2016 Collectors for Connoisseurship Art Weekend Comments Off on 2016 Collectors for Connoisseurship Art Weekend
AT RIVER’S EDGE by Albert Handell, oil 24×36 (Sold)
Sponsored by Windows to the Divine, a nonprofit organization that promotes the vocation of the living artist via exhibitions, symposia and collector salons. This year, Windows to the Divine will host its second Collectors for Connoisseurship (C4C) Arts Weekend in Denver from Nov 17-18, featuring a national exhibition of abstract and representational art from 52 renowned artists and a symposium about the exhibition theme. At the Gala Opening of the Exhibition on Thursday evening (Nov 17), Albert Handell will be awarded the 2016 Fra Angelico Artist of the Year and on Friday (Nov 18), the symposium will feature presentations and panel discussions with curators, art experts, collectors and exhibition artists, including Handell. For tickets and more information about the Schedule of Events for the C4C Weekend, visit the website at www.windowstothedivine.org.
A PASSING MOMENT by Albert Handell, Pastel 12×18
Dihedral Patterns by Albert Handell, Pastel 16×17
Brilliance Endures via the PSA Comments Off on Brilliance Endures via the PSA
A primary initiative of the Pastel Society of America (PSA) is to provide a forum to expose artworks by the most accomplished and masterful creators working in this gorgeous medium. Since 1972, the organization’s annual exhibition and sale has been a crown jewel.
The Pastel Society of America opened the 44th edition of its Annual Exhibition on September 6. On view through October 1 at the National Arts Club in New York City, the annual exhibition is among the world’s best displays of mastery in pastel.
Three jurors — Judith Cutler, Richard McKinley, and Jimmy Wright — scoured through 1,496 artworks by 675 artists representing nearly 20 countries for this year’s exhibition. In the end, 175 outstanding artworks were chosen for the show. Participants in this year’s exhibition will be in attendance on September 25 for the exhibition’s award ceremony, followed by the PSA annual dinner.
Via the PSA, “It has been a tradition to schedule many accompanying activities during the annual exhibition, including demonstrations, portfolio reviews, workshops, a public gallery tour and reception, reserved educational tours, and a vibrant materials fair, in addition to the awards ceremony and dinner gala. The exhibition, the culmination of PSA activities for the year, acknowledges the professional excellence of participating artists and helps promote the finest examples of pastel to the general public, the professional art world, art students, and art collectors.”
To learn more, visit the Pastel Society of America.
This article was featured in Fine Art Today, a weekly e-newsletter from Fine Art Connoisseur magazine. To start receiving Fine Art Today for free,
Albert Recognized Internationally Comments Off on Albert Recognized Internationally
Mother Tree by Albert Handell, Pastel Painted on Location, 16 x 20
Recognized Internationally as One of Ten Pastelists in the U.S. to Represent in Suzhou City, China
I have been chosen as a PSA Hall of Fame Honorees as one of only ten artist to represent PSA at the 2nd Biennial International Pastel Exhibition at Ming Gallery of Art in Suzhou City, China, I am truly honored. I am excited to share some of the details as they unfold.
The Ming Gallery has an ambitious exhibition program focused upon the introduction of pastels to Chinese art collectors. The China Pastel Network, the China equivalent of PSA.
Each artist is represented by a single work. After the exhibition at the Ming Gallery, selected works will be exhibited in prestigious exhibitions throughout China over the next year.
The biennial is organized by China (Suzhou) Pastel Academic Research Center and the Chinese Artists Association of Watercolor Art Committee. Their press release states;
“The PSA Board of Governors wishes to thank the sponsors of the biennial, the China Pastel Network and the Ming Gallery of Art, for this generous recognition of the role PSA has played in the revival of pastel as an expressive medium for artists in the United States and the international world of artists. It is an honor for PSA to be represented by these ten outstanding PSA master pastelists at the groundbreaking Ming Gallery, Suzhou, China in this prestigious international pastel exhibition.”
Who knows where my travels will take me this coming year!
Annapolis Workshop Comments Off on Annapolis Workshop
Thanks to Rick Casali for hosting our workshop in his fabulous studio. Rick is a nationally well-known sculptor and artist and his studio reflects the quality of his art. The natural Northern light, the well-chosen wall colors and the perfect height of the ceilings, all added an atmosphere of professionalism to the time we spent there.
Our thanks to David Lawton, a fellow artist, for his superb organization.
A quote of guidance from Albert from one of his daily demos…
“How CAST SHADOWS add such importance and interest in your painting:
1. Cast shadows show the direction from which the light is coming.
2. They also beautifully give form to the object on which they are cast.
3. The cast shadows also identify what object is casting the shadow.
All these elements create intimacy and magic to your painting.”
We’d wanted to share an artist who participated in the workshop, Maria Marino and her extraordinary notes she drew below. Thank you Maria!
OPA’s 25th Annual National Juried Exhibition of Traditional Oils Comments Off on OPA’s 25th Annual National Juried Exhibition of Traditional Oils
I feel honored being a Master Signature Member of the Oil Painters of America.
Savoire Faire Comments Off on Savoire Faire
One of the important and informative conversations in Tucson was at the SAVOIRE FAIRE booth. Pierre Guidetti and Albert, over the years have built a friendship as well as a meaningful relationship with Sennelier Pastel and Oils. Watch for additional exciting information at the Artisans show in October.
What a blast celebrating! Comments Off on What a blast celebrating!
What a blast celebrating with 900 participants and 70 instructors a love for Plein Air painting at the 5th Annual Plein Air Convention and Expo. It certainly helped the festive atmosphere having it at the stunning El Conquistador Resort in Tucson.
Albert’s inspirational demonstration on Capturing the Beauty of Rocks in Mixed Media Pastel was very well received. It is always a joy to come together with so many inspirational people to network and plan for the future. Here’s to many more gatherings in the warm Arizona sun!
Jeanine and I at the Closing Night Dance
105th Annual Exhibition of the California Art Club Comments Off on 105th Annual Exhibition of the California Art Club
April 2nd and 3rd, Saturday and Sunday, was the opening of the 105th Gold Medal Exhibition at the AUTRY MUSEUM OF THE AMERICAN WEST, in Los Angeles. I am pleased to announce that my painting (see below) was chosen to hang in this world-class show presented by THE CALIFORNIA ART CLUB.
The Annual Gold Medal Exhibition is one of the finest exhibitions in the country. I am truly proud to be a part of the show; it is indeed an honor.
Jeanine and I attended the week-end activities at the Museum…what a true delight! Our hats go off to the California Art Club for doing such a fantastic job organizing this exciting and inspirational event and for their handling of the many details with such impeccability.
The exhibit itself is worth seeing in person; the closing date is April 24th.
Sedona Mentoring Program Comments Off on Sedona Mentoring Program
Springs kick off to our continued mentoring program was a great success. With so many old and new artists/friends coming together, it was a joy to be in such a creative environment! Thank you Michael Chesley Johnson for our impeccable assistance and friendship throughout the entire workshop.
North Port Florida Comments Off on North Port Florida
Albert’s Demonstration Painting Plein Air Subject Matter
We kicked off our first workshop after a long and rejuvenating winter here in North Port, Florida.
Albert’s approach to the subject, in this case rocks, is a real demonstration of what he chooses to paint, what he eliminates and how he alters the subject. These factors are always evident as you watch the painting unfold for him.
For more detailed information about how Albert paints rock formation in Pastel Journal June 2013 www.artistsnetwork.com/medium/pastel/painting-rocks
Stay tuned through our ongoing blog posts for more of Albert’s Artful Insights…
MasterWorks of New Mexico 2016 Comments Off on MasterWorks of New Mexico 2016
Jeanine and I are thrilled to both be accepted into the 18th Annual MasterWorks of New Mexico Art Show! It’s always exciting when we are both chosen to participate in the same show. If you live out of state or haven’t yet attended this show, the venue is one of the finest for visual art that New Mexico has to offer. At the same time provides opportunities for all artists and non-artists to enjoy fun and educational activities. The site details these events HERE.
Here are our works that were chosen which we feel proud to share.
Raleigh Workshop Just Announced! Comments Off on Raleigh Workshop Just Announced!
Some good news!
I have arranged for an unexpected and rather unique additional workshop for this year in Raleigh NC, a beautiful area of the country.
This special workshop will be an Indoor Painting Workshop (it’s extremely hot in Raleigh in August). This workshop is unique it will have an emphasis on both oils and pastels: for the morning demonstrations (4) will be equal- 2 for pastel and 2 for oils, with painting in the studio every afternoon, with help at the easel.
Members of the workshop can paint in the medium(s) of their choice.
I received this newsletter from Nicole’s Studio (below) 4 days ago, and already 6 aspiring artists have signed up. I expect the workshop to be SOLD OUT very soon.
If you are interested in joining us, please do not hesitate to sign up at this time. I look forward to working with you again.
Studio & Gallery Announces a major workshop:
Bring Your Paintings Beautifully to Life
with Oil Painters of America Master Albert Handell
A 5-Day Studio workshop; oils, pastels … all media welcome!
NICOLE’S STUDIO & ART GALLERY
719 N PERSON ST
RALEIGH, NC 26704
Nicole’s Studio is thrilled to announce an August workshop with award winning and Internationally renowned artist Albert Handell. Albert Handell has been featured in over thirty one-man exhibits, received over seventy prizes & awards for his works and has exhibited all over the US. He also has works in the permanent collections of numerous organizations across the country.
Albert has also published five books on his painting and techniques and has been written up in prestigious magazines and journals including Pastel Journal, Southwest Art, Artist Magazine and American Artist. He is an Oil Painter of America Master (OPAM) .
ABOUT THE WORKSHOP:
This workshop will feature a series of morning demonstrations for the first 4 days with Albert that will:
- Show you what to emphasize and what to omit in order to make a strong design statement while working sensibly towards a finish.
- Let you see how Albert perfects his outdoor studies and brings paintings to life from photographs of your landscapes and/or still lifes.
- How to use techniques in different mediums to achieve the results you want, including two valuable techniques rarely demonstrated in workshops: glazing and scumbling as well as feathering.
- Help you see beautiful landscape paintings brought to life in two different mediums: oil and pastel. Students can paint in ANY medium they choose, but Albert will demo twice each in oil and pastel.
Monday through Thursday Albert will demonstrate a complete work from 9:30 – 12:30. After a short lunch break students will paint in the medium of their choice from 1:30 – 4:30 with Albert providing individual attention at the easel.
On Friday the entire morning will be devoted to critiques and students can bring 6-8 works they have completed previously to receive feedback and critique. Friday afternoon will be spent completing all the works you started in class with your newfound knowledge and more help at the easel. For more information on Albert and to view some articles featuring him in national art publications, check out his blog: http://alberthandell.com/category/blog
“Fast But Not Furious” – Artist’s Magazine article Comments Off on “Fast But Not Furious” – Artist’s Magazine article
I am so excited to announce my featured article in the Artist’s Magazine! I’m very proud and wish to share with you the in-depth information which is about my oils, the subject is trees. This article “Fast But Not Furious” explains and illustrates aspects of my personal oil painting technique, starting with a very transparent fast drying under painting…
Here is just a snip-it of the article as I encourage you to pick up your own copy at
From Jeanine’s Easel Comments Off on From Jeanine’s Easel
Hello to everyone-!!
Such a magical time…. closing a fantastic 2015 workshop circuit for Albert and me…and now, so looking forward to the freshness of 2016-!! During our workshop programs, I continue to be in awe and truly honor the spirit of the many returning artists as well as those we will meet for the first time. The dedication and tenacity of the artists to learn new and fresh techniques is truly inspirational to watch-!! I am truly grateful for the opportunity to watch the unfolding of creativity within the groups.
One particular observation, is watching the artists deepen into their own ability to see the “en plein air” subject matter more intimately. The dramatic changes in their ability to see and feel the subject matter in front of them…and then their ability to translate this seeing onto their painting surface is absolutely profound-!! Passion is truly taking this Formlessness and bringing it into Form-!! An invitation to consider… please join us in this family of passionate artist-!!
Let’s stay in touch… In gratitude… Jeanine
ARTicles Comments Off on ARTicles
Salmagundi Club Comments Off on Salmagundi Club
“Breaking Waters, Along the Taos Ski Basin Road” by Albert Handell Oil 12 X 22 $10,500
Thursday, September 17
6:00 p.m. to 8:00 p.m.
at the prestigious Salmagundi Club
Forty-Seven Fifth Avenue, New York City
Many of you have worked with me in my workshops, and especially my Mentoring Paint-A-long Programs.
In the mentoring program I cover career building in detail, and I answer all questions asked.
I’m asked often about Co-ops, without getting too detailed at this time.
Co-ops or groups are formed; many of these “groups” eventually evolve into Societies.
These Societies evolve into nationwide invitationals (they usually start with one a year). Then they evolve and incorporate into regional invitationals, also annually.
Oil Painters of America (OPA) has now extended even further, and I’m delighted to be in the Master Artist Category, and to participate in their first Virtuosos of the OPA Exhibition at New York’s Salmagundi Club.
I wish to share this with you all.
I hope you have enjoyed the summer!
The Pastel/Drawing Category Comments Off on The Pastel/Drawing Category
“Mother Tree” by Albert Handell
Pastel painted on location 16”x20”
I wish to announce a prize that I received recently for my pastel “Mother Tree” in the drawing category of a rather substantial regional annual exhibition. I appreciated the award but I was amazed that even today my pastel received the award in the drawing category!
This is another good example of why I donated to IAPS (International Association of Pastel Societies) a Semi-Annual Albert Handell $500 Award for the memory of Flora B. Giffuni.
For it is Flora who single-handedly put pastel into a category and onto the map.
Flora 43 years ago started the Pastel Society of America, NYC and all Pastel Societies that exist now followed. I was honored to be one of the first judges of that initial exhibition, which opened at the National Arts Club. I met Flora there and then and we became good friends.
We now take pastel as an accepted and respected painting medium, before Flora’s involvement with pastel, trust me that was not the case. I have to ask myself and anybody who is willing to listen: When one works with 300 or more colors, how can it possibly be a drawing? Is it still considered a drawing because it was not painted with a brush?
It’s true, that for me one of the special qualities I find working with pastel is that I can draw and paint simultaneously.
As regards the pastel “Mother Tree”, it was painted on location during a workshop in Dawsonville GA, on a beautiful farm that had endless subject matter. “Mother Tree” was painted on U-Art paper 500 grit, mounted onto 4 ply museum rag board.
When I saw this beautiful tree against the “blue” sky, it took my breath away. Aspects of the painting was to weave the beauty of the tree in and out of the background sky. If you view this blue sky from top to bottom you will see a variation of color but not a variation of value. I hope you enjoy the work.
Spring news from Albert Comments Off on Spring news from Albert
YouTube Channel Comments Off on YouTube Channel
I’m very excited to annunce that I’m working on new video samples, technques, promos and more so please visit my YouTube Channel (https://www.youtube.com/c/AlbertHandell) and subscribe.
Transparent Paint Comments Off on Transparent Paint
I love starting my oil paintings with transparent color washes as so many of you have seen in my demonstration within our workshop programs. I try to retain as much of these transparent colors while I resolve the painting to completion.
Over many years….both students as well as Collectors have asked me “Why, Albert, why do you so love transparent colors in the under-painting when working with such an opaque medium like oils?”
Three thoughts come to mind. I remember at the Students Art League in NYC Coffee Shop, someone said, “A truly fine painting has an inner light all of its own.” As I continued to paint seriously, I soon realized my transparent under-painting technique accomplished this with great beauty and it has an inner light-!
Secondly, I so love transparent color washes and in my opinion, there’s nothing more luminous!
Rushing Water, Oil 28×30, Albert Handell
And lastly, I highly value the textural variety of the transparent color washes contrasting with my opaque brush knife work.
May you enjoy experimenting with all these insights…the best to you and painting.
Southwest Mentoring Highlights Comments Off on Southwest Mentoring Highlights
By popular demand….we are once again, offering our
SOUTHWEST MENTORING PROGRAM SERIES
Our SANTA FE program can best be shown on Albert’s website. Please note the studio for this unique workshop is Albert’s Studio here on the grounds of our home. An extra treat for all who join us!
Our always improving home garden in which we paint in the afternoon.
Another mentoring program here in New Mexico is Taos. In this quaint and charming village, we paint on location with Albert and some of his most favorite locations.
Painting by the stream
On the way to Taos Ski Basin
John Dunn Bridge by Albert Handell
Demonstration painted on location
You are most welcomed to contact Albert or Jeanine if you need further clarification on our Southwest Mentoring Series.
Look forward to hearing from you!
WHEN DOES IT HAVE A RIGHT TO LIVE? Comments Off on WHEN DOES IT HAVE A RIGHT TO LIVE?
L’Arbre, The Tree , Pastel 12×18, Albert Handell
WHEN DOES IT HAVE A RIGHT TO LIVE?
WHEN IS A PAINTING FINISHED?
WHEN DOES IT GET SIGNED?
If you wish to spend forever to figure out the answer to these questions, try sitting in the coffee shop at the ART STUDENTS LEAGUE in N.Y.C. This is what I did when I was a young artist starting out. One could take a seat, as I did, have a cup of coffee and talk with a few fellow art students about the question: WHEN IS A PAINTING FINISHED? This question was often asked and the answer was always discussed heatedly and at great length. Everyone always had varied answers and were always willing to defend their theory to support their ideas.
After many years (58) and many paintings (a few thousand) for me…there seems to be no obvious ” z ” to this alphabet called painting; no clear-cut formula to arrive there, nor definitive answer as to when a painting is finished… go figure.
It turns out, as far as I’m concerned, when I am at a point with one of my paintings of which I am excited about it, but unclear as to what to do next, I ask myself:
“If, by chance, this painting were taken away from me right now, does this painting deserve to exist with my signature, therefor, should I sign it-?”
YES… if the painting has life, feeling and beauty to it… with that in mind, I do not hesitate to sign the work. For me, at this point, it deserves to be considered “finished”.
“PAINT AS IF YOUR PAINTING HAS A RIGHT TO LIVE-!”
Let the process of painting be an exploratory experience and stop being so concerned about finishing.
From Jeanine’s Easel Comments Off on From Jeanine’s Easel
As we move further into the New Year, my fond memories and my sense of gratitude for a fantastic 2014 deserve to be acknowledged. Time shared this past year with Albert, family, friends and fellow artists certainly are the meaningful highlights for me-!!
Of course…our wedding day for us is on the top of the list of the more memorable events-!! It was a true delight transforming our home and gardens into a magical romantic wonderland for ourselves and immediate family. Our wedding day continues to fill the heart with loving visions. We appreciate and thank everyone for their well-wishes-!
Albert and I truly consider these last month’s travels a very special time-!! Our workshops were very well received and as always, exciting, informative and inspirational for all. It was such a delight to paint in the many various and beautiful locations with artists/friends who returned, as well as those who joined us for the first time. A true community continues to grow-!!
I continue to be inspired and in absolute awe by the dedication of all the artists and their desire to be the best artist possible-!! It is this true tenacity that develops and shows in the progress of all their paintings-!!
I also want to share an insight I discovered and adopted while painting over the years that continues to touch me deeply.
The phrase that has become my mantra:
“REMEMBER TO CRITIQUE PAINTINGS, RATHER THAN CRITICIZE THEM”
In order to remain in this critique mode, I ask the question “What is beautiful in this painting…and… what does this painting need in order to reinforce this beauty-?? and then… listen.
When I remember this, I receive the gift of feedback applicable for my next stroke in the painting. This intuitive practice continues to benefit me deeply in my paintings as well as life skills.
Continue to enjoy painting and the fullness of life-!!
I indeed look forward to staying in touch…
(and extend an invitation to do so: email@example.com)
In gratitude… Jeanine
“A Painter’s Guide to Palm Trees” • Pastel Journal, June 2014 Comments Off on “A Painter’s Guide to Palm Trees” • Pastel Journal, June 2014Click Here To Download Article
Blog Post from Michael Chesley Johnson Comments Off on Blog Post from Michael Chesley Johnson
Please enjoy the following post from pastel and oil landscape artist Michael Chesley Johnson about a visit to my studio…
Breaking Water Along the Taos Ski Basin, 12″x24″, oil by Albert Handell
(one of the new paintings Albert shared with me)
“I recently had the opportunity to spend a few days in Santa Fe, New Mexico. As most people know, Santa Fe is an art Mecca. For artists and art lovers, it provides a tremendous opportunity to quench one’s thirst for experiencing good art. Over the years, I’ve seen galleries come and go and artists pass in and out of fashion. But some artists have thrived and continue to florish there. One such artist is master painter Albert Handell. (Here’s what Fine Art Connoisseur says about him.)
(all photos by Trina Stephenson)
I’ve gotten to be good friends with Albert and his wife, fellow painter Jeanine Christman-Handell. So despite a winter storm warning and four inches of snow already on the ground, Trina and I drove the slushy streets to Albert’s studio. The studio is adjacent to the house, and both are what you’d expect from a Santa Fe artist, adobe pueblo-style plus a dooryard filled with chamisa, now snow-capped. Jeanine was sweeping the snow off the steps for us, and Albert had already warmed up the studio. Verdi was playing on a little music box. On two easels were two oil paintings, one quite large and older, one that Albert was re-working, plus a smaller, new one. When I inquired earlier about a studio visit, Albert sent me a text that he was “painting as if on fire.” I could tell. Paintings, both framed and unframed, were stacked against the vertical storage cabinets, which were also filled. (I last visited Albert’s studio in 2007.)
Albert wanted to show me some new work that he was proud of. That’s one of the many things I like about Albert. Though humble, he is not to shy to share with you his latest efforts, which are always beautiful. Some of the pieces were destined for the upcoming Oil Painters of America exhibition, others for other shows. The work was so consistently superior that I asked him if he ever made a bad painting. He laughed and said, “They just don’t make it to the frames.”
Although he does a great deal of his work out on location, like most plein air painters he recognizes the necessity of being in the studio. Lately, he’s taken to using a large computer screen to work from. He took me on a tour of some of the photos he’s been using as references and then showed me the paintings. It’s always fascinating to see how a master takes a scene and changes it for a painting. He also shared with me some of the spots where he took the photos, taking time to write out the directions to them. Albert is incredibly giving with his knowledge.
Albert’s pastel palette
Albert’s oil palette
Referencing his comment that he was painting “as if on fire,” I told him that it must feel great to still have that kind of energy and interest at this point in his career. Albert will soon turn 78. “It is! I’m painting better than ever. I’m painting looser. I’m focusing on the important parts of the painting and leaving more of the underpainting untouched.” Albert likes to start his oil paintings with a big brush and large, transparent passages; then he moves to the knife and works on the center of interest, paying special attention to “lost and found” edges.
There’s a great deal more I could write about our visit, which was brief. The snow was still falling in large, lazy flakes, and the forecast was for lowering temperatures and heavier snow. We had to get to Albuquerque before the roads got bad.
I’m looking forward to seeing Albert and Jeanine again in Palm Springs in a few weeks for a mentoring workshop, and then again in April 2016 in Sedona, when he will be back in my area for another mentoring workshop.”
Click the following link for to view Michael’s post:
The Butler and Albert and Flora Comments Off on The Butler and Albert and Flora
It is my pleasure to announce that a second pastel of mine has been accepted into the permanent collection of the Butler Institute of American Art, donated by myself through the PSA Legacy Collection in honor of Flora B. Giffruni, 2014.
Flora, a fine pastelist in her own right, was a good friend of mine. In 1972 she founded and was president of the Pastel Society of America NYC. The Pastel Society of America is located at 15 Gramercy Park South (the old Samuel J Tilden Mansion). Flora also, thru her generosity, gifted the Butler Institute of American Art a gallery specific for Pastel only.
When Flora and I spoke last, she urged me to contact the director, Dr. Louis Zona. I did so, and my contact and conversation with Dr. Zona allowed us to settle upon the dates for a pastel retrospective for yours truly.
My Pastel Retrospective at the Butler opened September 9th and closed November 18th 2007. At that time I visited the Butler and was thrilled and inspired by their permanent collection of American artists. I was delighted when my first pastel “The White Pine” was accepted into the collection.
The Butler Institute of American Art, located on 524 Wick Avenue in Youngstown, Ohio, was the first museum dedicated exclusively to American Art. Established by local industrialist and philanthropist Joseph G. Butler, Jr., the museum has been operating pro bono since 1919. Dedicated in 1919, the original structure is a McKim, Mead and White architectural masterpiece and is listed on the National Register of Historic Places .
The White Pine
by Albert Handell
Collection of the Butler Institute of American Art
Painted on location and in the studio, Woodstock, NY
by Albert Handell
Collection of the Butler Institute of American Art
Painted 1972 on location Woodstock, NY
The wonderful feedback I’m receiving:
Congratulations on the acquisition of your second pastel into the Butler Institute of American Art! It is beautiful. I was fortunate to have seen the retrospective you speak of and as I relayed to you in an e-mail message shortly after, I was spell bound. You have and continue to be an inspiration to me as I joyfully continue to pursue my work tirelessly in my beloved pastel medium. Best to you and your loved ones during the upcoming holidays.
Mountainsong Galleries Comments Off on Mountainsong Galleries
Hello everyone from Carmel-By-The-Sea and Albert’s FOUR DAY PAINT-OUT/MENTORING EXPERIENCE at The Mountainsong Galleries.
This unique time together with 18 artist, is a combination of a paint-out, mentoring workshop and a very powerful 32 painting One Man Exhibition.
Just a couple of photos to “wet your creative whistle”!
Painting from the Center of Interest Out Comments Off on Painting from the Center of Interest Out
After establishing a general color tone that is pertinent for the entire painting, I start immediately looking for and establishing the center of interest (the most obvious part of the subject).
I make sure I have this area placed on the canvas where I want it compositionally. This allows me to then establish correct proportions and drawing, while painting from dark to light. Then I establish…
(continued from my Spring Newsletter)…the local colors of my subject, the lost and found edges, the contrasting darks and lights, some details, etc. This allows me to obtain an intimacy with my subject, far more so, than other methods of painting that I was taught, i. e. “paint everything first, then go in and paint the center of interest”, etc.
As I continue painting, I paint everything into the painting that is reinforcing this and anything that weakens the impact of the center-of-interest I will either eliminate or play down. And then, I will continue in this manner, ’till finish.
I hope this information will assist you with your painting.
Paint well and often…
Greetings everyone! Comments Off on Greetings everyone!
It is indeed an honor and it was with sincere pleasure I accepted Albert’s invitation to co-create our newsletter. I do feel I know so many of you personally…
(continued from the Spring Newsletter)…others I hope we shall meet in the future.
I have traveled with Albert, on our many painting trips and also with him on his instructional workshop/mentoring programs, for about four years now. At times, I am asked what I have learned from doing so. I must say, the one practice that has so deeply influenced my paintings, is saying yes to Albert’s suggestions in his workshops. He invites the workshop artists to stand and paint along side him.
By standing along side of Albert as he paints in his workshops and being involved with painting the same image (or a variation there of), an amazing, eye-opening learning opportunity unfolds. By intimately observing Albert’s painting process, there is an opportunity to see how a Master artist demonstrates his painting techniques from start to finish. How Albert chooses his point of interest, what he paints and what he eliminates to support his subject and how he modifies the subject to a brilliant finish. To see more directly and clearly, how Albert takes his painting from start to resolution, continues to support the aspiring artist to change old habits and paint fresh as an “en plain air” painter.
I indeed look forward to staying in touch…(and extend an invitation to do so: firstname.lastname@example.org)
See you on the painting circuit-!!!
Featured Ventana Magazine Ads Comments Off on Featured Ventana Magazine Ads
Summer Plans Comments Off on Summer Plans
Dear fellow Artists,
It’s a great time to start thinking about your summer plans.
Join me for a painting workshop, July 21-25, 2014 at this amazing location on Madeline Island.
I’ve heard nothing but the best about the Island’s plein air locations. MISA’s five-star, state of the art studios, lodging, and delicious meals make it magical place.
Staying on campus makes your Island experience even better! MISA has designed its exclusive “mission cottages” with your utmost comfort in mind. Rooms are furnished with mini-fridges, coffee pots, Wi-Fi, air-conditioning, and fresh linens. Choose your lodging preference— either shared or private rooms are available. Consider bringing a friend or spouse with you to enjoy the Island.
It’s important to secure the on-campus lodging of your choice in advance. Read more about my class and how to register online by clicking here. Or, call the Registrar, Anne Leafblad, at 715.747.2054, or email@example.com.
You only need a 25% deposit to hold your spot. I can’t wait! See you on the Island this summer!
My featured artwork in Plein Air Magazine Comments Off on My featured artwork in Plein Air Magazine
L’ARBRE (the tree) oil 30″x40″
Received the Bronze Medal at the 2013 Oil Painters of America National Invitational Exhibition, held in fredericksburg, Texas
Please click on the following link…www.pleinaircollector.com/pages/16303512.php
Winter in Santa Fe Comments Off on Winter in Santa Fe
We wanted to share visuals of painting in my studio. The photo PAINTING “NOTES” on my canvas.
During the winter months here in Santa Fe….my days are spent painting with oils in my studio and the business of the office. At sunset, we are out and about photographing the magnificent light reflecting on the trees and the adobe walls. And in the evenings perhaps Jeanine and I swing dance at the La Fonda Hotel on the Plaza. Or attend a movie or spend time with friends or talk by our fireplace.
We are driving tomorrow to TUCSON ART ACADEMY and PALM SPRINGS follow us as we start our 2013 schedule.
Mastering Brushstrokes with Albert Handell by Cindy Salaski Comments Off on Mastering Brushstrokes with Albert Handell by Cindy Salaski
Please click here to view Cindy Salaski’s article.
Grand Marais Comments Off on Grand Marais
ON THE ROAD AGAIN-!! Happy and healthy New Year to everyone-!!
Jeanine and I are excited about the start of 2013…with all our planned Workshops and Paint-A-Long with Albert Mentoring programs scheduled for the year. We look forward to being together again with artist friends and meeting and painting with all the many new aspiring artists who are joining us for the first time.
Came across the enclosed photo in my files…one of myself painting on Artist Point at the Grand Marais. The photo ignited a realization that I feel is worth explaining and sharing in more detail…thusly.. the impetus for this blog.
During my COME PAINT-A-LONG MENTORING PROGRAM, I was painting on “ARTIST’S POINT’ a very well known, beautiful and extensive location in Grand Marais, located in northern Minnesota on Lake Superior. In this mentoring program, every morning, I paint on location with the participating artists. They can watch as I paint, or they can choose to paint nearby and every 15 or 30 minutes or so, come by and take a peek at how my painting is developing or they are also invited to stand behind me and watch and if they wish to actually paint the same subject as I am painting. I encourage this. This is a wonderful opportunity for everyone to realize and absorb some simple and yet profound insights. It’s not that I am trying to cultivate “little Handells”… far from it. For I have found, from my years of teaching, painting and painting with aspiring artists, that each artist who I have worked with, can certainly do something at their easel. It’s at the beginning of their works that the problems start or it’s after the first 15 min. or 20 min. or an hour and 20 min. the problems are there, and the aggravation is there. Then… after three hours of painting and toil, the painting just doesn’t make it. How come?
What to do-?? These are the the big questions-!! BUT… by standing behind me and actually painting the same subject as I am, one realizes in an instant and in an unique way, they can easily see and realize, what I eliminate from the subject, ESPECIALLY WHAT I ELIMINATE, what I emphasize… how and what I take from the landscape in order to develop further and finish my painting.
It’s what I TAKE from the subject, that adds to my painting, rather than putting in “things” or unnecessary details that take away from the essence of my painting. In my opinion, there is a metamorphous that occurs in the process of painting that is not realized, or even spoken about, especially painting “en plain air”. Because of the constantly changing lighting conditions, when I start a painting, nature is the boss. But, at a certain point in ones painting, the metamorphosis occurs and this is not clearly understood, for it is then, that the painting and the artist become boss. After all, for it’s the painting you are going to frame and exhibit-!
This is such a straight-forward learning experience for those who wish to make use of it…..it’s not obligatory. AND YET.. as far as I am aware, this is not a common-place offering. It is unequaled for learning how to proceed, develop and eventually finish your painting.
Please continue to check in with us periodically… here and on Facebook.
We are in the process of creating new ways for us to send you up-dated painting information and our schedule.
In closing..,both Jeanine and I wish you the best of health and painting in 2013-!!
Art Suppy List Comments Off on Art Suppy List
Albert Handell’s Suggested Art Supplies for On-Location Landscape Painting
For Plein Air Painting:
Some general supplies are your portable easel, a hat with a wide brim, sunscreen, etc. Unfortunately umbrellas, which could be useful, are difficult to take onto airplanes.
Bring a sturdy easel to work on. There are many different makes that are good. The easel that Albert Handell uses and that works well for both oils and pastels is the portable French easel. This portable easel folds into a box, and is recommended for on location painting. The best easels are made in France. They come in two sizes (full and half-size); both are good. Mr. Handell uses the full size. If you have a different easel that you use- bring it!
‘Island Costal Trees’, Pastel 12×18 by Albert Handell
What Art Supplies Should The Pastel Artist Bring?
If you are painting in pastel, bring all the pastels that you have and the pastel papers that you like to paint on – plus a few lightweight drawing boards i.e., made of foam core or gator board or any lightweight material. Albert likes to use the Kitty Wallis Sanded Paper in both white and their Belgium Mist grey tone, they both come in pads of 8 sheets, and he prefers the 12×18” size, but if you wish to work on a smaller size, these pads are also available in 9×12”. These are very handy pads for pasteling on location, and can be purchased from Dakota Art Supplies (they only sell pastel supplies) at
888.345.0067. Albert also paints with pastel on U-Art sanded papers 500-p and 600-p, grits.
If you wish to work on other pastel papers, be sure to bring them to the workshop.
If you are an experienced pastelist, bring the pastels you already have.
What Pastels should I bring?
- All pastel brands are good, since plein air painting is a one session experience. Mr. Handell paints with a combination of Unison, Schmenke, Nu-Pastels, Rembrandt, Senelier, to name a few. Bring what you already have.
Other Pastel Materials:
- A few sticks of soft vine charcoal
- Masking tape
- Light weight drawing board (foam core)
- Spray fixative (any brand)
- Kneaded eraser
- Folding TV tray (optional)
What Art Supplies Should The Oil Painter Bring?
‘At Water’s Edge, East Beach’ Oil 20×24 by Albert Handell
If you are painting in oils, bring the colors that you are accustomed to painting with, plus at least 12 or more canvas or canvas panels to paint on. Albert likes to paint on the Source Tek Panels, telephone them at 800.587.5462 or visit their website: www.canvaspanels.com. They have Claussen Linen glued to light weight Birch plywood – in different sizes. They are strong and lightweight. The recommended sizes are 9×12”,11×14”, 12×16”, or 14×18”. Or 16×20” Choose the sizes that you are most comfortable painting on.
Can I Ship My Art Supplies To The Workshop?
Yes, you can ship your art supplies to the hotel where you will be staying. Please contact their office directly for any special instructions or requirements. Albert Handell’s Pallet Of Oil Colors Mr. Handell paints in oil during the winter months in the studio. He uses Turpenoid as his paint medium, especially at the beginning, since these works are larger and call for 2nd, 3rd, and 4th painting sessions. He will then use Winsor Newton Liquin, very sparingly as his paint medium. He applies paint combining both brush and knife applications of color. His Oil Palette is listed below:
- Titanium White W/N (Winsor Newton)
- Naples Yellos W/N
- Cadmium Yellow Light W/N
- Cadmium Orange W/N
- Cadmium Red Light W/N
- Terra Rosa W/N
- Permanent Alizarin Crimson W/N
- Yellow Ocher Light W/N
- Burnt Sienna W/N
- Viridian (Green) W/N
- Cobalt Blue W/N
- Ultra-Marine Blue W/N
- Ivory Black W/N
If you are an experienced oil painter, bring any materials with which you would normally paint.
A large assortment of brushes is recommended. Two or three of each size: numbers 2, 4, 6, 8, 10. Your choice of brights*, flats (sable), rounds, or filberts (bristle)*.
Mr. Handell also uses:
- Richeson # 9629 signature # 10 & 12
- Langnickel Royal Sable # 5590 # 8, 10 & 12
- DaVinci Maestro series 7000, # 10, 12,14 (white bristle filbert)
- No medium; use odorless turpentine (Turpenoid) used by Mr. Handell for his alla prima paintings (one session paintings), or Gamlin Brand; Gamsol.
- Liquin by Windsor Newton -Mr. Handell uses for glazing purposes and for paintings that take multiple sessions to complete.
- A general all around paint medium, which many artists use, is a mixture of 1/3 Damar varnish, 1/3 linseed oil, 1/3 turpentine or turpentine substitute.
Other Oil Materials
- Any palette
- Two palette cups
- Rags and/or paper towels
- Two palette knives
My Bio Written by Cindy Salaski Comments Off on My Bio Written by Cindy Salaski
“Albert Handell lives and paints in Santa Fe, New Mexico. Since 1961, he has had over sixty one-man shows.
Mr. Handell’s paintings are in numerous private and public collections, in addition to many museums including the Brooklyn Museum of Art, Brooklyn, New York; the State Collection of New Mexico, Santa Fe, New Mexico; the Butler Institute of American Art, Youngstown, Ohio; and the Albrecht-Kemper Museum, Saint Joseph, Missouri.
The author of five art instruction books, Handell has also been a featured artist in nearly every art magazine.
Handell shares his knowledge and experience as a teacher through his Plein Air Painting Workshops and his Paint-A-Long Mentoring Program where participants join him at his favorite painting locations.
For the last twenty-five years, Albert Handell has had his annual one man show at the Ventana Fine Art Gallery in Santa Fe, New Mexico. All of Handell’s painting images in this book are courtesy of Andrew Johnson at the Ventana Fine Art Gallery.”
All my best to you,
Interview Video Comments Off on Interview Video
This is an interview that I did in February, 2012 with Gabor Svagrik.
Lake Tahoe SummerFest Comments Off on Lake Tahoe SummerFest
Greetings once again everyone!
Albert and I are excited to share the most amazing week we experienced at Incline Village, in Nevada: THEevent, August 3rd thru the 12th.
The American Impressionist Society, Lake Tahoe SummerFest and Mountainsong Galleries of Carmel-By-The-Sea partnered to promote the best-of-the-best living American Impressionist artist at this annual world-class venue.
The week featured first-class classical music and a gallery featuring paintings of master artists who were selected as leaders in art that epitomize the highest level of impressionism and passionately give back to society by sharing their knowledge.
Albert was the feature artist for this event and invited to present a detailed and inspirational oil demonstration.
Albert chose one of his favorite images: a stand of palm trees in Indian Gardens, Palm Springs, CA. His technique: an oil/turponoid mono-chromatic transparent under-painting followed by a brush and pallet knife application with opaque oil paints.
Both Albert and I would like to extend a sincere, heart-felt THANK YOU to all those who made this event such a meaningful experience: Lucinda and Jonathan Mountainsong of Mountainsong Galleries; Madylon and Dean Meiling, and especially Madylon Meiling, Founder and Chairman of Lake Tahoe SummerFest; Robin and Rob Holmes, our gracious hosts; and Lake Tahoe SummerFest Board of Trustees, Staff and Volunteers. That is truly a HUGE THANK YOU!
Jeanine & Albert
Yosemite Holiday Comments Off on Yosemite Holiday
WELL…HOLIDAY TIME FOR ALBERT AND JEANINE…YEAH!
So can you guess from the first photo, our destination choice? Yes…YOSEMITE NATIONAL PARK, and all her magnificent grandness!
Albert and I have talked about the park for years and wanted to share her splendor with each other, and now is the time!
One of the most spectacular sights of the park, that Albert dreams about is the YOSEMITE FALLS…so we definitely visited “his” falls the first day, and the last day as well. Absolutely magnificent, “take-your-breath-away-gorgeous”! It is truly the most powerful of all the experiences in the park.
We photographed that first day and yet..too many folks to set up our easels and paint. However, we DID set up our easels daily at the home of our gracious and illustrious hosts, Ginny and Jeff Burdick. An amazing property, incredible meals and very inspirational and informative conversations…dear friends indeed!
Amazing what is experienced in the quietude of nature…. all the senses are stimulated… and so alive. And the giant granite formations, domes and peaks swelling rising above the floor, the rock landscape so varied in sculpture….a true feeling of respect and humility. A most impressive creation!
We just wanted to share the visions and the joy of our holiday. Isn’t it always exciting to load “the visions of nature” within our imagination to draw from at will?
Jeanine & Albert
TUCSON ART ACADEMY Workshop Comments Off on TUCSON ART ACADEMY Workshop
Here we are again… and…welcome to another blog posting on my teaching trail!
Our latest travels brought us to Tucson Arizona for the Four-Day On-Location workshop that was hosted (for the fifth annual year) by the TUCSON ART ACADEMY. Christine and Gabor Svagrik the owners/artists, opened their professional studio/school for my morning instructions and demonstrations.
The first morning session, I gave information and precise examples of my color value system and how this principals can greatly benefit both pastel painters as well as oil painters and their work.
The second morning’s demonstration was a pastel painting on sanded paper followed by a pastel with a watercolor under-painting.
Then… the third day was an exciting and eye-opening oil demonstration.
Jeanine getting a closer look at the oil painting demonstration.
Each afternoon for the first three days…we drove to the most exciting locations for out-door painting for the participating artist…with assistance by me at their easels. The fourth and final day of the workshop…I painted in the morning on location and invite the participants to paint along with me. Such a wonderful experience for all of us! (There are a few additional blogs presented by the artists.)
My painting the fourth morning on location at the beautiful Aqua Calienta oasis within the desert surrounding Tucson.
Closing day… all the artists, a number of their spouses, Christine and Gabor, myself and Jeanine had a fair-well dinner at a fine.. delicious local restaurant. The conversation and enthusiasm was truly magnificent!
We will be traveling to Albuquerque the week end of March 1st for a truly inspiring workshop for THE NEW MEXICO ART LEAGUE.
An invitation to come follow along with all the news!
Beginning Our Travels… Comments Off on Beginning Our Travels…
Gearing up.. Here we are…Jeanine and I…beginning our travels for my 2012 workshop/mentoring program tour-!!
And for you… friends and fellow artist…an invitation to check back here on my blog for up-dates on our travels… the colorful stories…our insights… and a few personal “artistic tips”from one fellow artist to another. Looking forward to our our next time together!
NMAL Oil Painting Demonstration (part 1) Comments Off on NMAL Oil Painting Demonstration (part 1)
I would like to welcome everyone to another entry in my ongoing BLOG!!
I do enjoy sharing with you…my thoughts…my insights…and a few personal “artistic tips” from one fellow artist to another I hope you find them of interest and of a help for you in your own painting!!
Recently…I gave an informative and interesting oil painting demonstration in Albuquerque which was followed by a question and answer session. With this blog (and the following entry) I want to share with you the day’s experience-!!
The oil painting demonstration was from 1 to 4 PM…and was a benefit fund raiser for the NEW MEXICO ART LEAGUE (NMAL). Some 40 plus enthusiastic artists attended…and it was an outstanding afternoon!! When I paint an indoor demonstration…I work from a collection of photos of which I have personally taken over the years. For this demo I choose a number of photos to paint one of my very favorite subjects: moving water.
While painting on location…a vision in nature will touch me deeply…causing me to stop and take a photograph. These photos…along with photos of my own original paintings…became my inspiration for this demonstration.
My oil painting technique was demonstrated and explained at the beginning. I paint with abandon…starting with transparent color washes, using turpenoid as my medium and applying these color washes with large brushes. This becomes my transparent under-painting. I then focus on a specific area…and paint it to near completion. I then paint from this center of interest out.
I continue painting now…using thicker…more opaque paint applied with both brush and palette knife. This process continues until the painting is resolved. I find this combination of very transparent paint and very thick opaque application of paint and everything in between…visually most unique and quite beautiful!!
Our question and answer time together was indeed the perfect closing for the demonstration. A most gracious hosting by all the members of the NEW MEXICO ART LEAGUE. A sincere thank you for all your time and effort to make this a most wonderful event!!
And now for the informal interview…
On our drive back to our home in Santa Fe… Jeanine (my partner) and I exchanged our insights of the day!!
Jeanine: So…Albert…you are so excited and pleased…tell me more of your thoughts about this afternoon’s demonstration.
Albert: It was a pleasure to paint for such a receptive and appreciative audience!! A couple of the highlights for me were…Explaining my way of viewing rhythm or movement in my subject and then demonstrating how I incorporate this into my painting was a highlight for me. When I focus in on rhythm.. rather then the details…this adds “life” to the picture. Rhythm is inter-related with the abstract…thusly…the realism gets stronger and I find that it is more interesting then just focusing in on the details.
Jeanine: Yes Albert…I also liked the suggestion of the inner forest you painted on your oil painting this afternoon. I also remember your incredible explanation of your principals of values… and then for you to actually demonstrate how you use these principals in your painting…AWESOME!!
Albert: Thank you sweetheart for your additional thoughts!! I so appreciate your enthusiasm and your support. How aboutanother posting on my blog soon?
And…upon returning to Santa Fe…to our delight and surprise…there was an email from Diane Bluster, a member of the RIO GRANDE ART LEAGUE who attended the afternoon demonstration.
Her detailed, professional description of the demo which she will be passing onto the RIO GRANDE ART LEAGUE…we felt worthy to include it.
Please visit my WORKSHOP and MENTORING PROGRAM pages of “up-and-coming” events in the Albuquerque, NM and across the states.
I have enjoyed sharing all my latest news with you…and…invite you to view my next posting!! Many GREAT EVENTS ARE HAPPENING!!
NMAL Oil Painting Demonstration (part 2) By Diane Buster Comments Off on NMAL Oil Painting Demonstration (part 2) By Diane Buster
Albert Handell January 2012 Oil Painting Demonstration for the New Mexico Art League
By Diane Buster
Albert Handell’s demonstration piece, an oil painting of a waterfall, was designed to show a three step painting process. The steps move from transparent to opaque, from mass to detail, from dark to light, and from thin to thick. He starts with a transparent underpainting using turpenoid as his medium to establish masses and tones. The second stage is drawing of shapes and detail. For the final stage he picks up the palette knife to trowel on thick opaque passages that resolve the painting. His ground, toned with raw umber, consists of Claussen #66 linen canvas mounted to an interior grade Masonite panel and gessoed with 3 to 4 coats of Liquitex gesso. His oil and alkyd paints include Windsor Newton, Grumbacher, and Holbein brands. In order moving around the palette he put out titanium white, viridian, ultramarine blue, cobalt blue, burnt sienna, yellow ochre light, Naples yellow, sap green, chromium oxide green, terra rosa, alizarin crimson, cadmium red light, cadmium orange, cadmium yellow, Hansa yellow, ivory black, and paynes gray. He also put out four Holbein grays: Monochrome tint cool, grey of grey, neutral grey, and violet grey. The cadmium colors were Alkyd paints because of drying time. Reference photos were both of landscape photographs and previous waterfall paintings.
Albert explained that he likes to talk while he paints but doesn’t like to answer questions. He happily addressed questions during breaks and after the demonstration. To begin he made some construction marks using an ultramarine blue and burnt sienna mixture as the mother color. He then started laying in the first transparent washes. He explained that scrubbing the thin washes into the ground adds to the transparent effect. He altered the value and temperature of the mother color mixture as he worked over the canvas. For example, some viridian was added to the mix for the foreground water area. The rock mass is painted darker and cooler at the bottom and warmer and lighter as it moves into sunlight. The wooded area is applied as a very dark wash using some terra rosa for a rich brown. (At this point raising one of his own brushes, Albert stopped a moment to tell us that if you have a favorite brush, buy three of them. One for applying dark toned colors, the second for middle toned colors, and the third for light toned colors. This will keep brushes cleaner resulting in cleaner colors.) Within each value area, Albert varied the temperature and hue for a vibrant look. (Tip: If there is no edge apparent between mixtures on the palette as you adjust the mother color, you can be confident that the values are consistent.) Albert kept all the edges soft as he completed this first stage of the painting.
Stage two is all about drawing. Using ultramarine blue, Albert looked at his references and starts sketching. Talking to himself he describes the drawing’s movement as he works. “This goes here, this moves like that, this moves here”…etc. For areas that need to be lighter in value, rather than add more paint he lifts paint. He paints an area with turpenoid, and then lifts details with a brush, or paper towel, or his fingers. He also draws some lines and then softens the line by pulling away from it with his brush. If a color seems too rich, rather than scrape it away, he first tones it with its complement. He makes corrections and adjustments carefully as they might lead to an exciting passage. All of this drawing begins from the center of interest and moves out. When we look at something, we can only focus on one area. This method of rendering is about how we see.
Once the canvas is completely covered and the drawing is re-established the last stage begins. This is when Albert picks up the palette knife. The knife work describes texture and form and allows for application of thicker more opaque passages. Albert starts with a green mixture of viridian and Naples yellow for the foreground water. He taps the color on and smoothes it slightly with the face of the knife moving in the direction of the water’s movement. Establishing the falls, he draws with the edge of the knife and uses pure titanium white. The white is a design element amid all the midtones. Once the shapes of the falls are established he begins to work out from this focal area. He uses the edge of the knife for linear elements and the face for broader strokes. Albert likes the luminous color of the underpainting and leaves much of that showing through. His goal at this stage is to resolve the painting without losing that inner glow. Most of the work at this stage is with the knife, but occasionally he picks up his brush to feather an edge or soften a line.
working on the trees
Albert also uses his brush to lift out the tree trunks at the top of the composition. He uses a signature brush for small branches and goes back to the knife for very fine lines. Cast shadows are added to show the width and form of objects and the direction of the light. Because the painting is still wet, he can lift out shapes like the sky holes. The deep transparent red brown of the underpainting and a thick opaque mixture of alizarin crimson and white for a light pink sky color offer the complementary contrast to the yellow green leaves that he touches on with his knife. The demonstration is over at this point, though Albert may work on the painting after studying it in his studio.
finished demonstration piece
At the conclusion of the demonstration, Albert gathers us around his palette to demonstrate some mixing techniques and to answer our questions. Some pointers he
gave us follow:
• When applying a ground, the first coats of gesso appear grey. You know you have applied enough coats (usually three or four) when the final coat holds its white color when dry.
• Ultramarine blue and burnt sienna and a little white make a good mother color. If while matching values you add ultramarine blue and white to one edge and burnt sienna and white to the other you will have three piles of paint for a warm, neutral, and cool of the same hue.
• Viridian changes dramatically depending on the yellow it’s mixed with. He suggests you experiment. Also try mixtures of thalo blue and thalo green with various yellows. Albert is experimenting with chromium oxide green and liking some of the results.
• Turpenoid is a good medium for the early stages of a painting. Liquin works for later stages. Liquin also makes a good imprimatura coat to seal the painting. Damar varnish can go over the Liquin when dry as a final varnish.
• Landscapes can be very complex if you are not used to painting outdoors and are a studio painter, painting portraits or still life paintings. Consider panning in on your subject matter as if it were a portrait rather than trying to paint everything.
• If you are going to use buildings in your paintings, know perspective or just paint the front or side not the front and the side of the building; for painting both takes in perspective. If you don’t know perspective, don’t fake it! (Better yet, learn it.)
OIL PAINTING WORKSHOP BEGINNERS TO ADVANCED
The Rio Grande Artists Association in conjunction with the 2012 Masterworks Art Show and Sale will host a three day oil painting workshop with Albert Handell, Saturday through Monday, April 21-23, 9:30 am – 4:30 pm. Each morning of the workshop, Albert will start with a demonstration, varying the subject matter. The first two afternoons, Albert will offer individual instruction for participants at their easels. The third afternoon, weather permitting, we will paint en plein air at Shady Lakes.
Registration information: firstname.lastname@example.org or call Diane at (505) 281 3600.
Workshop location: Expo New Mexico Fair Grounds, Hispanic Arts Building, 300 San
Pedro NE, Albuquerque, New Mexico. Tuition, $350
La Puerta, Sunday Morning 18×20 oil Windswept 24×36 oil
TREES!! Comments Off on TREES!!
Wanted to share this exciting painting I recently completed of one of my favorite subjects…TREES!! Notice the beautiful variety of rich greens through-out the painting. I am delighted it has been slated to run for a forth-coming ad in FINE ART CONNOISSEUR publication by my Charleston gallery: THE M GALLERY OF FINE ART.
I was introduced to Pemaquid Point when I was giving a large workshop at the small town of Damariscotta, 14 miles away from the Point. Pemaquid, with its lighthouse, is a breathtakingly beautiful location, full of wonderful varied subject, all very much at hand. To create an opportunity to come back to paint the area myself, side-by-side with an intimate group of accompanying artists, the new ‘Come Paint Along with Albert Handell’ Mentoring Program was established.
Opening Date: Saturday, February 27 2010
Albert will have the following 3 pastels in the show…
It’s an honor to share with you that in November, 2009, two of my works were accepted into the permanent collection of the New Mexico Capitol Art Foundation, the Capitol Art Collection, State Capitol, Santa Fe, New Mexico.
This type of subject matter is unique, plentiful and beautiful in Northern New Mexico. If you’re a painter and interested in exploring these very inspiring and ‘paintable’ subjects, you may want to consider joining one of my three 2010 Paint-A-Long Mentoring Programs in Taos, New Mexico. Visit the Mentoring Programs page for dates and details.
One is Last Light, an oil, 24 x 36″. The other is a pastel that was painted on location in 2009 at La Hacienda de Los Martinez, Taos, New Mexico: Hacienda Shadow Play, 16 x 20″.