Silvio's Corner-A blog from Silviosilvestri.com

Quick Draw Tips

2011-10-16T08:38:00.001-07:00

In the painting to the right, I thought how I could make painting easier for myself and would pass this tip to my blogger fans (all 5000 of them). Naturally, in a quick draw we have only 2 hours to complete a painting. I have been doing them so long, they become second nature to me. In other words all paintings are quick draw to a degree. My smaller studies are just that;capturing a mood, feeling, impression of the subject area without too much detail or finish work. On my larger work, that is another thing altogether; I take my time, do detail, finish as needed. Anyway, it dawned on me that an effective painting (like Michele Byrn's award winner of the show) could be one tree, two people and an umbrella. Keeping it simple with just those three items was my goal. Of course, I had other goals like good lighting, color, and drawing the figures ( only three) but in two hours, how much can I get done? So I went at it.

The three umbrellas above are the outcome. I am fairly pleased with this because I kept all the mid background colors neutral, allowing the figures and light in the tree to pop. Tip? When you want an object to jump out and draw attention, keep all adjacent color notes back or in shades of grey. The highly colored areas will, therefore, come forward or 'pop' as we artists like to say. BYW the mid area is where you want all action and best color to appear.

Handling the light was critical as well. I designed the light to cascade from left to right, down in a strong direction, splashing on the figures who by the way I had to coax to sit for me and model with a cup of coffee. Turned out a nice family dropped in willing to assist me in this project--they were perfect. Hubby didn't want to do it but his wife was the mother of two child models so she was sympathetic to my cause. Anyway, my thoughts are strong light, good color, two or three main objects. Of course I managed to make it more complex, in spite of this goal and added bright lite trees and a few other odd ends but I kept it to a small roar. It sold, happily to a lady who loved it at the auction, always caping a happy end to this adventure but we had lots of fun throughout this event. If you have't ever attended one, you should go. If you enter one, try keeping it simple--two or three objects done really well is enough, good light and stong color coupled with neutrals. You will do well! On the second thought, these tips may apply to all painting now that I think of it. Humans tend to over muck things and make them complex--the viewer feels this complexity and it is turned off. I just left the palm springs art museum who had an Edgar Payne painting--very simple. A large cliff in light, small shadowed cliff and three native americans. Yet the painting was excellent!! Most of the great art historically are very simple--one person smilling, two sailboats, etc.

Lastly, have a goal for yourself on every paint outing. I set out to do good greys or neutrals, unusual composition, or great color. This will help push yourself to improve--have a painting buddy where you can get critique from, send your images to teachers who offer that service (like me for a small donation). Go to a museum and study the masters asking yourself how did they mix that, what was they composition, can I do that? Well, share with me if these things help. I would love to hear from you.

Time Management

2011-08-25T06:53:00.000-07:00

This post reflects two divergent thoughts when it comes to time/devotion/obsession/balance or whatever we do with our time. One is expressed by my friend and colleague Stape Kearns who believes art is all . He states" I get up and paint all day, sleep then do it again the next day". I took lots of flak by readers when I expressed another viewpoint. The Artists Way challenges this view expressing the opinion of balance. What are you precepts about successful art? Do you feel you must be poor, overworked, alone, etc? This viewpoint emphasizes balance and positive thinking. Thus, you can have friends, support groups, wealth, energy, etc and be a successful artist. Being in the health profession for many years highlighted the need for care to our mind, body and spirit. I have witnessed various artists drop dead needlessly because of heart disease or suicide. Both these conditons are treatable/reversable. Simple obsession and putting miles of canvas behind you may be not the only answer. Artist way recommends starting with a journal every morning with your thoughts and feelings--a way of centering. Personally, I engaged in a new diet two years ago as my triglycerides were off the chart and an insurance carrier denied my applicatoin.( I used to eat junk food, supersized it) I became a believer in Dr Fuhrman, eating cruciform vegetables and I literaly changed my chemistry panels into the healthy range for the first time ever!.

I pray a lot and develop a spiritual life as art is a gift to share and I excersize three to five times a week. I do marital arts and yoga so all of these things are part of my time management. Alas, I read books on art, study master painters from the past, try to forget what other artists are doing and focus on what I am doing. The internet is a great tool for seeing who is doing what but I sometimes give up my own voice in lieu of others--a poor choice. I have two or more weekly support groups and I take time off when I need to and vacation with my loved ones. I guess I am healthy, certainly better than I was five years ago. Sometimes I put in three hours a day painting and other times ten hours. It depends on my energy or chi as the eastern martial arts describe. But I might not paint at all and reread Hawthorne, Carlson, Henri, or Payne.

I don't know what the answer is. Stape's approach is working fine for him. If that fits do it. If you want a more balanced--perhaps less obsessive healthier way in my view, try my approach. I know I was prediabetic, heading for an early grave and by changing my eating habits I have extended my life much longer. Write me for more details if you like on resources mentioned in this blog. Deepak Chopra recommends meditation on Who you are, what is your purpose, what makes you happy(I add how can I please God). You don't need to answer these just think about them. Finally, prioritize your activities into most important, least important and middle. See how much time you are spending on each category. Naturally creating great art is my # 1 but I must do marketing or hire others to do it. Least important it grinding my own oil paints or stretching canvas. Don't have time for that so scratch it. Get the idea? Hope this helps--question or challenge me on these opinions or say what you have found that works. Happy painting!

What is Your Purpose?

2011-07-24T05:52:00.000-07:00

This blogs simply raises questions rather than provides answers. It will make you think. Painting last thursday with my friend Rob, we pick very different paintings then discussed them. I wanted to compare and contrast the two.
The one below is mine. I liked the historical funkyness of the truck and blend of colors. Rob, on the top, wanted to paint peace. What is better? Do they both convey what was intended? Do you want to make a similar statement or different? Therefore, my "funky" painting (my statement) conveys that to you or something else. (hopefully, not disgust). Robs intention, created by larger masses, subdued color may convey peace to you or something else. What are the purposes of art? Of course they are endless to the imagination--hatred, love, peace, condolence, mood, excitement, despair, wonder, majesty, granduer, nature, house, comfort, disgust--you name it. They can all be there.
I like excitement created by contrasting colors and unusual design. Is my design unusual? Probably not. My colors are exciting perhaps. So I can take this small study (11x14) and blow it up larger improving the design or take this as a learning time and focus on design next time. Certainly, this old truck has sloping angles, showing the age and history. But what do these contrasting paintings say to you? If you were to paint them, how would you do it?
Getting a second opinion always helps. If your unsure, ask friends, teachers, family members. See if what your trying to convey sends the message. My wife used to say, " I hate it, it makes me angry". Now if that was my intention, then great but often it wasn't and that made me critically examine my work. While untrained, she had a visceral response (a gut reaction) that was important feedback which other viewers may have. Upon relfection, the work usually had too many broken masses or angles that didn't work. I know it is hard (all of us sensitive artists have fragile egos) but if your going professional or want to improve your work, get a thick skin. There isn't a week that goes by that I don't experience some rejection from a gallery, critique, or other party. But you know what, if I use that information to improve, you can gain from it. Well, these paintings are for sale. If interested, email me. Hope your art improves and you learn from this blog and have fun. Get to some funky trucks, rusted out old heaps of metal and paint!!

Still Life

2011-07-13T14:44:00.000-07:00

The still life is an opportunity to bring out your favorite colors and shapes. Selection comes from within yourself; maybe a flower, a doll, a lollypop, the items are endless. I am mostly traditional, especially in the piece above. I love the spout on the vase, the yellow and orange flowers. I picked the background; a mauve grey t-shirt because it seemed to work well with this arrangement. I also tried blue, pink and green-none of these worked as well as the neutral gray that I ended up with. Arangement of flowers. This is critial--try to place them in various directions, all away fron the viewers eye. In other words, right and up, left and down, middle and slightly left. Lighting is also critical. Have it to the side or backlit, not head on as it will flatten out. Show the table, put in objects at differing angles.

Unlike the landscape, this motif for the artist allows you to completely place and arrange all the objects. Put in things that are meaningful to you.I try to paint loose but your technique is your own. In either case, don't tickle a painting to death--that is stroke it all smooth, covering up your intial brush stroke. I recommend loading up the brush, making one stroke and leave it. Of course, if it is not correct, you can scrape and redo it but the point is many amateurs go over and over, obiliterating the paint, smoothing it all out. That makes for a boring outcome.

Why onions and garlic? I don't have a clue. The basket was there and I thought the onions have such an unusual color--that white yellow, green pastel type colors make for a challenging oil painting. I played with greens, gray, pinks and various shade. I like the russian painters who painted garlic that I have seen in Carmel. The red orange flowers were exciting for me to paint, along with their sense of light. Look for my new U tube movie on oil painting. Should be out by July 15th.

The Value of Detail

2011-06-06T12:26:00.000-07:00

I know, youre asking yourself, what is a impressionist painter like you talking about detail. The old adage you have heard in your class is when painting a bush or tree, "just block it in". Of course, most of the time that can be true. However, you can teach an old dog new tricks. According to my recent workshop with Calvin, detail adds a lot to a painting and should be used sparingly. Helps helps bring the eye to focus on the focal point. Other areas, of course, mass and blur, (soft edges) non important areas. Look at the painting above ( by the way, my wife likes this so it must be fairly good) where the leaves of the tree are individually laid in. It draws the eye twoard the boat (center of interest). Converesly, the background trees, above right, are all soft edges, grayed down without detail. It sends it in the distance in contrast to the dark leaves nr boat. The dark leaves come forward.

Such movement in and out, forward and backward should be in your thought or strategy as you develop your painting. With the use of detail, you can creat this in your painting. What else do you see in the painting that attracts your attention? One I see are the two figures. These are what I call secondary points of interest. I keep them loose and suggestive, very little detail or the painting would have a tendency to ping pong, bounce the eye back and forth--somthing you want to avoid. Well, write me and let me know if your learning anything or your paintings are improving. I am interested.

Creating Tension

2011-05-15T16:33:00.000-07:00

This painting, measures 20x16, has one theme or idea--tension. The bow of three boats intersect, one source of tension, but the more obvious source are the two fisherman. I constructed these to pull in opposite angles. Of course, they are doing something--more interesting than standing stiff and upright, one of my pet peeves in figure painting. What do you see of interest?

Secondary interest points might be the background where light is suggested and very high key compared to the dark green boat. There are clashing colors as well with cools and warms. Also note the big shapes-I tried to place outstanding loose color in complimentaries. So contrast in shapes, color and figures help to make this painting interesting.

Something I have not used is edge variation--soft and lost edges that could be employed to make this even more successful. Also the pink hi key water is unusual from the more common blue or green water. When you use unusual color in an area you will create interest-the viewer will have to compute and think--either this is damn good or terrible but it least it makes them think--that is good so use unusual color schemes whenever possible.

That is about it. I am tired from a week workshop with Calvin Liang. Very good stuff and I recommend him highly. Next time I will discuss color theory with Munsons color wheel.

Persistense-Keeping dogs around

2011-04-26T21:51:00.000-07:00

Ken Backhaus,a member of the Plein Air Painter of America. once told me to keep my bad paintings around, I will learn more. The painting top left is one that sat around in my studio over a year. There was a third boat in the middle, making it cluttered and the sky was the same tone as the boats-hence they got lost. In other words, the painting had a lot of problems. Successful art may mean working out a bad design. I am not sure why it took so long but it turns out to be one of my favorite paintings. After I eliminated the middle boat and lightened up the sky-bam, it worked. Everything fell into place. The advice for this column is that if you did a painting that isn't quite right, keep it around for a while, maybe you can work out the kinks.

Of course, you can ask friends or a teacher how to improve it but sleep on it, ask yourself what it needs;play around with some paint telling yourself no big deal, if it doesn't work, you can wipe it off and start all over again. That is the luxury of oil paints compared to watercolor which is a do or die thing. The second part of the lesson is persistence; if something isn't quite right, hang in there, maybe you can salvage it as I did. If you don't succeed at first, try try again. I knew the statement I wanted to make but I wasn't doing it then I started to ask myself, "what can I so away with?" What do I love the most? I knew I liked the lower right boat very much. The upper left one had the figure, so I wanted that. Thus, the middle one was gone.Then came the light in the sky, everything began to pop and that was what I was looking for. I can analyze why this painting works but I want to address the intangible-feeling, that a painting may have something you can't put a finger on. One of my dead mentors was Sergei Bongart. I heard one of his students tell me the story when he was shown a very technically correct painting and compared it to a not very good one and he liked the later better. My friend asked why, he said cause the second one has feeling. This is why the Russian impressionists are my favorite--there is passion and feeling in their work. Is strive for this and I invite you to do the same-your work will improve and connect with other people more.

Perhaps that isn't something you thought of before. Lot of people who like my work say it speaks to them, has bright colors. Hopefully it has feeling in it too. Anyway, ask yourself what you feel upon looking upon a painting. If you are reading this blog, you like my work for some reason. I try to put mood or feeling in my work, making it alive.

Design-Uneven Intervals

2011-04-18T11:07:00.000-07:00

Greg Albert has written a book on design that deserves mention. His main idea that everyone can remember is no interval should be the same. With this dictum, you can make your paintings stronger. In the Santa Barbara ranch house on the left, you will find a line showing the uneven distribution of lines with the mountain, orange tree (focal point) and dark foreground oak tree. Note the placement is uneven in all respects, including mass size. According to Greg, a painting needs a focal point and a focal area, the former should be the brightest colors and sharpest edges. The Ranch House meets this criteria and the dark oak? Well, that is known as a foil, a device designed to add perspective. It may have been there or I made it up, I can't remember now but it adds an interesting element to the painting.

The coastal rock painting is another example of good placement of masses and line design. The strong dark sharp on the right is one line, distinctly angled differently than the mass on the left, in light. Notice the simplicity in design, this painting is large, 20x24, but effective. Other thoughts in good design--what is the statement? In coastal rocks it is sunlight. In Ranch House, it is mountains. Although the viewer may have different views, at least this was what I had in mind at the time of the painting. Sometimes the statement will be colors, or grandeur or peace and mood. Of course, it can be anything but let your painting state one idea.

Lastly, why do you paint? To create, to fill in time, because you're still in childlike state wanting to play? Is it a calling from higher up? I have toyed with this question since reading Richard Schmid's blog years ago. I know several days without painting and I go slightly insane , blubbering to myself like an idiot. Seriously though, it might be useful to identify your motivation. One time, I went without painting for weeks and I dreamed of eating cad yellow and cobalt blue--after all, they are delicious colors aren't they? Well carry on, if you got something from this, comment. I would like to hear from you.

Building a Taboret

2011-04-12T07:47:00.000-07:00

After several days of tough manual, skilled labor, my taboret is completed. I did mine in Maple, a hard wood that will last and not ding or sag easily. One of my mentors, Brian Blood, who was gracious enough to send me his plans, had this in oak and I loved it. Picture this, all the room for oil paints, big pallet (18x30 or 40 if you want). Shelving underneath for extras, nice open draws for tubes and brushes. This is the quintessential accessory for your studio. It took about 80 bucks in wood and screws and , of course, a home styled carpenter (me) so if you're good with your hands and have some power tools, make it yourself. Otherwise, I have the plans above or can email them to you so your friend or hubby could do it.

Be mindful that Taborets cost from 400 to 3000 so this is an expensive equipment but if your painting big, like I am, something like this is a necessity. Another teacher, Terri Miura has a smaller version ( his is shorter than me, I am six foot) that is about one third mine so you can modify it to suit. I like the large brush washer to the right and have added ( not in pic) a lower shelf and paper towel holder.

Welcome to new (friends) fans and hope you learn from this blog. I will discuss motivation later, but I am in a funny funk. I did really well in my last show, ( Indian Wells, ca) so I don't want to paint from fear that I can't do that good again. Usually, I am in a funk because I did so poorly, whats the use (hopelessness). Anyway now I have such high expectations of myself, I am nervous about not doing really good art. Go figure, I am like a yo-yo inside-a typical melodramatic nut. It was really nice to get away from art and build this table for myself--A complete distraction.

If you're like me, you an art addict, at it every day, new ideas, creating, fun. But I have also been pushing myself to improve the last few months, studying from other artists, etc and my bar is really high now ( and so is the pressure). I will return to painting today but what frustrates me is I want to bat 1000 percent. It just doesn't work that way ( meaning I want all my paintings to be a success). Charles Movalli, a painter back east once alluded to the outcome of successful art being one in twenty. So okay, I am not perfect and no artist is ( even Monet had paint overs). I must accept that and move on and be ready to wipe off failures. I don't have clue what this does to building taborets but it is a nice side topic to discuss. Perhaps you have issues like this. Please comment, I would like to get a dialogue going so we can discuss these issues and all learn and grow to become better artists. The beauty of cyberspace is that we are a artist community--around the world-- and can help each other.

Wild Color

2011-03-23T12:22:00.000-07:00

Farm animals are a subject matter that brings joy to many people. It also can be an excuse to get really wild with color. For example, Roosters have a variety of color, usually very harmonious and fun. But also, notice I have not abandoned basic principles, like values. All good artists will always keep a sound value structure (also called Notan) in order for the subject to read well.

In the painting on the left, I have neutralized the background because there is so much color in the rooster, anything in the background would fight with the main thing, Mr Rooster (or the foreground). Also, the brush strokes mimic the direction of the feathers. Most impressionists or contemporary painters are not going to paint 5 million feathers--boring and not an exciting product. By suggesting, you invite the viewer into the painting to finish the process. By defining out everything, it is boring because I can see a photo by myself--who needs the artist. Therefore, by massing in the main body and softening the edges, you create the feeling of feathers to impliment the sense of reality in this bird.

Another tip on brushwork, keep the brush strokes large and loose whenever possible. Create a shadow even if it is not there. Drag the brushdown (or up) and away to create the whispy (feather feeling) on the bird. Of course, the colors on this guy were great. Ask yourself, are the colors (or strong blacks and white) interesting. Look and observe--there are subtle blue greens (I used Viridian) or burgundy (quinacradone rose is good) within this animal. Build in strong contrasts by making the background opposite the foreground. For example, if the bird is black, make it white. If white, darken the background with grass, barns, etc. Be sure and put dabs of these strange and unusual colors that are typical in roosters. Small note--have a leg up, adding movement as opposed to simply standing still. Can you have any more fun that this? Let me know if you enjoyed this painting or information. Next time I will show a portrait of a cow.

Design

2011-03-03T11:26:00.000-08:00

12x16 Pacific Grove Iceplant Right, actual area

Reconstructing from nature is important when considering design- the interesting placement of objects and material so the eye can go back into a painting and enjoy and its unique characteristics. The painting Ice Plant, below , didn't look that way. In fact, you can see the actual landscape on the photo in upper right--not much to work with, huh? There was a big blob of ice plant on the right with a nice shadow but that was it. By making a path and having the upper left trees go back via graying pushing them into the distance, I created a much more interesting picture than mother nature gave me. The tree on upper right I pulled down, forward and enlarged it. I also developed a path so the eye would go up and back. In other word, don't be a slave to what is front of you. Move things around, push em back or forward for interest.
Paul Strisik was well known for this. He was an artist back east, died some 10 years ago but he would have a most boring bottom third of a painting before him and changed it to fit his design. One student asked me if it was okay to change the subject in front of him-not only is it okay but important and necessary. You are the creator in your painting--occasionally mother nature drops you jewels where you needn't change a thing, but that is not the rule. Enlarge, shrink, push back your subjects to arrange a better composition. The rule is have a way to get into a painting, leave and stay in a painting. You will have better art that way.

Figures en Plein Air

2011-02-14T11:29:00.000-08:00

This painting, Harvest, is only 11x14, as a primer for a larger piece. When including figures in your work, you want to think of several things. Do the figures look cutout? Sometimes there is failure to bring the prevailing light into the colors in the figures. If the sky is mostly yellow, make sure you place that color in your figures. Of course, the second consideration is correct drawing--do the figures have a gesture (bend or curve that is natural and interesting.

Often the mistake beginners make is that they are too stiff. Have them doing things. I ask myself what is she doing, how is he holding onto the load, does it show the weight, balance, etc. Arrangement; are the people is a pleasing order, low to high, forward and backward. Is my painting successful in this category. One painting I remember from my trip to Russia is how the impressionists would use figures as a lead in. Very unusual in western art, yet highly interesting technique.
Perhaps equally important is what direction are the figures looking. Have them go in different directions, most of which go into the painting, not out. My own preference is to keep them loosely painted. That doesn't mean throw proportion out the window but try doing two strokes for an arm instead of ten. Suggest, don't over define--that will take the life from the painting. Are the skin tones dark enough with warm tones that indicate truth or honesty. Perhaps workers aren't cool to put into the painting. I think they are but that is my personal preference.
Finally, look for harmonies in the entire painting. The example on the left has a secondary color scheme- orange, violet and green. Therefore, to have your figures pop, use a primary like blue. While I might push some of the secondary colors into the blue to make it connect, it stands out because blue is non harmonious. Can I get away with this nonharmony? Of course, in fact it breaks up the secondary scheme somewhat but make sure it doesn't destroy the harmony in the overall painting.
Mass distribution? That is an important principle. Notice I have the wagon sliding to the right. It might be too precarious if I didn't have two things to counter balance it--the worker in blue holding it up and the tree upper right tilted to the left. These small things make it balanced in my opinion. You may disagree but I like things unevern. Brings in excitement and dynamism..
To sum, consider the following factors when bringing figures into your paintings: prevailing light color, perspective, gesture, overall harmony, mass distribution, dynamism, and facial direction. Use warm skin tones and suggest, don't tickle with the brush and overdefine. Okay, that is about it. I know it sounds like a lot but I have been studying this stuff for 20 years and my knowledge mounts up. Read Andrew Loomis on figure drawing and illustration; free on line PDF file. If you do these things, your paintings will improve. Good luck and remember my critiques via email. Having a teacher assist you can be an invaluable process.

Use of Greys

2011-01-23T17:30:00.000-08:00

Most people, including myself, have a hard time understanding tonal, greyed down color. I have a friend of my whose wife says," Have you mastered greys yet? " as a joke. Mastering greys is a lifelong ambition but what I am trying to get at is most master painters don't use color right from the tube. To get a grey color, the old adage is to pick a color and add its compliment. For example, if you have orange, add blue to grey it down. Another, probably more useful technique is to have a mother color, a grey collected from your last scrapedown, and add small tincture into each color to the canvas. This will be a natual harmonizer, (bringing all colors into a pleasant interrelationship). This coastal from Big Sur is all greys, creating a sense of atmosphere typical of fog along the coast. The strongest color is up front, in the yellow bushes on the left and the rather strong blue-green below the large rock on right front. This brings the foreground forward, the rest is pushed back . To make an element in your painting recede in the distance, add cool and grey tones. Also, think of dividing up your major masses into thirds. ( I thank Ron Rencher for this approach) This also helps in keeping things simple and arranging all the elements mother nature reveals to you outdoors. So work at values, understanding the lights and dark tones of your painting and it will get stronger. Bring greys into your painting--green grey, blue grey, mauve grey, brown grey and you will have better harmony.

Positive Art Thoughts

2010-12-04T10:09:00.000-08:00

Since reading Jack Whites book, Fear of Art, I have been struck by the valuable contribution of he and others who address thought patterns as they relate to the world of art. In my own thinking, I have negative thoughts like, " I can't paint what I want" or, " I can't make it successfully, I will have lots of paintings and store them up so after I die, they will discover me". These and other negative, victim type thoughts are actually prescriptions for how I live my life. Obviously, they have negative consequences. I have been identifying these and canceling them with improved positive thinking like," I can paint anything I want" and " I can be successful in my art and financially sound" and " Who cares after I die, let's make it now" . I am not sure where these will lead me but they will probably have a better outcome than the former.
I had a student ask me, "Can I paint this?" Of course you can paint anything you want, I fired back. Many of us who came from moderate or severe dysfunctional childhoods were shamed when we were young, stifling our inner urges, creative intelligence (psychologists finally have labeled this as an valid indicator of "smarts", and ability to express ourselves. These old messages can be replaced with new messages that are upholding, validating and supportive. Try saying, You are well loved, You can do anything you want to do, or you are a creative talented person, capable of great art! Such new positive thoughts are bound to take you to a better outcome than shame based thoughts. I have notice an improvement in my work since I began this program a month ago based in Joyce Meyers book, Power Thoughts, where she encourages this process from a Christian perspective. I will put a plug in for my ongoing favorite blogger Stapleton Kearns. He writes daily and on artists I have always admired (Sargent, Zorn, etc) and topics of great relevance. Check him out. Let me know if this helps you by commenting.

Whimsical portraits

2010-11-01T12:20:00.000-07:00

Perhaps because of the season, Halloween, I am extra whimsical in this painting showing the Venice Carnivale, a time in spring where everyone dresses up in masks and historical italian costumes. I love the colors and unique masks that are somber, erie, yet provoking and interesting. Note how the mask follows the same undulations as a persons face, yet is removed and strangely beautiful. There is the minimal amount of "landscape" where the figures dominate. There are two distant figures and a gondola so everyone knows where this is (Venice, Italy). Keeping the hands soft was a huge challenge, something Bye Bytney taught me, it is known and deconstruction; you paint or render the object, in this case hands and a purse, then scumble over it to eliminate edges. The end product becomes mysterious and suggestive, making the viewer go to the more interesting parts of the painting. Impressionism leaves so much room for experimenting. If you don't like the look, render it again. Don't ever be afraid to go over and over a painting; one thing Dan Hatfield teaches gained from James Singer Sargents notes, but not to the point of killing the spontaneity. Also, note the amazing amount of interest just by a cook, angle of the head that is facing you. These small gestural tweeks can add so much to a painting, keeping it life like. People angle their head, not everyone keeps it stiff and upright. In my class on Fridays, we have a live model where I now teach the subleties of portriature but abstracting the portrait, as in this painting, is such a fun, good exercise.

Counterpoint in Composition

2010-10-15T11:04:00.000-07:00

I am doing this blog on developing oppositional lines and angles within the structure of a painting. While doing a show in Utah, I was exposed to the work of Steve Sanger, a Park City artist who has multiple pitches in his paintings. This creates a fluid, poetic motion in a painting and is difficult to create without forethought. To obtain this motion, one must start with a line up from left to right, then have a focal point back to the left so the eye zigzags if you will. Always have curves, it is a counterpoint in direction, not light as the term often implies. This kind of motion has a singsong effect, good movement and captivates the viewer better than straight lines going in the same direction. Notice the green and earth tones are not even clear. Are they grass, vines, ? Who knows, leaving it abstract in the bottom third of the painting leaves mystery because you don't want the viewer to spend time there, merely open the door for them. This is an 11x14 (sold) of a Murphys, California vineyard. I have had this in mind for over a month, then saw this scene and immediately got out of the car and painted, esp difficult because my wife was in the car. Sometime I will do a blog on spouses (oh how they suffer) that you may want to share with yours. New classes starting up in Newcastle, Auburn area so join us!! Live model to draw and paint!! So, in sum, design your painting with curved lines that sway back and forth for a more interesting product.

Myths of Plein Air Painting

2010-09-09T07:02:00.000-07:00

One myth about plein air painting is that artists setup their easel and paint in one and a half hours. Sometimes true but other times a particular subject may take a year or more in the making. The subject to the left, settlemeyer ranch, in one example of the latter. I found this very difficult and didnt tackle it until a year or more in my brain. Maybe I needed to be inspired more to do a white house with shadow. Maybe I needed confidence to do a soft mountain in the distance. Maybe increased skill in water. Maybe all the above, but the point is, while I have painted outside for 15 years, I am still growing and learning. A studio artist asked me, after painting outside for three years, if I had it down (learned all there is to know about outside air painting) and now get to the serious business and paint back in the studio. I hope and don't think I will ever get it all, that I continue to understand reflections in water, under the bushes, softness in the mountains, etc. There is so much to observe in mother nature that I will always look to understand more. The point of this message is to give yourself time. Don't compare yourself to others and their progress. Maybe you need two years to master a particular subject area. Respect Your growth and progress, get help from others. ( I offer critiques over the net) And that professionals who win awards for their art (like myself) often struggle and, at best, hit about 300 percent, that is about 3 out of 10 are good paintings. We don't sit down and pound out a winner after winner. I try to paint every day. The painting above, done in Gardernville, Nevada, was completed on the way to my annual study of the sierras. More to be posted on that later. So paint outside, study, fail, and allow time to acquire skills.

Education, Portraits, and Blab

2010-08-24T13:24:00.000-07:00

For some time, I have wanted to elucidate (explain) the purpose of art education. Is it helping the student to arrive at a pretty picture? Is it more? I would hope so. Robert Henri explains the purpose thusly; Development of a strong perosnal art...through stimulating in students a more profound study of Construction, Proportion, Drawing---stimulating activity, mental and physical, moral, courage, invention in expression to fit the idea to be expressed;the study of specific technique, impressing the importance of the idea, that it must have weitht, value, be well worth (work). The development, therefore, of artists of mind, philosophy, sympathy, courage, invention. ...Individuality of thought and expression is encouraged. (p.224, Henri, 1923.) Wow, isn't that awesome? Now, what does it mean? The student should be devoted to the point where the teacher may "destroy her darling" , or in other words, wipe off the painting and start over. As painful as that may be, it needs to happen for a variety of reasons--it needs to be redone, the artist must gain ego freedom of her/his work--a sense of detachment for a better product. A painting may need to be redone 6, 7 or more times as the great James Singer Sargent (ala Don Hatfield personal notes) would do.
Portraiture, as in the example above, is a passion of mine, perhaps held back. I am not sure why. There are so many good portrait artists but I want to bring to mind what a more contemporary artist, Dan McCaw who says, to develop within the student her/his inner voice, whether is be realism, abstraction or impressionism. That will help the student to stop when they have created the statement they want to create. Without a vision, there is no stopping point and the student begins licking the painting--hitting the paint brush over and over reducing the power of the painting.
The blah in the title of today's blog is how I feel. It is okay, I am in a down zone. Quite normal from what I understand talking to my artist friends. But I wanted to get these ideas out to help other students become clear on reason for studying art. Yes, a pretty picture emerges but from a grasp of technique, ideas, invention, and expression. Develop the latter and the former may emerge.

Design

2010-08-02T12:41:00.000-07:00

Alameda Theater, 8x16, $700
This blog is on design--partly because I don't know what else to write about and partly because I read an exciting description of the difference between simply painting what you see and design. My esteemed colleague, Stapleton Kearns makes a distinction by stating, " is an example of a circular composition. I have been talking about designs and said this;
"What I meant was that design is a human construction and can not be copied from nature. You use decision making to add it to your painting. Design is a decision making and not a transcription process. No matter how carefully you copy that which is before you, you won't end up with a designed painting. Design is a construct, a geometric armature upon which you build your painting. I think I will show some examples for a while here. The most important thing I want to teach on this blog, design. Not just how-to, but you-should. You can learn to draw accurately, in fact that is essential. But it is not enough to make a picturemaker of you, only a journalist. " So, the rebellious part of me wants to disagree, because occasionally I will stumble upon an excellent design in mother nature but generally Stape is quite correct. You must think design and instill it as part of your painting construction--note I say construction, not transcription. Otherwise your a journalist, not a oil painter. In Edgar Paynes book on composition, he notes various designs like the 0, S, and triangle but one I will show in this blog is the L design. Simply note how the buidling goes straight up while the people and cars make a line to the left. This design theme can be seen in many great paintings of the past and contemporary artists and has a strong feeling to it. I will write about the rest in future blogs--maybe just quit and refer you to some great blog sites out there that do a better job. Only kidding, had a slow show saturday in Alameda so little in the dumps but will get my mojo up soon. So, think design don't just copy what is in front of you. As my friend Frank Ordaz says, "I always think design" . Have that as a mantra and your art will improve.

Russian Still Life

2010-07-07T06:02:00.000-07:00

I thought this blog would be on how the Russian artists have influenced me. Upon my visit to Russia several years ago, I found various artists who incorporated antique vases into their art. The florals were super, most prominent is California impressionists is Franz Bischoff who painted wonderful florals. In the painting on the left, I have used red--okay, I admit I am a red guy--there are purple, yellow, blue, and green artists but I am not--I love red so I bring it into a painting whenever I can. The vase is actually from Belgium, on loan from one of my students but the colors are so amazing I thought I would tackle it. Just a few comments on technique-Note the warm cool combination and how the warm background sets off the cool vases. Also, the brush that extends lower left is a lead in, something my favorite artist would do--Sergei Bongart. Other favorite Russians are Surov, Repin, and Levitan. Ilya Repin is like a God over in Russia. You mention his name and heads drop--Equal to the great Russian Poet Pushkin( in fact they were friends). Not to dwell too much on him this morning but the genius of this man was incredible--each painting so different, so well executed that it seemed a different artist painted it. I am convinced a magical, fantasy painting Repin did in the 1930's with underwater sea horses, Merlin the magician and King Neptune served as inspiration for many of Disneys famous cartoon movies of the 50's. I guess I would describe the Russian impressionists, unlike other around the world, is passionate, lively, colorful without losing representational structure. I think real with a strong academic basis, unlike American art in the 1950's and later where modernism took precedance and everyone went Jackson Pollack and splattered paint on a canvas calling it art.
Other technical stuff--note the large small object contrast, how the cloth is handled with little detail, loosely. In the last class, we reviewed the problem with "student" grade paint, namely Winton which is so poor in quality, it simply adds to frustration. Cheapen up on other aspects of the process--brushes, canvas, etc but not oil paint--get the best you can afford. These student grade paints have too much filler, doesn't load or intermix well. Good brands that are affordable include Utrecht, Classic Colors, Rembrandt, Gamblin and Chevrin. Le Franc is quite good as well. I had problems with Pebeo as well so avoid that and Da Vinci--too much filler, waxes, sterates, etc. That is it. Got back from Tahoe on a mini vacation hiking, kayaking, and beaching it. All charged up now. Keep painting, ask questions!!

Still Life Reviewed

2010-06-12T08:24:00.000-07:00

This blog is a followup from my last one where I presented the actual still life, the black and white or notan, value study and now discussing the painting in color. It is imperative to maintain the value structure in this painting because some of these colors are so difficult to get. Trying to obtain the right color mixtures and at the same time as the right value is almost impossible. The student (all of us) must keep the painting in the correct value or all is doomed. What is the shadow color on the main yellow flower to the right middle? Some green, some red, some raw sienna, little yellow, etc, I can't describe all the colors I used--at times I experiment over and over again. The other forms were easier. The background in cool greyed color so they don't compete with the subject matter. The detail in these roses were the most beautiful things I could imagine.
Other notes in still life: Have one flower be the star--if they are all detailed and pretty, you will lose punch. If everyone is screaming in the chorus, who will hear the soprano? Note the lower flower on the table cloth-I angled down so it becomes a lead in. It was straight across the table. Alway look for a way into the painting, and a way out, although keep it subordinate to the lead in. If possible, have two or three flowers touching or off the edge (not in this one) for interest and mystery. Lose edges where ever possible. Let your big masses communicate with each other and make sure there is harmony-especially a balance of warms and cool (there is in this one). More on that in another blog.
Mother nature amazes and humbles me constantly. I hope this helps your understanding of still lifes and take a workshop!! We review these principles and others on fridays.

Seduction of Color

2010-06-02T06:06:00.000-07:00

This blog is about values-lights and darks and how they affect the structure of a painting. To get depth, contrasts, thus excitement in a painting in working with color, beginning artists get tricked into the beautiful colors. I teach them to stay in the value structure- lights and darks of a painting, starting with darks then moving into lights. With such beautiful color as above, taken during my class last week, it is very easy to become seduced by such rich variety of color, as in the picture above left. The mature artist knows they must first grasp the values or notan ( a Japonese term meaning light and dark harmony) structure as my friend Barry from Virtual Art Academy would say. This notan understands the darks and lights and how they interweave to form an interesting pattern (or not as the subject would display). On the black and white photo on the right, notice the light coming down from middle, then lightly touching the rose in the middle. Nice shadow in front of the vase. Now if this pattern isn't pleasing, adjust the notan, perhaps by darking the rose, the background, or vase, etc. The rich, beautiful color afforded in the still life is a no brainer--beautiful rich variety but the studious artist must hold back, do a value study or take a black and white photo.
Note a new workshop is at Folsom Art Association in 'October 14-16, 2010. Sign up now. One last note is interplay between warm and cools. Does this have a good balance? I think it does, although I might purposefully grey down some of the warm temperature in the background, maybe add a light blue or grey blue to tie into the Vase in the middle. More on warms and cools later. Just saw the impressionists museum last thursday in SF at the De Young museuem--fantastic show, try and see it.

Figurative Paintings

2010-05-27T09:52:00.000-07:00

I am writing to elaborate on my new seascape, harbor paintings that incorporate figures. This painting attached focuses more on light than just color. That interrelationship is complex --certain colors are naturally light in value such as cad lemon while others are inherently dark, tough to show light like dark blue or green. I have had the pleasure of studying with Don Hatfield the last nine months and I have gained mastery over drawing but an increased understanding of color and how it interacts with light. Basically, instead of just white and cad yellow to depict light, I have learned that green, pink, light blue and orange can also depict light if used in high enough value. All these colors, used in conjunction with their respective compliments, can equally show light and how the form principle is employed--the last idea rather old but described very well by Andrew Loomis, in his book from the fifties on drawing and illustration. His dictum, always show the form when describing the figure, is first and foremost. Figures, as opposed to landscape where there are flat surfaces to describe, contain round forms like arms and heads. Therefore, more variation must be shown.
Also, this composition has a certain flow, beginning with the figure on the left, traversing up to the large round net haulers, to the distant light filled fishing boats, then up into the sky. The sky is designed to bring the viewer back into the painting. So I have an eclipse or circular composition. The color, which is usually strong is my paintings. is designed with the light in mind. For some unknown reason, the sea and fishing harbors are romantic and attractive to me so I like painting them.
Hatfield has greatly helped my figurative work so I recommend his classes at S12 Studio in Sacramento. He is very knowledgeable and was trained by Sergei Bongart, in my opinion, one of the greatest painters from the latter part of the 20 th century. His wacky sense of humor and ability to connect to his students is uncanny. He is able to see strengths and weaknesses and display them to students. Russian impressionism seems to have withstood the onslaught of abstraction ism and maintained strong representation principles when the rest of the world went into modern art and lost strong fine art principles from the past.
Also, if you haven't found Stapleton Kearns, I highly recommend his blog. His is very well read, knows his art history, and shows his paintings in various stages. He is a prolific writer and can analyze great masterworks from the past. He is also very humorous and I appreciate him very much. I teach my workshop tomorrow so I hope I have something to say. Please rate this blog above and comment. I like to hear from others.

Having a blast in Napa Valley

2010-04-30T13:36:00.000-07:00

Well, this venture into Napa wine country began with an invitation by Don Hatfield to visit his home and studio. Then, since Terry Miura was teaching a class last weekend, we thought we would crash it. Behold, Terry was kind and welcoming, not the least intimidated by our antics and we all met for dinner Friday night. Allan Beribault, a collector and friend, finds these amazing places to paint and, tucked away up in the hillside is Coyote Vineyard with great vistas. The site is amazing, designed by Swedish artist, hand built with tiles and curves everywhere. I preferred the vistas doing the above painting, 16x20 on location en plein air. Quite fun. The class did lots of good art while Don and I ventured up into the hillside to paint. Don got frustrated and drove off not finding a spot and Terry taught his class till I had to leave to go to a show in Alameda. (it bombed cause they charged 60 at the door and only sold 25 tickets). I took some photos and did some smaller studies on my way back on sunday.
If you ever get to Yountville, I am in Heron Gallery, a very nice location run by Dennis and Betty and have some nice pieces of art in there. The light is unusual and, the early and late day, quite extroadinary. Silverado Trail has numerous sights where good composition unfolds yet, near stag's leap vineyard, there are quite extraordinary vistas. Kudos to Don for inviting me and Terry M for having both of us to dinner and paint on Saturday. Both of their blogs are terrific, especially Terry who articulates wealthy tidbits of painting info. Last Tuesday, had a great time at my demo at Folsom Art Association where I explained how I completed the above painting. They had great questions and we laughed so hard, it became impossible to be serious. We covered important aspects of the painting process and had good laughs as well. Thanks to Lori Anderson and Betty for inviting me out there.

Plein Air Painting Made Easy

2010-04-24T06:21:00.000-07:00

I am doing this blog on making painting easy. When I was getting my doctorate in grad school, my profs kept saying," son, KISS ", when doing my thesis or ,"keep it simple stupid!". Why were they telling very bright adults this admonition? Because the human being tends to complicate things they don't fully understand. The other thing is that painting is hard or complex, but broken down into key elements, we can simplify things. Yesterday, with my beginning oil painting students I wanted to make things simple so they could understand the process. Here is oil painting in my step by step by step method.
Above, Sailboats, Sausilito, Ca. 9x12, $300

1. First, look around you and find what is interesting to paint. Ask yourself why? Is it the color, light, emotional impact or drama. Keep it simple by having only two, maybe three major elements in your painting. For example, a tree, bridge, and some flowers. Some of the greatest paintings of all time are very simple. Take Andrew Wyeth's painting of a women in the lower left corner reaching toward a barn in the upper right corner. Powerful, yet simple. Have a vision of what you want to paint in mind. Borrow from past masters. You don't have to reinvent the wheel. Become a student of art history.
2. Second, do a pencil or value sketch. In this phase, you do more that just find three values or lights and darks. You also arrange the masses and design. The later element too big to go into in this blog but I will address later. You paint from this basic pencil sketch, perhaps THE most important phase of the painting.
3. Third, block in. Get the canvas covered with the approximate color and value.
Spending too much time or adding detail in wrong. You can go back in and alter things later. I like working from back to forward, dark to light, and thin to thick. After my darks, I establish my lightest light, probably the sky but could be elsewhere. Then make adjustments within that value system.
4.Fourth, modeling stage. Here I come in and add detail, adjust lights and add more darks. Try for three values in all major shapes. Don't forget grays, ( they help the colors to jump out) and mix for the correct color by trial and error. My friend and teacher Don Hatfield has a complete mess and overworks his colors to the point of mud and falls apart for hours, but in the last ten minutes he pulls out a beauty. Have sparkle by looking for tics of light. Randy Sexton calls them "Blings".
Did you capture the light? A good painting has a feeling of light in it. Everybody has their own way. Yesterday, one student wiped off her canvas and repainted most of it and came out with a winner. Don't be afraid to wipe off, or come up with a looser the first time out ( or twenty times out). Ask yourself what did you learn? Be patient with yourself, take a break, eat and drink lots of water. Get the help you need. Good painting is a product of miles of canvas ( experience) and skill acquisition (learning ). Good luck!!
See my website for workshop days and fees at Silviosilvestri.com.

What is painting? Rendering whats there or changing things?

2010-04-19T11:11:00.001-07:00

This is a tough question, one that I have debated over in my head so I would appreciate your ideas on this matter. I think there is so much beauty out there in the landscape or figure, so why change anything? Just capture what is there. On the other hand, What nature has to offer often doesn't yield it best result. I like Paul Strisik book written in the late 90's where he was painting a river but the tail end was boring. He creatively took it down, swung it to the right and had a beautiful design. At times, nature give beauty and pristene, harmonious landscapes but other times we must be creative. I know various excellent painters who came up with beautiful paintings and didn't approach what was in front of them. I think the artist needs to have in mind an image of the painting before they ever start. If there are design problems, fix them immediately, don't say I will get to that latter, let me paint the things that work. That is not to say you can't paint in one location to do a foreground, then move over thirty feet to do a background but have that in mind at the outset and save yourself some torment. Basically, my best advice is use what is in front of you as a starter but don't be locked into rendering exactly what is there. Be creative and move, add or subtract elements to arrive at a good composition. The Napa Barn painting above illustrates this well. The barn and vines were there but the foreground was not interesting, big bushes with tiny flowers. I did away with them and put in some big irises I saw at the next house door and had a better painting, opening things up and adding interest-a way for the viewer to enter the painting. Be flexible, use what is there for inspiration but change things as needed.

Design and Color Harmony

2009-04-22T12:59:00.000-07:00

There are three basic shapes within oil painting that must be rendered; the triangle, square and circle and these must be placed within the painting . It can be ordinary and boring or unusual and exciting. In my art class at Lincoln Hills, we discussed these shapes and how to explore moving them around to optimize interest. Also, color harmony was discussed and I presented poor harmony and good harmony so students would understand each one and correct it if poor. Analogous are those schemes whose layout upon the color wheel are adjacent to one another. A second type of harmony comes from complimentary, either with primary or secondary colors. The former being red, yellow and blue while the latter being green, purple and orange. An example of unusual shapes and harmony can be seen the painting to the right. (Casino from Bell Tower, 12x16). Notice large simple shapes, not tons of detail and the harmony is primarily orange blue with tinges of green purple. A similar harmory color scheme can be seen in my favorite impressionist of early California, Franz Bischoff. Being a student of art history can be rewarding in many ways; you don't have to reinvent the wheel every time you paint. Learn how William Wendt or Edgar Payne handles a certain subject matter. Note the shapes and colors. You simply have to put a contemporary twist and your own style into the painting and bang--you are done. The best paintings use simple shapes and have just one idea. Ask yourself, what is it you are trying to say and say it loud. Most people need street signs in viewing a painting. Have a lead in, middle area that is interesting and a sky area or other neutral where the viewer can rest. Next discussion, abstraction as a way to view art work.

Painting Still Lifes

2009-03-11T08:27:00.000-07:00

I have regarded still lifes as special in so many ways. Simplicity, eloquent, intimate, tender would be the adjectives I attach to this domain. First, I must credit my recent class from Sun City in Roseville, as these paintings evolved from demonstrating my technique. In the first painting, (Lemons and Pears, 12x16) I have centered the mass to the left, angled the fruit up, to the left. Good design is a function of line, movement, mass distribution, good color harmony (among other things too numerous to mention here). The yellow and orange pull out the color from the ground plane which was black, (very neutral) but with strong color shapes, the complimentary automatically comes out as you squint and guess what color should go in there. Also note the shadows on the bottom edge of the fruit to model the round edges turning in and under and the "lost edge " on the cloth to the middle right. Such touches add mystery and painterly qualities (so does a big brush, 8, and 10's). Don't tickle it to death. Make big, commited strokes and use lots of paint.

The floral on the right (Spring Boquet, 18x24) was fun and exciting to paint. Notice how I have exaggerated the lean from lower left to upper right. This creates tension, movement, and dynamism; qualities to have in a good painting. Each flower is modeled in less detail than the star flower ( the one designed to grab your attention) in successive fashion. The shadow side is constructed from graying and darkening all my colors and highlighting the light side on the right. Bear in mind at all times the direction of the light, always modeling three values; dark, mid, and light tones. The flowers pop because I have a neutral background via a blend of greys. They are warm but toned down to allow the flowers to jump out. The dark cool colored vase sets off the entire arrangement. Always ask yourself, "do I have warms and cools, darks and lights, forward and backward movement."? These will guide you to produce an exciting, successful painting!! Thanks to all you devoted students at Sun City, Roseville for your hard work. It helps me become motivated and strive for excellence. Check back to this blog for more posts on technique in the future. Learning is a function of review and practice.

How to Paint Nocturns

2009-02-26T13:22:00.000-08:00

Painting at night, so called nocturns, can produce some of the most beautiful art work. Colors come out of nowhere are can be wonderful or catastrophic. The best way is to use a headlamp like miners wear. These wrap around your head and cast a light on your palette. The new ones with LED light technology are very good, well balanced. You must also know your color placement by heart in case you can't see well enough to dab the right color paint. A street lamp is sometimes useful but you can't count on it. The painting seen on the right is Carmel mission Nocturn. Sometimes I get up at 4 in the morning and paint so the colors can be very interesting. Good painting is good observation so it is important to capture light bouncing off the ground and close up on the wall toward the right hand side. These strong transitions make for interest and help invite the viewer into the rest of the painting. Notice also the cool greys to the left of the figures. These contrast well with the yellow light. Probably most famous for his nocturns is western cowboy artist Frank Tenny Johnson who blended cool greens and blues over yellow ochre and had drama; perhaps one small window that was cad yellow, the other 99% in cool greens and blues. Orchestrate your paintings to make one simple statement. For other plein air tips, see my friend Ed Terpening who has an excellent blog on all sorts of things in the plein air scene. The nocturn below was painted at Monterey and the pink boat against the green building provided a colorful red green contrast. I painted this about 9pm after dinner and a couple of beers. (Alcohol provided extra courage.) But note how all the boats point into the painting, keeping interest in the middle of the painting. The one in the right hand corner acts as a lead in to the strong light in the upper left corner. The colors are so much fun but the values must hold togther--that is make sense and read correctly. Once that happens, you can place any color you want.
In the example below by Frank Tenney Johnson, cool greys and blue greens are the primary colors. Very subdued yet the figure jumps out in contrast. Using a wash underneath the painting helps with harmony and keeps his value structure in tact such as yellow ochre or ult. blue. Hope this helps. Paint outside and practice. You can also work from memory but it is more difficult.

Figures

2009-02-18T12:59:00.000-08:00

The Figure evokes different feelings and thoughts and has been a subject of mine for many years. My favorite figure painters are James Singer Sargent and Juaqin Sorolla. I loved the loose yet accurate rendition by these master painters. Also, especially in Mia in Light (posted in this blog) is the light and how the clothing helps the light to flow down throughout the painting. I did this last week with friends in Sacramento who meet once per week. I also enjoyed painting the window in cool light from the right, thanks to my friend Rob Sandidge who has mentored me for ten years. The mauves and blues in the shadow side of the dress were also challenging.

Future Shows

2009-02-12T09:02:00.000-08:00

In April, I will be at West Portal in south San Francisco the 3rd, then Menlo Park the 17th, 18, and 19 and on May 3rd I will be in Saratoga. Also, Carmel art festival will be 14th thru the 17th of May with 70 of the best painters in the state. That is always a hoot. I went painting out with my friend Frank Ordaz who did a wonderful job of No hands bridge. I am also doing a large figurative painting from a scene in Italy at Cinque Terra with a priest and crucifix. Rather somber piece but I liked the red robe of the priest so had to paint it. The painting on the right is of Tuscany where the poppies grow everywhere. This is about 30 miles north of Sienna in the countryside. Very beautiful and scenes to paint abundant.

Silvio's Corner Latest from Artist Silvio Silvestri

2009-02-09T22:25:00.000-08:00

What is Happening? Silvio just returned from the Coast after five days of painting. A brief trip resulted in some interesting art from Santa Barbara to points north including carmel, san luis obispo, and Monterey. The results are new paintings posted in my website at Silviosilvestri.com. The ocean was very smooth, leading to colors in the water I rarely see. The reflections and green grass were brightly lit. Also, have continued my work from Italy where poppies were abundant and farm houses picturesque. I have been back for 7 months and am still perfecting my technique on rendering the distant hills. Tuscany has got to be one of the most incredible places on earth. Finally, the eastern sierra, Mammoth lakes area always draws my attention. The painting above is below Bishop showing descending light as it flows over the crest. To paint this beauty is such a gift and I hope this inspires you.