On March 9th my online workshop with the Tucson Art Academy will begin. It's a 4 week workshop focusing on architecture and street scenes. There are still a few seats left, but seats are limited, check the newsletter below for more information.
On April 7th I'll be teaching a workshop in Texas for the Outdoor Painters Society. I'm looking forward to teaching at a ranch in Rockwall, Texas. We will be focusing on simplifying your approach to outdoor painting.
Then on April 11 I will be the juror for the Plein Air Southwest 2015 at the Southwest Gallery in Dallas Texas, also put on by the Outdoor Painters Society. Should be a very good show, if your close by please come out and see us.
I'm getting ready for an upcoming show at the Grapevine Gallery in Oklahoma City in April, I'll be bringing some pieces from Wyoming and Southern Arizona. The California Art Club's Gold Medal Show is also in April, I hope to see some of you there.
Phil Starke Studio
Dwight Tryon 1849- 1925
One of the most prominent of American Tonalist painters, Dwight Tryon was born in Hartford, Connecticut in 1849, but lost his father in a gun accident at an early age. Though largely self-taught, he achieved enough early success painting in a Hudson River style to afford a trip to Europe in 1876. In France, he studied with Henri-Joseph Harpignies and J. B. Antoine Guillemet, but a decisive event in the evolution of his style was a summer spent studying with Barbizon artist Charles-Francois Daubigny. Upon his return to the United States in 1881, he took up residence in New York City. His search for more picturesque settings, however, led him to the fishing village of South Dartmouth, Massachusetts, where he summered and eventually built a small house. Among the artists he met in New York were Thomas Wilmer Dewing and Robert Swain Gifford, with whom he remained close friends.
Like many of his Tonalist peers, Tryon preferred intimate and lyrical low-light landscapes of rather simple composition. In a statement quoted in a biography published shortly after his death, he summarizes the method which gives his work an uncanny dynamism: "Often in painting a bit of sky I will put blue on it and scrape it off; I will put pink on it and scrape it off; I will put yellow on it and srape it off; I will put green on it and scrape it off, and my sky will look almost white-but it isn't, for it will have in it the vibrations of all those colors."
The New York Workshop Has Been Scheduled
Details are up for the 2015 New York Central Park Workshop. The workshop has been schedule for Sept. 3, 4, 5, 6, 2015. I've added a fourth day to the workshop with the first day being a visit to the Metropolitan Museum of Art where we will study the plein air and studio works of John Singer Sargent, Willard Metcalf, Corot, American and French impressionists. The goal at the museum is to glean some understanding of how these painters simplified, used values and broken color. There's a lot to learn at the Met so it's a great place to start.
On Friday, Saturday and Sunday we will be painting in beautiful Central Park. The subject matter is breathtaking with gardens, lakes, flowers and endless trees and figures. The quality of light is beautiful, whether it's sunny or cloudy. All the details are on the New York Workshops here: New York Central Park Workshop
The Difference Between Painting Outside and in the Studio
One of the problems students have in a plein air workshop is trying to make their paintings look like a studio painting. For me painting outside and painting inside are 2 totally different approaches.
When I'm painting outside I'm in practice mode, more so then in the studio. I'm gathering material for larger studio pieces, trying different approaches to color and brushwork and responding quicker to what the light is doing to my subject. Detail is at a minimum, I do better if I set a time limit to keep things simple and to the point.
Studio painting is more methodical. I spend a lot more time composing and recomposing my subject, more so than outside. Design becomes really important, it's what carries the painting. I will also give more thought to a color scheme or mood that I want to create, outside is more about responding to what's there. Work in the studio generally has more broken color and more attention to edges.
The big difference is the atmosphere, being outside and seeing real color as opposed to being inside with photo references and color sketches. It's a different thought process. I like both equally, they just have different purposes.
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Exhibitions & Gallery Shows
Settlers West Summer Show
May 2, 2015
Settlers West Gallery
California Art Club Gold Medal Show
March 29 - April 19, 2015
USC Fisher Museum of Art
Los Angeles, CA
Grapevine Gallery Annual Drunch
Oklahoma City, OK
Buffalo Bill Art Show and Sale
September 21 - 28, 2015
Buffalo Bill Center of the West
Traveling The West Art Show
October 22 - 24, 2015
Registration Closes Soon for Online Workshop with Tucson Art Academy
This workshop begins on Monday, March 9 and runs through Monday, April 6 with Tucson Art Academy Online. So, there are only a couple of days left to sign up. Seats are very limited.
If you've never taken an online workshop, now is the time to try something new. I've taught many physical workshops over the last 25 years and if you've been in any of those workshops, you know I put a lot of energy into them. I also put a lot of energy into the online workshop as well, with some unique benefits that were never possible with a physical workshop. This workshop has no borders. If you're not able to travel to take a workshop with me, this format allows me to be in your studio working with you for 4 weeks.
I've had a lot of wonderful feedback from this online workshop about how painters really enjoy this format, it's strong educational content, and it's flexibility.
More information and registration can be found on the Tucson Art Academy Online website.
I look forward to working with you in the workshop.
Copyright © 2015 Phil Starke Studio, All rights reserved.