REALIST WORKSHOPS: April 2012

Saturday, April 28, 2012

One hour Demonstration by renowned figure painter and head lecturer at the new York Academy Steven Assael

Thursday, April 19, 2012

About

My work and what I teach in my classes at Realist Workshops is largely process based. The core theories and principles I use derive from two decades of experience within the arts and learning under teachers in New Zealand and abroad. The international movement of Classical Realism and Restructured Realism have been influential on my current practice. Despite aspects of Eurocentrism their main focus is creating art that concentrates on achieving a sense of beauty that can be achieved through an artist’s rigorous observation, sense of nature and the seen world. Human physiology, psychology and scientific investigation of natural phenomena is imperative in this field of study.

Each completed work will go through a series of preliminary exercises and studies from life before completion.These studies are designed as exercises to enhance an understanding of light effects, atmosphere and 3-d spatial awareness. The exercises also facilitate to train the eye in seeing and therefore aid the visualization of an idea before embarking on the final work. These methods are described as hand eye mind coordination training (Jacobs 1988, 1991). These are outlined briefly as principles that I adhere to below:

· Gesture: Comprehension through observation and intuition of matrix, proportion and rhythm of forms as expressed by the living model. Curvilinear hand and eye movement.

· Block-in: Envelope large to smaller shapes using triangulation, shadow shape recognition. Comprehension-- from the general to the specific-- of contour / outer edge.

· Form painting: Comprehension of plasticity of form through detailed analysis of sub-structures specific to the whole structure and visual field.

· Poster- study: Comprehension of abstract tonal and colour relationships of visual field. With an investigation of saturation, hue, chroma and value of visual field.

· Compositional poster: Comprehension of abstract tonal and colour relationships of composition.

· Rounding studies: comprehension 3-D spatial awareness of visual field

· Monochrome study: Further clarification through gesture in paint of tonal and compositional relationships

· Plein-air study: comprehension of land terrain, flora, atmospheric effects, light; differing seasons, times of day and meteorology weather patterns

· Ebauche- Figure oil colour sketch: semi- resolved colour sketch that aids in pictorial vision and direction.

With my academic training I have aimed to incorporate methodologies of plein-air landscape painting, life drawing and pictorial composition to suggest archetypal narratives relating to my immediate environment. If given the chance I enjoy sharing my experience as an artist and teacher with students that come to Realist Workshops. I find this experience reciprocated in our learning together.

Zarahn Southon

References

Jacobs, Ted Seth (1988) Light for the Artist. Watson-Guptill

---------------------(1991) Drawing with an open mind. Watson-Guptill

Ryder, Anthony (1999) The Artist’s complete guide to figure drawing. Watson-Guptill; 1st edition

Exhibition of Louise Grieg at Aigantighe Gallery

Louise Grieg has attended classes at Realist Workshops since 2008. In 2010 Louise was part of a small group of artists that attended private sessions every week at my studio. It has been really great watching Louise's development.

This is Louise's first solo show and is held at Aigantighe Art Gallery Timaru. http://aigantighe.org.nz/photo-gallery/10-years-nz-hat-hair-art-louise-greig-from-the-shadows

The exhibition consists of a series of portraits, full figures and still life. She poses friends and family in costumes reminiscent of past eras. Louise's interest in religious iconography is evident in the show through her take on Caravaggisti master painters such as Guissepi Ribera, Francisco de Zurbaran and south american naieve art.

Wednesday, April 18, 2012

THE FRANK REILLY SCHOOL OF ART

Frank J. Reilly A.N.A. (1906–1967) was an American painter, illustrator, muralist, and teacher. He taught drawing and painting at the Grand Central School of Art, and illustration at Pratt Institute and Moore College of Art. However, he is best known for his twenty-eight years of instructing at the Art Students League of New York and establishing the Frank J. Reilly School of Art in the early sixties, where he taught until his death in 1967.

Interesting insight into the teachings of Frank Reilly here:

http://todaysinspiration.blogspot.co.nz/2008/05/frank-reilly-highly-intelligent-complex.html

http://dhfa.net/reillyschool/

http://ennisart.blogspot.com

Class Demonstration 2011

One Month Full Figure Intensive 2012 - Student Work

This was a great workshop and was the first one month intensive I've taught.We were life drawing and painting five hours per day five days per week for one month. It really was rewarding to work with everyone in attempting to understand the figure using Gestalt thinking. It was very cerebral.

The first week primarily focused on multiple drawings adhering to principles of block-in, gesture, inner curve and action. The week began with quick block-in drawings of 10- 20 minutes progressing through the week onto longer poses.

In the second week I introduced Poster Studies and students worked on 3 - 6 hour poster & rounding studies in oil concentrating on planes, light, colour and tone.

By the third week students were warmed up and ready to start two long pose paintings. They started with preliminary drawings and colour posters before embarking on the final painting.

Thanks to those that attended and also to two very patient models Ludovick and Leila.

Zarahn