Friday, July 25, 2008
I managed to skip a layer somewhere in here--always forgetting to bring my camera with me! This photo show parts of two different stages. The week before last I was so frustrated that I just about scrubbed out her face--I realized that the face had grown too large and need to shorten it a bit. Of course if you change one thing you seem to have to change everything around it, so the fabric and fold shapes have been altered and everything (but the face) seems to be a bit simplified compared to the previous photo. I'm going to work only with glazes now; no more thick layers of paint. I won't be painting at the gallery after this week, so the rest will have to come together in a real hurry... I'll keep my fingers crossed and keep working!
Friday, July 04, 2008
This is the photo of the second stage of the copy I am making:
I didn't use enough paint in these layers and am covering the canvas again right now. I was pretty frustrated working on the third stage yesterday--I lost a bit of the drawing beneath the painting and just couldn't seem to get it back. (I have been painting from a book propped on a stool near me and it doesn't seem to work so well. I made a color copy last night to post up next to where I am working--that should help.) I feel like I have lost some of the original freshness the piece held. We'll see if I can recapture some of that today. I'll post another photo tomorrow.
I didn't use enough paint in these layers and am covering the canvas again right now. I was pretty frustrated working on the third stage yesterday--I lost a bit of the drawing beneath the painting and just couldn't seem to get it back. (I have been painting from a book propped on a stool near me and it doesn't seem to work so well. I made a color copy last night to post up next to where I am working--that should help.) I feel like I have lost some of the original freshness the piece held. We'll see if I can recapture some of that today. I'll post another photo tomorrow.
Sunday, June 29, 2008
Back at it...
I've been in a funk and haven't done much lately--caught up in proofreading a mystery novel, planning my move, and spending time with my family--but finally forced the issue and feel great that I am back in the swing of things. It's always a relief to feel so good when I stop and then start painting again--rediscovering that sense of passion and satisfaction with my current abilities and the progress I've made.
This is a copy I have started working on. It is a painting of Elizabeth of Throckmorton by Nicolas de Largilliere. What I have so far is not too close to the original... I am not worried about that yet. I wanted to get down a layer of paint first, then as I paint successive layers will correct the shapes slightly to get a better likeness.
I didn't photograph the first stages (a charcoal drawing and then a wash of local colors). This stage uses a lot of paint, pushing the paint into the canvas and leaving tiny peaks when lifting up the brush. I scraped the peaks off after the paint dried, and completed a second layer yesterday (I'll post a photo later--I forgot to take one). This first layer could actually be a good deal more simplified than I have it. I'll increase the amount of detail and the value range with each successive layer of paint.
This is a copy I have started working on. It is a painting of Elizabeth of Throckmorton by Nicolas de Largilliere. What I have so far is not too close to the original... I am not worried about that yet. I wanted to get down a layer of paint first, then as I paint successive layers will correct the shapes slightly to get a better likeness.
I didn't photograph the first stages (a charcoal drawing and then a wash of local colors). This stage uses a lot of paint, pushing the paint into the canvas and leaving tiny peaks when lifting up the brush. I scraped the peaks off after the paint dried, and completed a second layer yesterday (I'll post a photo later--I forgot to take one). This first layer could actually be a good deal more simplified than I have it. I'll increase the amount of detail and the value range with each successive layer of paint.
Friday, June 13, 2008
Moving on...
I have accepted a spot at The Atelier in Minneapolis! I have yet to hear back from Studio Incamminati in Philadelphia (they are sending out a decision letter on the 16th) but am not waiting for a reply--The Atelier's program seems like a perfect fit for me.
The school is one of the oldest classical realist painting schools in the U.S. It has a long tradition and a great reputation for creating excellent painters and teachers. Dave Larsson--one of my teachers at the Colorado Academy of Art--is a graduate of the program and a big part of why I think this will be a good fit. He is one of the most dedicated, accessible, knowledgeable teachers I have ever had.
So at some point in August, Jeff and I will be packing up out car and heading out (presuming our car still drives at that point--it is somewhat tired). I've been told by everyone I know how cold it is--but that Minneapolis is also artsy and a bit more sophisticated than Denver, that the parks system is great and the summers beautiful. I'd love to hear more if anyone has good tips about neighborhoods, favorite local coffee shops, etc. I've never been in that region so have no idea what to expect--pretty exciting!
The school is one of the oldest classical realist painting schools in the U.S. It has a long tradition and a great reputation for creating excellent painters and teachers. Dave Larsson--one of my teachers at the Colorado Academy of Art--is a graduate of the program and a big part of why I think this will be a good fit. He is one of the most dedicated, accessible, knowledgeable teachers I have ever had.
So at some point in August, Jeff and I will be packing up out car and heading out (presuming our car still drives at that point--it is somewhat tired). I've been told by everyone I know how cold it is--but that Minneapolis is also artsy and a bit more sophisticated than Denver, that the parks system is great and the summers beautiful. I'd love to hear more if anyone has good tips about neighborhoods, favorite local coffee shops, etc. I've never been in that region so have no idea what to expect--pretty exciting!
Sunday, June 08, 2008
Listening to Amy and Arantxa
I've long had this blog and often had intentions of updating it regularly with both images of my work and writing about my artistic process. Unfortunately, the finished work I produced during the first year of work at here in school was slow in completion, and the writing followed suit. I've been admonished by two creative friends for the lack of attention to my blog--and am listening to their advice. The updates should be coming at least weekly, and hopefully more!
These two friends also know my financial situation and independently suggested putting a Pay Pal button on the blog, to sell my student work and look for sponsors or donations to help me continue my art education. I'll do that over the next few days and add a page of works for sale.
But first--I am leaving Colorado and the Colorado Academy of Art, and have applied to other schools. CAA has been going through some rough administrative changes (to put it politely) and I felt forced to withdraw from the program to find a more stable, serious program elsewhere that will fit my abilities and needs. This was a tough situation and certainly not an easy decision, but I am learning early on to look out for myself as a professional artist. Perhaps I am lucky to be learning these lessons now--I will most certainly encounter difficult situations like this throughout my career.
I have been accepted at The Atelier in Minneapolis, one of the oldest schools for classical realist painting in the U.S. (formed in the early 1970s). I am very excited about their program! I am not so excited about the cold--but I have heard great things about both the program and the city that more than make up for it. I am also interviewing tomorrow (by phone) with Studio Incamminati in Philadelphia and considering Grand Central Academy in NY. I should have more direction over the next few days. Perhaps the problems with CAA are a blessing in disguise...
These two friends also know my financial situation and independently suggested putting a Pay Pal button on the blog, to sell my student work and look for sponsors or donations to help me continue my art education. I'll do that over the next few days and add a page of works for sale.
But first--I am leaving Colorado and the Colorado Academy of Art, and have applied to other schools. CAA has been going through some rough administrative changes (to put it politely) and I felt forced to withdraw from the program to find a more stable, serious program elsewhere that will fit my abilities and needs. This was a tough situation and certainly not an easy decision, but I am learning early on to look out for myself as a professional artist. Perhaps I am lucky to be learning these lessons now--I will most certainly encounter difficult situations like this throughout my career.
I have been accepted at The Atelier in Minneapolis, one of the oldest schools for classical realist painting in the U.S. (formed in the early 1970s). I am very excited about their program! I am not so excited about the cold--but I have heard great things about both the program and the city that more than make up for it. I am also interviewing tomorrow (by phone) with Studio Incamminati in Philadelphia and considering Grand Central Academy in NY. I should have more direction over the next few days. Perhaps the problems with CAA are a blessing in disguise...
Wednesday, May 21, 2008
Thank you for supporting my dream!
A few years ago I was working on human trafficking issues when I realized that I was out of steam and needed a break from the social services field. I enrolled in a painting class at the Art Students League of New York -- and was hooked! I determined to devote myself full-time to becoming an artist -- but as I continue my schooling the burning need to become an artist has also burned up the funds in my bank account, and I am in real need of sponsors!
I recently enrolled in a multi-year program to continue studying classical art with one of the best schools in the U.S. I strongly believe that all artists should train in the academic tradition. You have to know something before you can break away from it; you need a foundation to build upon. But my bank account remains empty, and sacrificing my studies to return to the job market will set me back farther than I dare to imagine. My art is finally becoming what it needs to be -- making me what I have to be.
I believe in the power of art to connect people and improve lives, and that there should be more artists in this world. Please consider sponsoring me during this formative period of my career. In return I will offer you regular updates on my progress and latest artwork, and insights into my journey as an artist. You are making an investment in the world, which will definitely show a massive social return.
Enjoy exploring the artwork in this blog. The pages contain nearly everything I've produced in classes as my skill has developed over the past few years. Contact me with any questions (or funding ideas) at jillmueller111@yahoo.com.
Thank you!
I recently enrolled in a multi-year program to continue studying classical art with one of the best schools in the U.S. I strongly believe that all artists should train in the academic tradition. You have to know something before you can break away from it; you need a foundation to build upon. But my bank account remains empty, and sacrificing my studies to return to the job market will set me back farther than I dare to imagine. My art is finally becoming what it needs to be -- making me what I have to be.
I believe in the power of art to connect people and improve lives, and that there should be more artists in this world. Please consider sponsoring me during this formative period of my career. In return I will offer you regular updates on my progress and latest artwork, and insights into my journey as an artist. You are making an investment in the world, which will definitely show a massive social return.
Enjoy exploring the artwork in this blog. The pages contain nearly everything I've produced in classes as my skill has developed over the past few years. Contact me with any questions (or funding ideas) at jillmueller111@yahoo.com.
Thank you!
Friday, March 21, 2008
My Paintings
The Atelier
Minneapolis, MN
2008-2010
(click on image to enlarge)
Colorado Academy of Art
Boulder, CO
2007-2008
(click on image to enlarge)
The Cast Painting course builds upon first trimester's Cast Drawing course. We first draw out the general form and shadows of a cast using the sight size method, then transfer the drawing to a canvas. The painting is then built up through several layers: The first few layers are paint without any medium, layed on thickly. Once a layer dries (which takes about a week) we scrape down any areas of paint that aren't smooth (the first layer uses only four values and leaves raised peaks all over the canvas), then add a next layer, increasing detail and the range of values. Once the painting has reached a certain stage, we start glazing with a medium that is 50/50 damar varnish and stand oil. Glazing is also done on a weekly basis, going over the entire painting (but not painting everything) and building up layers.
The final assignment for our color theory class was to create an abstract (or abstracted in my case) painting using an aspect of the color theory. I used used a triad of colors--alizarin crimson, cadmium yellow deep, and pthalo blue-green--to create this self-portrait from imagination.
The Art Students League of New York
New York, NY
2005-2007
(click on image to enlarge)
This work follows a reverse order--beginning with the more recent work and ending with my first painting. All work is in oil, unless otherwise indicated in the description.
For the most part, my painting classes at the Art Students League were held five days a week, 3-1/2 hour sessions, with the teacher coming in to critique work twice a week. Classes were full--these are some great artist instructors--with about 32 students in a room. Much of my personal growth occured through daily practice and watching the better students in class as they worked.
The League has a great atmosphere and history. I have posted links to the League Web site and to those instructors who have their own Web sites.
Bridgeview School of Fine Art
Queens, NY
2005-2006
(click on image to enlarge)
I saw an exhibit of Russian Impressionist art at the Smithsonian in March 2005 and was inspired to seek out Russian training specifically. Bridgeview is a school created in the Russian academic tradition. Classes were held at night, twice a week. This blog was first created in response to my experience at the school (read my first blog entry).
Repin Academy
St. Petersburg, Russia
July 2006
(click on image to enlarge)
I spent the month of July 2006 studying with a group of ten students at the Repin Academy in St. Petersburg, Russia. This was during the white nights, and almost felt like a month of dreaming--dreaming and drawing and painting. The experience in Russia brought me to the realization that all I want to do is be an artist. It is no longer about what I want to do with art--what kind of job I can find to make money using my artistic skills and training--but just that I want to create art for the sake of creating art. And I need to pursue serious study.
Other Work
(click on image to enlarge)
Minneapolis, MN
2008-2010
(click on image to enlarge)
18x22, oil on linen, May 10
20x20, oil on linen, May 10
32x42 oil on linen, February 10
18x24 oil on linen, March 10
18x24 oil on linen, December 09
18x24 oil on linen, August 09
oil on linen, January 10
oil on linen, February 10
This was a shorter pose -- and not the best start. I wish I could say every painting is a success, but it's nice to feel ok about letting some things go in the process of learning and experimenting.
This was a shorter pose -- and not the best start. I wish I could say every painting is a success, but it's nice to feel ok about letting some things go in the process of learning and experimenting.
oil on linen, July 09
This was my first figure in color. I think I had about twelve sessions on this one. I would have liked to have worked a bit longer on it.
This was my first figure in color. I think I had about twelve sessions on this one. I would have liked to have worked a bit longer on it.
oil on linen, October 09
oil on linen, April 09
13x14 oil on linen, March 09
16x20 oil on linen, January 09
Colorado Academy of Art
Boulder, CO
2007-2008
(click on image to enlarge)
Instructor David Larsson. Course: Still-life Painting. May 2008.
Instructor David Larsson. Course: Cast Painting (first painting). Spring 2008.
The Cast Painting course builds upon first trimester's Cast Drawing course. We first draw out the general form and shadows of a cast using the sight size method, then transfer the drawing to a canvas. The painting is then built up through several layers: The first few layers are paint without any medium, layed on thickly. Once a layer dries (which takes about a week) we scrape down any areas of paint that aren't smooth (the first layer uses only four values and leaves raised peaks all over the canvas), then add a next layer, increasing detail and the range of values. Once the painting has reached a certain stage, we start glazing with a medium that is 50/50 damar varnish and stand oil. Glazing is also done on a weekly basis, going over the entire painting (but not painting everything) and building up layers.
Instructor David Larsson. Course: Cast Painting (second painting). Spring 2008.
Instructor Michelle Philip. Course: Color Theory. Spring 2008.
The final assignment for our color theory class was to create an abstract (or abstracted in my case) painting using an aspect of the color theory. I used used a triad of colors--alizarin crimson, cadmium yellow deep, and pthalo blue-green--to create this self-portrait from imagination.
The Art Students League of New York
New York, NY
2005-2007
(click on image to enlarge)
This work follows a reverse order--beginning with the more recent work and ending with my first painting. All work is in oil, unless otherwise indicated in the description.
For the most part, my painting classes at the Art Students League were held five days a week, 3-1/2 hour sessions, with the teacher coming in to critique work twice a week. Classes were full--these are some great artist instructors--with about 32 students in a room. Much of my personal growth occured through daily practice and watching the better students in class as they worked.
The League has a great atmosphere and history. I have posted links to the League Web site and to those instructors who have their own Web sites.
Workshop with Leonid Gervits. August 2007. (unfinished)
Private instruction with Leonid Gervits. Winter 2006-07.
Private instruction with Leonid Gervits. Winter 2006-07.
Private instruction with Leonid Gervits. Winter 2006-07.
Private instruction with Leonid Gervits. Winter 2006-07.
Instructor Dan Gheno. Winter 2006-07.
Instructor Dan Gheno. Winter 2006-07.
Instructor Dan Gheno. Winter 2006.
Instructor Dan Gheno. Winter 2006.
Instructor Dan Gheno. Winter 2006.
Instructor Mary Beth McKenzie. 2006.
Instructor Mary Beth McKenzie. 2006.
Instructor Mary Beth McKenzie. 2006.
Instructor Mary Beth McKenzie. 2006.
Instructor Mary Beth McKenzie. 2006.
Instructor Mary Beth McKenzie. 2005.
Instructor Mary Beth McKenzie. 2005.
Instructor Mary Beth McKenzie. 2005.
Instructor Mary Beth McKenzie. 2005.
Instructor Mary Beth McKenzie. 2005.
Instructor Mary Beth McKenzie. 2005.
Instructor Mary Beth McKenzie. 2005.
Instructor Mary Beth McKenzie. 2005.
Instructor Mary Beth McKenzie. 2005.
Instructor Mary Beth McKenzie. 2005.
Instructor Mary Beth McKenzie. 2005.
Instructor Mary Beth McKenzie. 2005.
Instructor Mary Beth McKenzie. 2005.
Instructor Ken McIndoe. My third painting. Acrylic. September 2004. (unfinished)
Instructor Ken McIndoe. My first painting. Acrylic. September 2004.
Instructor Rick Brosen. Watercolor. 2006.
Instructor Rick Brosen. Watercolor. 2006.
Bridgeview School of Fine Art
Queens, NY
2005-2006
(click on image to enlarge)
I saw an exhibit of Russian Impressionist art at the Smithsonian in March 2005 and was inspired to seek out Russian training specifically. Bridgeview is a school created in the Russian academic tradition. Classes were held at night, twice a week. This blog was first created in response to my experience at the school (read my first blog entry).
Instructor Alex Razin. 2006.
Instructor Alex Razin. 2006.
Instructor Alex Razin. 2006.
Instructor Alex Razin. 2006.
Instructor Polina Osnachuk. After Rembrant. 2006.
Instructor Polina Osnachuk. After Fechin. 2006.
Instructor Polina Osnachuk. After Modigliani. 2006.
Instructor Polina Osnachuk. After Rembrant. 2006.
Instructor Alex Razin. 2005.
Instructor Polina Osnachuk. 2006.
Instructor Samuel Kudish. 2005.
Instructor Samuel Kudish. 2005.
Instructor Samuel Kudish. Grisaille underpainting in acrylic. 2006.
Repin Academy
St. Petersburg, Russia
July 2006
(click on image to enlarge)
I spent the month of July 2006 studying with a group of ten students at the Repin Academy in St. Petersburg, Russia. This was during the white nights, and almost felt like a month of dreaming--dreaming and drawing and painting. The experience in Russia brought me to the realization that all I want to do is be an artist. It is no longer about what I want to do with art--what kind of job I can find to make money using my artistic skills and training--but just that I want to create art for the sake of creating art. And I need to pursue serious study.
Thumbnail sketch looking at value range for painting below.
Other Work
(click on image to enlarge)
Deliberation. 2006. This was my first attempt at abstract art. It and the following work developed from a series of photos of Jeff and a guide ice climbing on Kennicot glacier during our 2005 trip to Alaska.
Descent. 2006.
Watercolor studies.
Amaray Andra Koa. 2005. This was sold at a fund-raising event
for New York City's oldest AIDS hospice.
for New York City's oldest AIDS hospice.
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