Charles Valsechi

Clovis, Possibly The Earliest 'American' People

2011-11-19T00:31:00.000-05:00

I have found myself extremely absorbed in how amazing the world is. From science to history it really is just an amazing speck of dust in a black abyss. That being said one of those topics has been evolution and more specifically human evolution. This lead to me researching archaeological sites and learning about the Clovis people. I really enjoyed working on this piece and think I will do more prehistorical and historical pieces in the future. The following is a basic overview of what I learned about these people:

Way before the 'Native Americans' and Christopher Columbus the Clovis people arrived in 'America'. This was about 13,000 years ago. They were a nomadic hunter gatherer society which followed large game like the pictured mammoths. One of the greatest places we have evidence of these people is a stone query in Topper, South Carolina. Here we find a place they used often to create stone tools and weapons ranging from boomerangs for small game to spear heads. The temperature in this time was cooler than it is today. It is likely they used animal furs to keep warm from the cold winters. Sadly, we have little evidence of what they wore. Those types of things simply don't withstand the test of time. A devastating comet killed off the Clovis about 500 years after they arrived in 'America'.

Back In Action at Ringling and The Southern Atelier

2011-09-03T12:42:00.001-04:00

The school year has finally begun. I am only taking two classes at Ringling, and am augmenting that with classes at The Southern Atelier. Both schools offer very different views on art and I believe studying in both places will really help me to be well-rounded. Here is a recent quick head study. Also, my website is back up! Feel free to drop by http://charlesvalsechi.com Most work on there and here is for sale.

Sargent at the MET

2011-08-28T22:51:00.003-04:00

I made a very large trip this summer starting with a week in New York and almost two months in Europe. For those of you who aren't familiar, their is a fantastic museum in NY called The Metropolitan Museum of Art. They have a very large collection of art. Here are some close-ups of the John Singer Sargent painting I had to be dragged away from. ENJOY!

Last photo is not by me, simply wanted to show the whole painting.

http://www.metmuseum.org/

Art Sale and the Fruits of Summer

2011-06-10T09:00:00.002-04:00

Original Oil Paintings 25% Off use coupon code LOVEDAD for the Father Day Discount

Charles Valsechi Art Store

Here is a bit of what I have been working on recently.

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Art Influences: The Spanish Painter Joaquin Sorolla

2011-06-07T09:00:00.000-04:00

"The great difficulty with large canvases is that they should by right be painted as fast as a sketch. By speed only can you gain an appearance of fleeting effect. But to paint a three yard canvas with the same dispatch as one of ten inches is well-nigh impossible.”

"As far as outdoor work is concerned, a studio is only a garage; a place in which to store pictures and repair them, never a place in which to paint them."

“Go to nature with no parti pris. You should not know what your picture is to look like until it is done. Just see the picture that is coming."

"I do not care to paint portraits indoors. I cannot feel sympathetic."

Sorolla was well known for his impressionistic approach to painting on a strong basis of academic drawing. Their is an obvious transition from his early work to his more colorful lively pieces. His subject matter also sets him apart. When portraiture was a lucrative business Sorolla stood out by painting people in a natural context.

I will be making a trip to several different museums next month. Following that trip I will organize a post of close up shots on many of these and other paintings.

Share
What do you like about Sorolla? Who influences you?
Any rare images of Sorolla's Paintings.

Related Links:
http://www.sorollapaintings.com/
Painter Joaquin Sorolla by Edmund Peel

A Cast Oil Painting With Harold Speed

2011-05-26T22:44:00.001-04:00

Harold Speed- Oil Painting Techniques and Materials

After being recommended Harold Speeds books several times I finally decided to purchase them both. I am under 100 pages into his Oil Painting book, but I must admit this is one of the best art books I have read. In the book he recommends various exercises for growing specific skill areas. He describes how teaching painting can be split up into three areas; Form, Tone, and Color. Form is largely covered in his drawing book which I have yet to read. I am working on the first of the Tonal Exercises.

Tonal Exercise

-Set-Up cast with strong light/shadow

-Draw object and shadow mass

-Block-in Background/Ground with flat tone

-Paint average tone of shadow mass

-Paint average tone of light mass (squinting is very important here)

At this stage you can do most of your edge work as well.

-Paint in your lightest light and Darkest Dark

-Work on the Middle tones remembering they are apart of the light.

Results

This is my second Tonal Cast Study. I see lots of improvement between the first and second. Getting back to basic monochrome painting is allowing me to concentrate on some of the basics of painting again (Drawing, Paint Application, Tone and Edges). This was painted in roughly one 6-hour sitting.

Do you recommend any oil painting books or exercises?

The Semester Ends

2011-05-05T14:57:00.002-04:00

Purchase

My Junior year at Ringling has ended. Learned a ton got plenty of painting done. These are the last two paintings of the year. Also some piles of canvas mostly from this semester.

New Digital Piece

2011-04-26T22:53:00.000-04:00

Here is a new Digital Environment done in Photoshop.

Hidden Bridges

2011-04-24T18:23:00.000-04:00

Here are two paintings made at a hidden pond I discovered in Sarasota.

9x12

Oil on Canvas

Purchase

12x9

Oil on Canvas

Purchase

Russian Master Notes on Painting

2011-04-03T13:40:00.005-04:00

Sergei Bongart: Notes on Painting

Compiled & edited by Norm Nason

True art has passion and contains insight. It shows us a new way of looking at our world. As Matisse would say, it helps us to see with the fresh eyes of a child. Art is the great renewer of life. Impatience is the only threat to this prescription. It is all in the mileage invested. As Robert Henri says, do lots of starts and the finishes will take care of themselves.

In art, the hardest skill to learn is to be simple. As artists, we have a natural inclination to create detail; we must overcome this tendency. The first rule is to begin big and simple, then move toward small and complex.

The best art amazes us because of what the artist left out, not because of what he or she put in. If everything is included, why not photograph the subject instead? Any beautifully rendered detail can be strengthened by this editing process. Even a photo-realist must leave some things out. It is the artist's job to only put in the information that speaks to the relevant issues.

Before you begin, ask yourself what should be seen first within your painting, and what you want to say about it. Areas of greatest contrast will attract the most attention. This is your first reading. A strong composition usually facilitates three good readings.

Understand the basis of composing a picture in color. No color should be viewed in isolation, but rather in constant relation to what is around it. A color is what it appears to be only because of its relationship to the surrounding colors. Nothing exists in isolation. Each previous color choice must be re-evaluated as a new color is placed along side of it. If you change one color, you have in effect changed them all.

When we paint, we really aren't copying the colors of nature, we are painting the color relationships. We don't have the color palette that nature has, so we must give the illusion of truth through the relationships of the colors we choose.

As in chess, try to think several moves ahead, painting the color relationships that are deemed integral to the picture. Always make the next most important move. Don't paint in nose highlights, for instance, before you have established the background colors.

It is vital at the start of a painting to cover the white of the canvas with chosen silhouettes of color. Do this as soon as possible. A white canvas masks the truth of the color relationships. Toning the canvas can help eliminate the glare of white, but does nothing to establish the true harmonies between each color.

Work around the canvas two or three times or more before moving to any detail. It is entirely possible, and often advisable, to spend 90% of your time merely adjusting the big, simple shapes before ever moving to the rendering. Once this is satisfactory, the chosen style or technique can be completed with confidence, up to and including ultra-tight realism.

There are three properties, or contrasts, of color. They are:

Value (Light to Dark)
Intensity (Rich to Gray)
Temperature (Warm to Cool)

The color we see an object as having is not merely because it is being lit by a light source, but because it is bouncing some of that light back at us. A white piece of paper is such because it receives light and bounces most of it back at us. A black piece of paper receives the same light, but absorbs most of it and bounces very little back at us.

Everything that receives light is a source of light. In this way everything is a light source, to a greater or lesser degree. This is why shadows are not pure black. Even though the light source, by definition, isn't directly effecting the shadows, that light is hitting other objects around the shadow. These objects become weaker, indirect light sources that effect the shadow value. Because they are weaker, the value of the light side will almost always be lighter than the shadows.

Nothing in the light is as dark as the shadow. Nothing in the shadow is as light as the light. In other words, you can have all the detail you want in the lights and all the detail you want in the shadows, but the lights should stay light, the shadows dark. The two should never mix.

Of all the properties of color, value is by far the most powerful. Value and design set the painting; all else builds from them. Design your painting in terms of silhouettes; dark on light, rich on grey, warm on cool, etc. As you design your painting, always keep in mind that the viewer's eye moves from the area of greatest contrast to least contrast.

Silhouettes can be strong or subtle. The design is arrived at through the contrast of various relationships, but the degree of contrast is up to the artist, of course. Here-in lies the infinite possibilities.

What are going to be the lightest/darkest, richest/grayest, warmest/coolest areas of the canvas? These are the questions an artist asks before beginning a painting. Each of these contrasts are relative to what is around them. For instance, even though orange is a warm color, it is perfectly appropriate to think of a warm orange or a cool orange. A sunset is much warmer than untanned Caucasian skin.

Relativity is the hallmark of contrast. A middle value dark can appear light relative to the stronger darks around it; a muted blue can appear intense relative to the grays around it; a cool red can appear warm relative to the blues around it. With this relativity in mind it again becomes obvious that nothing can be viewed in isolation, but rather in constant relationship to its environment.

View a color not by looking into its center, for in this way you can convince yourself it is practically anything in terms of temperature, intensity and value. Rather, view it at its borders, against the surrounding contrasts. Glance visually back and forth between foreground and background colors. Further, if you are searching for a correct value, find other values of both lighter and darker degrees. Do this even if it means going beyond the limits of the intended composition. For example, the skin value in halftone is lighter than the skin in shadow, but darker than the highlight on the nose. The same should be done for intensity and temperature.

There is no such thing as white light in nature. Light always has a color (warm or cool). If everything that receives light is a source of light, then everything that receives light is also a source of color. Sunlight is warm-yellow to red. Sky light is cool-green to purple.

The color of the light plus the color of the object equals the color you mix. This is the key formula. For example, if the sunlight is yellow and the object to be painted is a red apple, the perceived color will be somewhere in the red-yellow range. If the light is strong, yellow will dominate; if weak, red will dominate. A powerful enough light source will bleach out the color of the object until all you see is the color of the light. If you want a sense of light in your painting it is often best to let the light color dominate the palette.

The color of the light is most revealing on a white object. Since white has no color it becomes, literally, the color of the light.Warm light, cool shadow. Just like the light has a color (as it effects the lit object), shadow has a color also. If the light is warm, the shadow light will be cool. If the light is cool, the shadow is warm. In theory, the shadow is a perfect complement to the light color (yellow light yields purple shadow). However, since any given object exists in an environment with other objects in it, and those objects, as we said, are bouncing light and color into the shadows, the shadow is generally catching several other colors besides the complimentary shadow color. The best we can say, then, is that if the lights tend to be on the warm side, the shadows will tend to be cool (and the other way around).

Generally, there are great shifts of color in the shadows, and subtle temperature shifts in the light. Light areas should consist of slight variations of warm and cool colors.

Different plane, different color. In shadows, planes facing the same direction take on the same color; planes facing different directions take on different colors. Edges of forms in light or shadow may take on some of the color of the immediate background, because of the background light reflecting off the form.

Think of color first, subject last. Everything begins as an abstraction of color. A warm light on a warm object will intensify; a cool light on a warm object will mute. All other combinations logically follow. When dealing with complimentary colors in a composition (warms against cools), a good rule of thumb is to shift both to the same side of the color wheel. This may help harmonize and otherwise sharp composition. Take, for example, yellow and violet. Move them both to, say, the red side. The yellow then becomes a yellow-orange, while the violet becomes a reddish violet.

A composition will often harmonize better if you bring some of the foreground colors into the background, and background colors into the foreground. In nature, colors reflect into other colors, although this is not always evident. In mixing compliments to gray, the intensity of it may become dull or dirty. To correct the problem, move the colors slightly to the same side of the color wheel (add a stain that is a common color to both).

A stain is a color that has the property of transparency as soon as it is thinned to any degree. For instance: Indian Yellow, Transparent Orange, Permanent Rose, Magenta, Alizarin Crimson, French Ultramarine, and any Thalo color (to name a few). No Cadmium or Cobalt color is a stain. Generally, a stain is a color that has no white or black in it. Most colors gray when white is added to them. Stains, on the other had, intensify. This is particularly true of the lighter colors (skin tones, for example), where the color will dull as soon as you mix it out of a high intensity. A stain will keep a richness to the grays.

Take green and red, for example. Move the green towards yellow and move the red likewise. Mixing the yellowish green with the orangish red will produce a fair gray in either the warm or cool yellow camp. If it is too dirty in practice, add the common Indian Yellow stain and it will become richer. (Obviously, too much will pull it completely out of the gray range and into the yellow.) If you stain your near compliments (grays) to begin with, it will effect a rich state automatically. When learning color it is wise to mix pigment a little brighter than you think it should be. It is much easier to mix down in intensity than to force it back up.

Avoid using pure white or pure black in a painting. A better way of getting black is by mixing Alizarin Crimson and Thalo Green. This will either give you a rich warm or a rich cool black that has much more depth than a flat black would.

Halftones. The color in the light is almost always different from the color in the shadows.

As planes turn away from the light and towards the shadows they will begin taking on the color of the shadows.
The darker halftones will begin taking on the color of the background at the edges of the form.
The halftones will be the best area to see the true local color.

Highlights:

will not give you much turn of form;
will tell you what the surface is like (rough or smooth);
will fall in peaks and valleys;
will move with you, the viewer;
will reflect at the same angle as the light that hits the form as it bounces to the viewer's eye;
will take on the color of the light more fully;
are found on wet or smooth surfaces, especially;
will be found on the corner separating two planes in light.

As highlight moves from a broad area to a thin one, it will often intensify and may become thinner (e.g., thigh to knee). Let the highlight be an interesting shape (something more square than round will usually describe the form better). Running lights (highlights that run the length of limbs, for instance) don't usually stay parallel to the form, but instead rotate or corkscrew to some degree.

Edges. A cast shadow is the sharpest edge (next to the contour), but it will soften and blur as it moves farther from the point of origin. The slower a form shadow turns on a form, the softer the edge. In other words, the rounder the form, the softer the edge. The more angular the form, the harder the edge. The harder the surface being lit, the harder the edges. Bone will have a harder edge than muscle. Edges in the shadows are generally softer than in the light. The closer the form is to you, the viewer, the harder the edge. The farther away, the softer, looser, and more blurred. The brighter the light source, the harder the edge. Edges perpendicular to the light tend to be sharper. Glancing light will leave a soft edge.

In rim light, the light will bleach out and the shadows will appear lighter and more colorful. A light object against a dark background (in intense light) will have its edges flare and soften into the darkness, taking on the intense color of the light. The human eye naturally focuses on one distinct area at a time, leaving everything else softly out of focus. When painting, pick out a few hard edges at points where you want the viewer to concentrate and soften the edges elsewhere.

For the figure, the larger the form the grayer, the smaller the form the redder. Blood is closer to the surface on small forms. The nose is redder than the face, the face redder than the head, the head redder than the torso.

Disclaimer. All of the above are basic observations of light on form. Things tend to play in reality the way I've stated. However, you can easily find wonderful exceptions in the art world to everything I've told you. Use the information as a tool to learn color, but don't feel inhibited by it. Remember that art, at its best, is the seeing of life in new and exciting ways, not as rote formula.

Stay in the paint!

Sergei Bongart

Relevant Links:

http://www.nasonart.com/writing/bongartlessons.html

http://www.sergeibongart.com/

Recent Landscape Paintings

2011-03-16T22:50:00.000-04:00

Here are some recent landscape paintings. All were done in one sitting of 2-3 hours.
Hopefully, I can get some figure paintings on here too. Most are too big to be scanned so I need to photograph them.

Figure Studies

2011-02-23T16:44:00.000-05:00

I have been really busy lately with class work and personal growth. Trying to paint as much as possible as well as sit in drawing classes. Here are some of my attempts in a new direction of figure drawing.

Photography and Painting

2011-02-06T15:41:00.000-05:00

A Brief History:

Before impressionists, paintings were largely done in the studio without a model present. With the advent of the impressionists paintings were more commonly done from life where artists were observing the actual scene, objects, and models. In my eyes this set the work of Levitan, Monet, Sorolla, Sargent, and many others apart from the past.

Photography in Painting:

Now that the digital camera has become widespread many painters are sticking to photography and foregoing a live model or scene. It provides a cheap convenient means to paint a picture. It is my belief that with using photography you have to understand its limitations, and have spent a significant amount of time painting and drawing from life. Allowing the painter to impose the experience of painting from life into painting from photos. Downfalls of photography I am familiar with:

Pictures are already flattened images. This makes it harder to capture the 3 dimensionality that exists when viewed from life.
Photographs often don't capture accurate value relationships and commonly exaggerate the contrast.
Color is closely tied to value and suffers significantly in the photo.
Personally, I find it far less enjoyable and engaging when compared to painting from life.

Painting by Shawn Barber c.2005

Why did this come up? I was looking at one of the modern painters I enjoy, Shawn Barber, and noticed that one small painting stood out from all of his other work. It was done from life, where most of the others were not.

http://www.sdbarber.com/pages/tattoo_icon_pg.html#

http://stapletonkearns.blogspot.com/2010/02/i-received-this-query-today-i-think-i.html

-charles

New Self Portrait in Oils

2011-01-02T14:52:00.000-05:00

I will scan it when it dries, but here it is in two different kinds of light.

Quick Digital Nightscape

2011-01-02T00:09:00.000-05:00

Roi and I went out digital painting tonight. Here's one of mine:

Self Portrait

2010-12-30T02:19:00.000-05:00

Playing around with my new tablet :]

Imaginative Picture-Making

2010-12-12T14:30:00.000-05:00

Here is some more work for Pratt's class.

Oils on Canvas

Ink/Digital

Dean Cornwell Copy- Oil on Canvas

Oil on Canvas

Portraits

2010-11-21T14:58:00.001-05:00

Assignment: 30 Portraits in 30 Days in 30 different mediums/combinations
Here are a bunch of those portraits.

Landscape Painting

2010-10-23T14:50:00.000-04:00

Here are the two paintings I made on our trip to Myakka. How I miss landscape painting! I am still trying to figure out what the best way to reproduce my work digitally is. I feel these have too much grain. I still have a Dean Cornwell Mastercopy, an Illustration and several figure paintings to post here soon.

Current Project: 30 Heads in 30 Days

These paintings will be available for purchase via: http://www.etsy.com/shop/threecharles

I would like to share two Landscape painters that have really influenced me. The first is Jeff Jones who I have been looking at for a few years. Jeff's work can be found on facebook. Also watch out for the film on him coming soon. While obsessing over the great Russian painters Francis Vallejo turned me on to I came across Isaac Levitan. I can't express these things in words you just have to look for yourself: http://en.gallerix.ru/album/Levitan

Well, time to get back to my 30 portraits.

-charles

Head Study and Book Making

2010-10-09T18:49:00.001-04:00

This semester took off very quickly and has left me very little time to post. Pratt is a great instructor who keeps us on our toes. Lately, I have been considering my direction as an artist and the next journey for me after Ringling. It seems I would like to do illustration type work telling stories and such with a fair amount of realism. I would like to share two obscure artists who's work I have been introduced to recently: Solomon J Solomon and Hiremy Hirschl.

Figure painting has been great this year. I haven't had the chance to scan much of my work but here is a quick head study I did of a live model. (about an hour)

PS. If anyone could help spread the word about my blog I would greatly appreciate it. Trying to hit the big 100 followers!

Today I enjoyed a great book making workshop. I still have to paint the cover but here is the book I made:

Thanks,

-charles