. I think this was important in developing creativity and adaptability. I miss him dearly! (see tribute on my blog) My next most important watercolor influence was Barbara Nechis, the purest watercolorist I've ever seen in terms of truly working in the moment. Her considerable influence on the watercolor world is not acknowledged nearly enough, and she is the best negative painter, ever. I was also influenced by other watercolorists too numerous to mention. After "watercolor overload" I started getting interested in other painters -- Sargent, Whistler, and Sorolla, for example, and the prints of Robert Motherwell and Mauricio Lasansky. I then got burned out on the art scene, abandoned it for music, and only returned many years later. I'm familiar with the work of most of the top watercolorists, but my favorite artists these days are oil painters Alex Kanevsky and Lita Cabellut.

Nicholas Simmons. Xin Jin #5. 91`x50`, 2011

What is your attitude to your ready works? What do you feel about a finished work?
It's difficult to be objective, and I've learned to take a fairly detached attitude towards it all. Some paintings burst out of the starting gate but lose my interest over time, others take a while for me to appreciate. I feel best about the ones that required faith in my own instincts while meandering through the labyrinth of uncertainty, poised on the precipice of disaster. When it works, the rewards are much greater than playing by the book.

http://www.nicholassimmons.com/
http://nicholassimmons.blogspot.com/2007/12/valfred-thlin-1934-1991.html

Amateur Artist`s Work

2011-12-08T02:20:00.000-08:00

I truly like this portrait painted by amateur artist Lisbeth Johansson during my Portrait course last summer in Akverellcenter, Sweden. It is very simple by it pulls your attention and emotions. Bravo, Lisbeth!

Lisbeth Johansson. Sigge.

Thomas W. Schaller, painted in November

2011-12-08T02:09:00.000-08:00

Very fresh works by Thomas Schaller. Also very different by their sizes!

Thomas Schaller. Pilgrim`s Progress. 40`x27` 29.11.2011

Thomas Schaller. Greeck`s Streets. 9`x9` 10.11.2011

http://thomasschaller.com/

Just Good Paintings...

2011-12-08T02:03:00.000-08:00

Some paintings inspiring me lately...

Joseph Zbukvich. Overview.

Atanas Matsoureff. Rest. 50x72. 2011

Laurentino Marti. Fachado De Arco.

My New DVD - PORTRAIT

2011-12-02T08:35:00.000-08:00

Dear Art Friend,

I have an honor to represent a new DVD that I will start selling from January 2012.

In my new product I am demonstrating the complete process of creating the human image from the scratch.

You will see all steps of Academist approach – how to make the composition, how to lead the drawing, how to start-continue-and-finish the painting. I am focusing on many technical aspects such as colors selection and mixtures, dry-and-wet approach, the order of the stages of work. My artistic tips will help you to master such complicated object as human image. The only thing - I have to apologize for my broken English in my comments:)

Only in December 2011 I am offering a great discount for a new DVD “PORTRAIT PAINTING. ACADEMIST APPROACH”. 100 minutes of painting only for 31 euro (norm.39 .-) incl. postage. There is also a bonus video on the DVD.

Let me know if you would like to purchase the DVD early enough - it might arrive before Christmas!

Notice, if you have Mac, it will play the DVD only with VLCplayer. Also might be difficulties with DVD players which do not play PAL system (in US for instance).

Model from Sweden

2011-11-30T11:08:00.000-08:00

Recently I received some photos from my course in Sweden. Here is a model sitting)

Sometimes it turned away from me but finally we managed.

Of course it was much easier to be a model myself. But after 25 years of a break in self-portraiting I had a shock facing the changes)

The new DVD with portraits is available. It includes 100 minutes of portrait painting with comments and many useful tips.

Piet Lap - Interview 16.11.2011

2011-11-18T02:33:00.000-08:00

Here is the interview with a marvelous Dutch painter Piet Lap, given to me by e-mail couples of days ago. It`s a material of a great value to me!

Piet Lap - watercolor artist

When did you fall in love with watercolor?
It was in my first year as a student at the Art-academy in Tilburg-holland. I already loved outdoor/ after-nature drawing but it was my inspiring teacher Bob Buys, who was chairman of the Dutch Watercolour
Society,who initiated us in the fascinating world of watercolour. Just sitting along a channel or on a junkyard, nothing else to bother, great fun!

Piet Lap. Dutch Landscape 1.

Do you consider watercolor a painting or graphic medium?
Watercolouring is, of course, painting; not just filling in colours in a drawing.

Do you wait for inspiration or you feel like painting every day?Inspiration is an often abused word, mostly as an excuse not to paint. Just start working, inspiration will eventually meet you in the process.

Piet Lap. South Harris Hedriges

What is the most inspiring theme or object for you?
I did a lot of still-lives over the past years, mostly using glass-panels and mirrors to create a small world full of uncertain boundaries, vague ideas of space, foreground and background. Nowadays my main objects are landscapes. You see, I like travelling. I am not sure wether this urge comes from the desire to go and paint somewhere, or, the other way round, painting is just an alibi to travel.I guess the truth lies somewhere in between. I can be fascinated by the colours of a Moroccan soukh, as well as the tragic carcasses of shipwrecks in a bay in Brittany, or the theatrical changing light over a Scottish Loch. There is a painting waiting for you in almost every landscape, if you can catch it on the right moment, with a surprising light and point of view and, above all,with the right state of mind.

Piet Lap. Benodet. Bretagne.

Do you finish your works on a spot sometimes or you prefer to paint them in studio?
I prefer working on the spot. I lose spontaneity in doing things over in my studio, though the technical circumstances are better there.

Piet Lap. Port Rhu Douarnenez Bretagne.

What is the importance of drawing when you paint with watercolors? Is it necessary to learn basic drawing first or one can become a watercolor master without it?
A difficult question. You can make great watercolours without any tracé of drawing-skills ( see: Emil Nolde), but if you don't have that skills in your luggage you will fail in a lot of subjects. For example: a ship lying in the water the way it does, is without a correct drawing seldom convincing. Another example: there are lots of watercolours ( see the internet) of streetscenes with people strolling around. Only few of them are convincing. Mostly people are reduced or degraded to a kind of 'aliens', just simple trunks with two pointed sticks under it. Horrible sight ! Seldom a credible interpretation but merely an illustration of unableness.

Piet Lap. Petra Jordanie 1.

Do you have any special theory about colors and mixes? What are your color preferencies?
If so, a satisfying answer takes too long.

Piet Lap. River Degli Schiavoni

What is the part of imagination in your work?
My work is an interpretation of reality, more than imgination.I never felt figuration a burden to shake off. On the contrary: I look upon working after observation as a source of elementary painters'pleasure: you see better and you see more.

Piet Lap. Stac Lee St. Kilda

I didn`t see many figurative objects in your painting. Is a human nature of no interest to you?
Though I painted people and portraits, you are quite right: they are underrepresented in my website.

Piet Lap. Cimetiere Des Bateaux

What is your approach to painting – do you spend some time to develop an idea or you start and finish in one breath? I mean do you paint spontaneously or work out the idea first?
I have no specific approach that I am aware of. It all depends on the subject you paint, on intuition, on your mood for an experimental approach and on the outdoor circumstances. Making a watercolour is like chess-playing: try to think about the two or three next steps you intend to make, eventually prepare a sufficient amount of some colours and in the meantime you will feel your adrenaline rising. That's a good sign. Don't rigidly stick to your plan, ideas can change on your way, so be receptive. If you act, do it with speed and determination, all the way.

Piet Lap. Still Life 9.

What are your preference in colors (brands), brushes (size, shape, material), paper (quality, brand)?
About that gear: I use tubes( no blocks) of Winsor&Newton, Talens and Scheveningen( Dutch brands). I have 40 colours on my palette, far too much of course but half of them I seldom use( just in case...). Brushes: some expensive Kolinsky-marter brushes, some cheap flat brushes, but mostly Da Vinci Cosmotop-mix in all sizes, from 6 to 32. I tried all sorts of paper in my life but nowadays I stick to Arches-Torchon 300 ans 640grs for landscapes, Schoeller-Hammer Torchon for still-lives( you can torture this paper!)

Piet Lap. Still Life 16.

Did you have some artists who would influence you when you started painting with watercolor?
I can't recall it ,but I do remember the moment I held in my very hands,in the London Victoria&Albert-museum, the watercolours of R.P.Bonington (19th century), the Mozart under de British watercolourists(he also died very young). And there is that painting-devil and genius John Singer Sargent who will always remain a standard in the world of watercolour.

Piet Lap. Yorkshire Cliffs.

Would you select some country where in your opinion tradition of watercolor medium is the most supported and appreciated? Do you teach your approach in watercolor?
Some remarks on these questions: Studying the internet, especially the websites of American watercolourists, it becomes clear that there is quite a difference between what I would call their marketing-strategy and my approach. Lots of them have won Awards for some mysterious reason, are members of several Societies, sell glicee-prints & DVD's and, even the less-talented, give masterclasses thus spreading around some painting-tricks and create lots of epigones who try to copy the way the 'master' Works. I have to admit that, unfortunally, I have little marketing-talent. In my younger days,being a teacher at an Art-Academy, I gave a lot of 'masterclasses'. I think I have pulled my weight. You see, I am 68 now, still working on new projects. Time has become precious for me, so I try to avoid things that distract me from working and concentrating.

Piet Lap. River.

Could you accent something most important to master the watercolor?

You can't master it, watercolouring. You will always start 'tabula rasa',with a frightening empty sheet of paper.

Could you accent something most important to master the watercolor?
What keeps me going is the hope that some lucky day I will make a satisfying watercolour: nothing more, but also nothing less! And to all fellow-watercolourists I would say: Remember, our best work has
still to come, maybe tomorrow... or the day after. Wait and see..

http://www.pietlap.com

Watercolor of the Day

2011-11-17T04:09:00.000-08:00

David Stickel. Light Years. 56x76 cm

David McEown. Waves On Stones. 56x76 cm

Robert Highsmith. White House. 70x90 cm

Anders Zorn

2011-11-14T09:32:00.000-08:00

I believe we have to look back sometimes... There are lots of good things done before us. It is good to know something about those...

Anders Zorn was a Swedish painter and printmaker in etching.

Anders Zorn. Self-portrait.

Zorn was born in Mora, Dalarna. He studied at Royal Swedish Academy of Arts in Stockholm, Sweden from 1875-1880. He became an international success as one of the most acclaimed portrait painters of his era. His sitters included three American Presidents, one of whom was Grover Cleveland in 1899. After his success in US the artist came back to Sweden.

Anders Zorn. Misses Salomon. 88x101, 1888

Anders Zorn (1860-1920) was probably the foremost swedish painter when it comes to the skills that needs to capture the light and colors. He didn`t limit himself working in many genre like landscape, portraits, figurative painting. He was equally skillful in watercolor, oil and etching. Before the 1890-s he painted more with watercolors, then he payed more attention to oil medium.

Anders Zorn. Pier.

Zorn's Process and Materials
Many artists mention the concept of the "Zorn palette," especially in regard to portraiture. This warm palette, which is often said to include simply a yellow, black, red, and a white—but no blue—may be a very useful tool, but it is a mistake to attribute it to Anders Zorn. A few portraits and other paintings by Zorn seem to show a definite warmth and a lack of tube blues and greens—and Sandström confirms that the painter was proud of saying he mixed all of the hues on a canvas from just a handful of colors—but many Zorn paintings utilize blues. In fact, in Sweden Zorn is celebrated for his depictions of water, which required blue paint. Sandström had difficulty even comprehending the assumption that Zorn worked with the specialized palette associated with him. She reports that 17 tubes of cobalt alone are represented among the 243 tubes of paint left by Zorn in his studio in Mora. Laine, of Stockholm's Nationalmuseum, concurs that the notion of a Zorn palette is a bit of a misnomer. Still, portraits such as Miss Constance Morris show that he was adept at using grays to suggest blues. Many of Zorn's portraits—and his nudes—exhibit a compelling warmth, providing inspiration for today's painters regardless of what the Swedish artist may have actually squeezed onto his palette.

Zorn favored paints formulated by a now-defunct manufacturer in Berlin. He used brushes of all sizes and shapes, and all the brushes with manufacturer markings are of Swedish origin. In etching, he experimented with various acids that he understood Rembrandt to use, but his etching materials were essentially standard—executed on copper and occasionally zinc. Zorn created a few notable sculptures, including a well-known sculpture in Mora of King Gustav Vasa, who united Sweden in 1520 against the occupying Danes. But this early medium was pushed aside by painting. "He considered painting his work; etching and sculpting were his hobbies," says Sandström. "At night, when it was too dark to paint, he carved. During the day he didn't have time to continue sculpting." More than with other media, Zorn's etchings were informed by photography. An avid sailor, he would take models onto his boat and sail in Stockholm's archipelago, painting them on wooded islands and photographing them for etchings he would cut the following winter. Etchings also allowed him to replicate his popular paintings and thus generate more money from a composition.

Some of the detail in Zorn's early watercolors betray the hours of work he put into them—the 1885 watercolor Love Nymph reportedly took him two years to complete and required two versions in watercolor, one oil sketch, and more than 60 drawings, grisailles, and color sketches—but Emma Zorn wrote in 1887 that one watercolor constituted "a morning's work" for her husband. Zorn's method was to fix the composition clearly in mind before beginning, then get it on the page quickly. His oils suggest the same spontaneity, but Sandström says there's evidence that he occasionally would build up layers to achieve the effect he desired.

His portraits earned him worldwide fame, and his depictions of Swedish peasant life endeared him to his countrymen, but it is his landscapes—punctuated by figures—that inspire many of today's painters. Zorn disliked painting models in the artificial atmosphere of a studio. "His ability to capture the mood of a place with such subtle color and value only came from his countless hours painting outdoors from life," asserts Frank Serrano, a California plein air painter. "You can't convey in a painting that mood if you are using a photograph. He painted outdoors quite a bit. It's what helps you become acute and helps you learn how to capture something naturally.

"He had guts," adds Larson. "Any artist looks at Zorn's work and sees that he put a note down and left it. He was not timid and he did not try to please anyone but himself."

From the article by Bob Bahr "Sweden`s Sargent"

Pine Tree Demo By Me

2011-11-11T09:47:00.000-08:00

Announcing my new DVD "All Seasons for 2 hours". You can see 7 video lessons with LANDSCAPES + bonus. Here is a sample demo from the DVD.

Konstantin Sterkhov. Watercolor Demo Video. Pine Tree. 25x35 cm

http://www.sterkhovart.com

Liu Yi

2011-11-10T03:44:00.000-08:00

Too sweet! But its a stunning watercolor work!

Liu Yi. Swan Harmony #3

Victoria Prishedko

2011-11-10T03:41:00.000-08:00

Another interesting artist.

http://water-color-paintings.blogspot.com/2011_02_01_archive.html
http://prischedko.de

Some Nudes by John Raynes

2011-11-10T03:31:00.000-08:00

I found it in a promotion of Art Magazines. Very unusual approach!

John Raynes. Nudes.

Autumn by Oleg Kozak

2011-11-10T03:26:00.000-08:00

My friend from Facebook. I think it can be a tribute to the autumn, that is almost gone. Let`s enjoy it`s last colors!

Oleg Kozak.

Guan Weixing Portraits

2011-11-10T03:19:00.000-08:00

A great Chinese master. Amazing technique!

Guan Weixing. Smoking Old Man. 37x50 cm. 2008

Guam Weixing. Sunny Old Man. 37x50. 2007

http://www.guanweixing.com/

http://video.sina.com.cn/v/b/22956761-1453576033.html

Amazing Chinese Watercolors

2011-11-07T07:47:00.000-08:00

The work of phenomenal Chinese watercolorists who participated in the first Shanghai Zhujiajiao International Watercolor Biennial. Some of the works are here, thanks to Watercolor Artist magazine.

Fadan Le. Dawn

Shoutian Xue. Harmony BW.

Haitao Yang. Dock 1

Tianrun Xu. Bend Down.

Liu Yi. Swan Harmony #4

New Book Series

2011-11-07T02:56:00.000-08:00

Yesterday I had started shooting the video for a new book+DVD series that will be published next year in Russian and English. That will be 6 books with DVDs about Seascapes, Landscapes, Cityscapes, Animals, Flowers and Portraits. I have got the material for Seascapes shot now. Here is a sample.

Konstantin Sterkhov. Morning Mist. 25x35 cm

Konstantin Sterkhov. Windy Day. 25x35 cm

I am terribly sorry for the quality of the photos, there was smth wrong with my scanner.

Atanas Matsoureff

2011-10-28T02:25:00.000-07:00

For those who addicted to Andrew Wyeth`s aesthetics I got a good news. A watercolor artist from Bulgaria Atanas Matsoureff came up very close to Wyeth ideas. His works combine very high drawing and painting skills with romanticism of daily seeing objects.

Atanas Matsoureff. Wisdom. 43x48cm, 2011

"Watercolour is a painting technique which offers an infinite scope of possibilities for artistic expression, highly demanding on the part of the artist concentration combined with passion." - said Atanas.

Atanas Matsoureff. Dreams. 50x66cm, 2008

"The beauty of watercolour painting lies in the white of the paper, the lightness, the movement, the transparency, the vibrant colours. I paint from nature and I bow before the beauty and the forces of the Nature and the simple, ordinary things around us. I try to catch the spirit of each material and to touch the thing beyond reality" Atanas Matsoureff

Atanas Matsoureff. For The Winter. 47x64, 2011

1975 - Born in the town of Bansko, Bulgaria.
1994 - Graduated from the woodcarving class in his native town.
1996 - Moved to live in Sofia.
1998 - Discovered water colours as a means of expression.
2004 - Member of the Union of Bulgarian Artists
(affiliated to the International Association of Art IAA, UNESCO).

Works of the artist are owned by private collections in Bulgaria,
Spain,Turkey,England,Greece,Holland,Belgium,Canada,Norway,
Hungary,Russia,Germany and USA.

http://matsoureff.bgcatalog.com

Stunning Video!

2011-10-24T02:55:00.000-07:00

http://www.youtube.com/watch?v=hVBTfew3e3M&feature=player_embedded

Konstantin Kuzema

2011-10-19T10:37:00.000-07:00

Outstanting watercolorists from Saint-Petersburg Konstantin Kuzema is having an exhibition at the "Molbert Gallery" on 8 - 20th of November. With those who is far away from Russia I will try to share some of his works on my blog. The topic of this selection is "Eine Kleine Nachtmusic" - so the artist himself called his series.

K. Kuzema. Evening Mood. 56x76 cm, 2008

K. Kuzema. Capella`s Yards. 56x76, 2004

K. Kuzema. Isaak Cathedral at Night, 56x76, 2005

K. Kuzema. Kazan Cathedral. 56x76, 2009

K. Kuzema. Evening Light, 56x76, 2005

You can see the works in bigger size here http://kuzema.my1.ru/forum/15-554-1

Elena Bazanova - masterclass

2011-10-18T01:55:00.000-07:00

Enjoy advance watercolor technique with Elena Bazanova from Saint-Petersburg.

Elena Bazanova. Still life with a lemon. 11 min.

Important Watercolor Considerations!

2011-10-17T08:32:00.000-07:00

Published by Carol Carter on Monday, October 17, 2011 at 6:10pm on FB

(excerpts from) Making Your Mark

Let me offer a few examples with which you may or may not agree. There are just my personal observations; you can consider them or ignore them as you like.

As a watercolor painter, I am painfully aware of the prejudice against the medium. It has mostly enjoyed a second class status, labeled as a sketching medium for amatueurs and dabblers. Do I think this is fair of justified? No, but we watercolorist has a lot to do with the current reputation of the medium. I wil confess that I am self-taught in watercolor, and that I looked at many how-to books while I was learning to handle the medium. In the many years since, I can't begin to tell you how any hundreds of watercolor paintings I have seen that look just like a page from one of these books. These watercolors are often impeccably painted, but disturbingly repetitive, not only showcasiing similar rote techniques, but fixing on certain ubiquitous subjects as well.

Even the watercolor abstractionists don't fare much better, appearing as if the artists all attended the same few workshops. My comments will probabaly not win me any friends in the watercolor community, and I regret that, but there should be more contemporary watercolors hanging in our hypothetical museum along with the Homers, Sargents, Prendergasts, Marins, and Burchfields.

Likewise, the virtuosity of many contemporary plein air painters is astonishing, yet I often have trouble telling them apart. Why all this devotion to a particular form? Can this be healthy?

Although loved by all today, the first generation Impressionists were innovators; their paintings were radical and thoroughly modern, shocking and not immediately accepted. Their emphasis on high chromatic contrast and aggressive brushwork were departures from accepted practice. The subjects chosen by the Impressioniss were images of the everyday life of their time; contemporary streets, trains, carriages, parks, fields, and farm workers. I wonder how many contemporary plein air painters we will be able to hang alonside the Monets, Pissarros and Van Goghs in our museums.

Lest anyone thing that I hold myself above all thes criticisms, please know that I torture myself over this stuff! I constantly live in the land of self-doubt and questioning. I recognize these shortcomings and I am always searching for soemthing more. We all have our limitations, but can't we also have higher aspirations?

For us to ultimately succeed as artists we need to cultivate our individuality. When we camp in another artist's territory we don't do them any favors, but perhaps even worse, we don't do ourselves (nor the "cause of art," as described by Kandisky) any favors either.

We should take a clue from nature and pattern ourselves after the dogs who recognize each other's marked territory. If you are also going to try to claim a territory for your own, you had better be a bigger dog than those who preceeded you.

Matthew Daub Professor of Fine ARt at Kutztown Univeristy of Pennsylvannia

New Video Annonce

2011-10-17T01:53:00.000-07:00

I`ve just finnished editting the bonus video for my new DVD Portrait project. It is a version of one of 3 paintings selected for the IV International Watercolor Biennale "ART BRIDGE" in St.Petersburg in December this year.

K. Sterkhov. Mother (a part of the painting). 50x70

Find out how to meditate and get your self-realization.

Watercolor of the Day

2011-10-17T01:46:00.000-07:00

I saw it today in FB - stunning!

Morgan Gyger. Island Impression.

Piet Lap

2011-10-12T05:07:00.000-07:00

Piet Lap is a famous Dutch watercolor artist. Here I am sharing some of his outstanding works.

Piet Lap. Dutch Landscape.

"I am, by nature, an inquisitive person. That is why I like travelling. I am not sure whether this urge comes from the desire to go and paint somewhere,or, the other way round, painting is just an alibi to travel. Let us say the truth is somewhere in between. Anyhow, I prefer to travel light and the simple watercolour-equipment goes best with my restlessness.
I love making watercolours. I am a watercolourist for almost 40 years: a grown-up boy who is still messing around with a paintbox and who practises a profession of which uselessness is the essence. Remarkable, that one can still be so fascinated by the colours of a Moroccan soukh, the tragic carcasses of shipwrecks in a bay in Brittany or the theatrical changing light of the Highlands."

Piet Lap. Scotish Landscape.

"Of course, this is all a form of Romanticism. I love remote places. Nowhere else as on the Scottish Western Isles I experience stronger that being exposed to the magic of these islands a man can be marked for life, leaving him entangled in inexplicable enthousiasms for lazy days, bright skies and the noise of an encircling sea. I never felt figuration a burden to shake off, as was the case, for decades, in mainstream-art. On the contrary, I look upon working after observation as a source of elementary painters’pleasure: you see better and more."

Piet Lap. Scotish Landscape.

"Starting a new watercolour is like starting all over again, from the beginning, tabula rasa. Your paper is frightening white, you get nervous and in your brain a vague scenario builds up: what to do, in which order, which pace. Failure always lies in wait and you know that there is only little chance of making something really good. What keeps us going on is this feeling that hopefully never leaves us: the best work has still to be made, wait and see, tomorrow, or the day after…"

Text catalogue 7th Internation Watercolour Festival - Piet Lap

http://www.pietlap.com/

Nicholas Simmons - short demo

2011-10-06T01:23:00.000-07:00

Finally I saw how he did it! Amaizing! So inspiring!

Nicholas Simmons demo.

Top Art Courses 2012

2011-10-04T07:53:00.000-07:00

Thomas W. Schaller "Toscana Americana"
Cortona, Italy May 5-12, 2012

Thomas W. Schaller

Keiko Tanabe & Eugen Chisnicean "Toscana Americana"
Cortona, Italy June 23-30, 2012
Keiko Tanabe

Eugene Cisnecean

http://www.toscanaamericana.com/keikoeugenwatercolor.html

Fabio Cembranelli
Girona, Spain, 8-14 June, 2012

Fabio Cembranelli

http://www.fcembranelli.blogspot.com

From Japan

2011-10-04T07:13:00.000-07:00

Ryoyu Fukui. Wave Of Light.

Kazuo Kasai.

Ilya Ibryaev

2011-10-04T07:05:00.000-07:00

A new name for me. I found him at another Russian watercolor blog. Quite good one!

Ilya Ibryaev.

Watercolor of the Day

2011-10-04T07:02:00.000-07:00

I found this watercolor work on a Russian watercolor blog. It is painted by leisure painter from Moscow. She is studying Medicine, the person on the painting is her brother musician. I find the painting extremely expressive.

Anna Ivanova. My Little Brother.

New Cisnecean

2011-10-04T06:56:00.000-07:00

One of the latest paintings by Eugene Cisnecean.

Eugen Cisnecean.

http://eugenchisnicean.com/

Vote for me!

2011-10-01T07:48:00.000-07:00

Dear friends! If you appreciate my Art you can vote for me at the independent Contemporary Watercolorists Rating at the site of K.Kuzema.

I believe it is not quite easy if you don`t speak Russian, but you can enjoy at least the wonderful list of contemporary artists working in watercolor medium. I am sure you will discover many new ones. The main problem would be the registration, but you can just enter as a guest.

http://kuzema.my1.ru/forum/16-547-1

Cats Duo

2011-09-27T08:45:00.000-07:00

One of the painting from my recent demonstration in Finland.

Konstantin Sterkhov. Duo. 36x53 cm

A painting from a new DVD. Available for purchase.

5 animals demo videos + 2 bonuses available on DVD

(PAL system, not working on DVD-player in US and latest Mac)

Objects: cat, dog (2), fish, swan, horse (2),

To purchase write to my e-mail sterkhovart@gmail.com

1 DVD - 39 euro (50 US $), 1 h 47 m, 5+2 video with comments and highlights.
My English might sound broken for English speaking people)

The Very Fresh Castagnet!

2011-09-27T08:30:00.000-07:00

A newest work by Alvaro Castagnet from the FB. He posted it yesterday with a comment that it was just painted before. So here is the freshest Castagnet for you!

Alvaro Castagnet. Port Montevideo. Pained 26.09.2011

And another his work from today, mentioned that it was only blue and burnt sienna used for it.

Alvaro Castagnet. Venice.

http://www.alvarocastagnet.net/

Belgian Certificate

2011-09-27T08:23:00.000-07:00

Finally I`ve got the certificate from the International Watercolor exhibition in Antwerpen which took place the last year. I was one of 5 artists representing Finland. It was really inspiring to see the catalogue and all the stunning watercolor works there!

I only wonder why the certificate is not signed...

There are a lot of great artists in the catalogue. I am going to google them and, perhaps some will be here on my blog.

AKVART: a week in aquarium.

2011-09-26T07:45:00.000-07:00

Today I have returned from my trip to Helsinki. As I told before I had an exhibition there. The painting were in 2 levels - the ground flour and basement. I should say they were quite random but represented my different periods.

I spent 1 week on my duty in the gallery having a strange feeling that I am in an aquarium. Here is how it looked from outside.

People were quite puzzled when they saw my self-portrait in the window and the next moment myself with a brush in my hand.

Most of the time they saw me painting. During the day I was painting some works for myself and every evening watercolor lovers were coming for a master-class.

All the objects were relatively new. The topics were the same though - seascapes, animals, portraits and a new one - correction of mistakes.

The master-class was taken usually 2 hours which I could use for completing the 4 painting works. The portrait took a bit longer. I could make only 2 portrait demonstrations.

I believe there was a good harvest of apples this year. One of the gallerists was providing us with fresh apples from her garden every day.

Master-classes 21 - 24 of Sept. 2011, Helsinki. Welcome!

2011-09-10T06:15:00.000-07:00

Everyone who finds oneself near Helsinki next week is most welcome to attend my watercolor demonstration in AKVART galleria, at Humalistonkatu 1, Helsinki.

Here is the program of master-classes:

21.09 - water, reflection, boats, sailing
22.09 - correction of mistakes in watercolor
23.09 - animals, fur, texture
24.09 - human, portrait, figure, skin

All subjects are new.
Demonstration is from 16.00 till 18.00

Snaggy Dog demonstration

2011-09-08T10:33:00.000-07:00

Short extract from my video demonstration. Enjoy!) Thanks to my Finnish friend Tuomas Kaila for a beautiful sound track for this video.

K. Sterkhov. Dog painting demonstration.

Finally I have updated my site http://www.sterkhovart.com/
Most of the information you can find there can be trusted now))

Nicholas Simmons

2011-09-07T07:08:00.000-07:00

It is not a new name for those who are interested in watercolor. Mr. Simmons’ paintings have been featured in a variety of publications, and on Maryland Public Television.

Nicholas Simmons. La Vida Breve. 150x75 cm

In 2008 his DVD Innovative Watermedia was released by Creative Catalyst Productions. He is sponsored by Da Vinci Paint. Awards include top prize at the 2007 National Watercolor Society, consecutive gold medals at the Pennsylvania Watercolor Society, 2008-2009, and the gold medal at the Texas Watercolor Society in 2010. The artist exhibits internationally with major watermedia stars, and was the only judge representing the Americas at the Shanghai Zhujiajiao International Watercolour Biennial Exhibition in 2010, the world‘s largest watercolor exhibition. Nicholas is one of six painters in the newly-formed North American Watercolor Artists group, which will represent the United States in various international exhibitions.

Nicholas Simmons. Nissau 4. 95x95 cm

He is sought after as a workshop instructor, lecturer, and judge, known for his fresh, unorthodox, and often irreverent approach.

Nicholas Simmons. September Memories. 98x98 cm

Visit Nicholas site http://www.nicholassimmons.com

My Memories Collection

2011-09-02T07:41:00.000-07:00

13 - 25. 09. 2011

in AKVART galleria

Humalistonkatu 1, 00250 Helsinki

exhibition

MEMORIES

representing KONSTANTIN STERKHOV (me) & LIISA KUUSISTO

and their 10 years of art relationship "teacher-student"

Memories in painting - big and small, new and old, sharp and soft - all exposed for you.

Welcome to the exhibition!

Ibe Ananaba

2011-09-02T07:29:00.000-07:00

Very interesting! Free and inspiring! African art.

Ibe Ananaba.

http://www.ibeananabart.blogspot.com/

Italian Key

2011-09-01T08:16:00.000-07:00

This was the main artistic impression of Italy. We were lucky to be at the presentation of the new movie "The Italian Key" arranged in a neibough vilage to Cabella Ligure.

It was in the open air. There was everything - the red carpet, stars in the sky and on the stage, lots of creative people from many countries.

The film is, one may say, a fairytale about a girl, her misterious family story and finding love. The caracters are beautiful, cinematography is wonderful, music is marvelous!

Still from "The Italian Key"

Some of the music was performed live after the film - Nicki Wells is gorgeus! - upcoming star! Its a song that is most remembered. The music score is amazing! The film won in Moondance Festival this year for its music.

Tuomas Kantelinen (music score, producer) and Roosa Toivonen (writer, director)

The cinematography is fantastic! Every still of the film is perfect, its like a moving painting, like a dream. Credits to Ville Tanttu.

Ville Tanttu (cinematography), Gwendolyn Anslow (main female charecter)

Most of the crew is from Finland, so I believe the official premier will be in Finland soon. Looking forward!

Sorry, its not about watercolor)

Swedish Inspiration

2011-09-01T07:42:00.000-07:00

I just came back from my travelling to Sweden and Italy.

First Sweden. It was my first time in Sweden. I am not a culture vulture. My path layed far from the capital with its museums and palaces. Here is the quite place where I spent a week.

Akvarellcenter in Dalarna.

I had a small group of 7 people. The topic was animals and portraits. Apart from many other courses we had a model - one of my students brought 3 dogs with her. One of them was sitting for us for a little while. Unfortunatelly the students didn`t take the advantage of a live model and after my demonstration returned to their printed samples.

Konstantin Sterkhov. Our course model.

As usual cat is the most popular object. I have panted a few as the demonstration.

Konstantin Sterkhov. Here is the most royal cat personality)

The students were trying their best. Sometimes they learnt something new... as well as myself.

Lisbeth is discovering about a portrait painting. The same as myself.

My students made me to paint my self-portrait which I haven`t done for the last 25 years! It was a chalange for me `couse I avoid noticing the changes coming to what I see in the mirror. Here I had to admit there were changes and I had to bring them out to the paper.

Konstantin Sterkhov. Quick self-portrait demonstration.

The course was organized by Maria and Felix Ginzburg from Stockholm. Maria is herself a great artist. She is the one who make it possible to attend workshops of various foreign watercolor artists in Sweden such as Milind Malik (India), David Taylor (Australia), Heribert Mader (Austria), Paul Riley (England).

Maria Ginzburg, Sweden. Works and a latest book.

Maria is an author of several books about watercolor painting issued in Sweden in houndreds thousands copies. I was very inspired by her watercolor works representing nature reflected in Swedish lakes.

The nature itself was another inspiration. I was picking berries and mushrooms all my spare time. Maria was taking us after classes to some beautiful places like waterfall, series of lakes, boat floating, ect... wonderful week indeed!

More information about the place at http://www.akvarellcenter.com/, unfortunatelly all in Swedish)

Out To The Light

2011-08-11T08:53:00.000-07:00

New watercolor image created after my Chinese memories of 2006, Chendu, Sichuan. Beautiful people, amazing invironment, pure aethtetics.

Konstantin Sterkhov. Out to the light. 36x53 cm. 2011

The Last Chance)

2011-08-10T05:25:00.000-07:00

It is the last chance to join my watercolor course Animals_and_Portraits in Sweden 18-22, August. All the information at akvarellcenter.com

Konstantin Sterkhov. Favorite Toy. 36x53. 2011

Jesus Light - New Version

2011-08-07T06:02:00.000-07:00

Last year I had painted a man standing on a shore watching the foggy horizon. Last week I changed it into a sky light rays, called as they told me "jesus light".

Konstantin Sterkhov. Light. 44x64. 2011

Lars Lerin

2011-08-07T05:57:00.000-07:00

Durin my course in Finland sme of my students brought me a book of Lars Lerin, swedish watercolor artist, quite new for me. Here is some info I found.

Lars Lerin (b.1954) was born and raised in Munkfors, Värmland. He studied at the school of Gerlesborg 1974-75 and at the Department of Fine Arts, Valand 1980-84.

Lars Lerin. Sweden

Lars Lerin is considered as one of Scandinavia’s most leading artists in watercolour technique.
He has had solo exhibitions and group exhibitions in art museums and galleries in Sweden, Denmark, Finland, France, the Faroe Islands, Iceland, Germany, Norway and the United States. Lars Lerin is represented in County Councils and Municipalities in Sweden and Norway.

Lars Lerin is also a hard-working author and has since his debut book Utpost(1983), written and released more than forty books.

Lars Lerin. Sweden

"Watercolour technique is a powerful tool in the searching hands of artist Lars Lerin. He is a master of its potential and submits to its capricious temperament. The subjects for his works he finds in the places where he makes his home. He grew up in the Swedish province of Värmland, close to the thick forests and where the long summer nights and the darkness of winter are a part of existence. On the Norwegian Lofoten Islands he discovered the sea and horizon.

Lars Lerin. Sweden

He has a feeling for the grandeur of natural scenery and a sympathy for the tough conditions under which people work there. In his paintings he returns time and again to how people live and work in home and factory. Memories, words, sentences and fragments of images recur frequently in his paintings; together they form a puzzle of memories which capture impressions of life and warmth such as perhaps no longer exist. It is a nostalgic, existential longing common to us all."
Bera Nordal, Nordic Water Colour Museum

Lars Lerin. Sweden

...thinking of Sweden where I am going the next week...

Lars Lerin. Sweden

Flash Back - China

2011-08-06T07:05:00.000-07:00

These months I got 2 exhibitions. So I decided to use some material that I had not time to paint before. Here is one of the paintings done 2 days ago after my Chinese memories.

Konstantin Sterkhov. Red Dress. 44x64.

What is interesting, I found in an Art shop an old watercolor paper manufactured over 40 years ago. It does look old and yellowish but has a beautiful texture. It has been a strange feeling to paint on paper almost as old as I am.

Flowers From Finland

2011-07-27T07:51:00.000-07:00

I just came back from 2 summer courses those I was teaching in Finland. Here some painting I made as a demonstration at the course.

Konstantin Sterkhov. Roses. 25x35. 2011

It`s always a great deal to make a dosen student to understand and master watercolor technique within 5 days. At least half of them took a brush after 30-years break or had never been taken it before.

Every summer the program of these courses combined all possible topics for painting. Within 5 days students learnt how to paint seascape, sky, landscape, flowers, cityscape, animals and portrait in watercolor. The creative atmosphere of the course helps me to develop and improve a system of combining a demonstration in a studio with guiding students work in plein-air.

Konstantin Sterkhov. Rocks and Splashes. 20x30. 2011.

The general plan of the 5 day course was like that. First came the air and water. These objects helped students to relax and use a lot of water without thinking of details. They could actually better feel the watercolor technique and take care only of transparency, color and freshness. It gave them a general idea of watercolor and they kept to it when they painted more complicated topics.

The next was landscape and greenery. There was a lot of nice scenery around the college. You could find the student everywhere painting the surroundings. The trick here was to teach them harmonize the bright colors and to keep the work fresh. The day of painting flowers looked like a celebration of something. Students brought bunches of flowers from their gardens or from the fields, flowers were in bouquets and single in many vases everywhere in the studio and outside. Students were examining the living beauty and transforming it into colors and shape.

Konstantin Sterkhov. Sacura: pinks and greys.

In the end of every course we have an exhibition were both a teacher and students get a lot to learn from each other. The next course will be in Sweden. Looking forward the new experience! The topic is animals and portraits.

Konstantin Sterkhov. Cat and Side Light. 25x35. 2011.

Turku Watercolor Symposium Impressions

2011-07-06T07:00:00.000-07:00

The European Confederation of Watercolor Societies - Turku, Finland, 30, June - 3, July, 2011

Piet van Leuven. Aquarelinstituut van Belgie. On Cruising Speed. 2010. 75x55

Matias Sanso. Grupo de Acuarelistas de Baleares. Marea Baja. 51x70

Claudio Bertona. Associazione Italiana Acquerellisti. Tortilla Flat. 2010. 73x54

Claude Lepage-Racine. Societe Francaise de I`Aquarelle. Bretagne. 2010. 55x78

Angelo Giraldoni. Associazione Italiana Acquerellisti. Lofoten, The Factory Cods. 2010. 74x54

Nador Mikola. Honorary Member of Finnish Watercolor Society. Untitled. 2001

Finnish Swan (Suomen Joutsen), the place of the exhibition.

New Painting by Eugen Chisnicean

2011-07-05T09:23:00.000-07:00

Very strong and confident brush strokes! Limited palette but perfect tonal contrast. Something really inspiring!

Eugen Chisnicean. Low Tide, Arcashon, France, 75x35

http://eugenchisnicean.com/

I Love This Abstract Series!

2011-07-05T09:13:00.000-07:00

The International Symposium in Turku in June 29th - July 3th 2011. This abstract series is absolutely my favorite!

Marja Koskiniemi. Shadow Waters. 56x76 cm

Marja Koskiniemi. Merelta Tulee. 56x76 cm

Marja Koskiniemi. Break Of Down. 56x76 cm