News Blog

Latest news from Albert Handell and mentoring artists.

Interview Video Comments Off on Interview Video

Interview Video

This is an interview that I did in February, 2012 with Gabor Svagrik.

Lake Tahoe SummerFest Comments Off on Lake Tahoe SummerFest

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!

Happy painting! Jeanine & Albert

Yosemite Holiday Comments Off on Yosemite Holiday

Yosemite Holiday


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?

Albert’s Pastel

Jeanine’s Pastel

Jeanine & Albert



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…

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)

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!! steroide medizin

NMAL Oil Painting Demonstration (part 2) By Diane Buster Comments Off on NMAL Oil Painting Demonstration (part 2) By Diane Buster

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’s palette

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.


construction lines                            scrubbing in masses                            stage one completed

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.

establishing the focal area and starting the knife work

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.)


Invitation to Spring 18×24 oil Albert Handell

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: 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.


Painting on Location in Maine Comments Off on Painting on Location in Maine

Painting on Location in Maine

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.

Panhandle-Plains Annual Invitational Western Art Show and Sale Comments Off on Panhandle-Plains Annual Invitational Western Art Show and Sale

Opening Date: Saturday, February 27 2010
Albert will have the following 3 pastels in the show…

Capital Art Collection – Santa Fe, N.M. Comments Off on Capital Art Collection – Santa Fe, N.M.

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″.