Beacon Hill Seminars: Worcester Art Museum Trip

On May 1st, we had the pleasure of visiting the Worcester Art Museum with the members of our Beacon Hill Seminar series!  Director Emeritus Jim Welu kindly met us for lunch and took us on a personal, post-lunch tour of the museum.

​Since Jim gave two lectures during the seminar, we were familiar with some of the work at the museum, however, it's Jim's stories and the history of the works that really make the museum come alive! 

​Jim talking about a piece by Gilbert Stuart -- part of the American Art Collection

We loved hearing all the stories Jim has collected over the years about the pieces.  Whether it was a piece he helped bring to the museum or a work that has an illustrious history, such as the stolen Rembrandt, Jim knows the museum so well that in fact he is in the process of writing a book about its history.

Andrea del Sarto, 'Saint John the Baptist', Oil on Panel transfered to Canvas, 1517

The story behind the acquisition of 'Saint John the Baptist' by Andrea del Sarto is one of our group's most favorite. 

One of only a few Sarto paintings in America, it was brought here in the mid-nineteenth century.  Once it arrived, it spent time on loan at the Worcester Art Museum, it then traveled to the Museum of Fine Arts in Boston.  While the painting was on loan at the MFA, its owner passed away and the piece was returned to his children.  They decided to donate the piece to a church in Worcester the owner had attended.

Over time the piece was forgotten at the church -- until 1977 when the museum was contacted to take a look at some works that were being sold to raise funds.  Jim went over to the church and discovered the Sarto on the floor behind a few other things.  Though it was dirty -- Jim could almost immediately tell what it was!  He brought it back to the museum and the excellent conservators were able to bring it back to its full glory. 

In addition to all the beautiful works and rotating exhibitions that Worcester has to offer, the museum has renowned art classes and a vigorous conservation ​program.

​Seminarians contemplating Rembrandt's 'St. Bartholomew' -- a piece that was once stolen from WAM

​The glass roof and second floor balconies overlooking the Renaissance Courtyard

In an effort to get fresh contemporary work on view, the museum started The Wall at WAM -- a rotating series that brings artists into the museum to create a site specific work for the Renaissance Court's second story wall.  The 17 x 67-foot expanse overlooks the 6th-century Antioch Roman mosaics, including the Worcester Hunt.  Part of the current project These Days of Maiuma, by husband & wife team Robert and Shana ParkeHarrison, can be seen in the above right photo.

​A view looking onto on of the Antioch Mosaics - The Worcester Hunt Mosaic

If you haven't been to the Worcester Art Museum yet -- it is a must!  The museum has an amazing collection of American & European art and is a hidden gem just outside Boston.  We are so thankful that Jim took the time to share his knowledge with us. 

'Saint John the Baptist' photo courtesy of the Worcester Art Museum.

Artist Demonstration: 'Back to Back' Paint Off

Thank you to everyone who attended our 'Back to Back' Paint Off this past Saturday!  We were happy to see everyone after a long week and glad you came out to support local artists from the Boston Figurative Art Center -- Damon Lehrer, Jon Nix, & Jeremy Durling. 

​Jeremy Durling

​Damon Lehrer

Each artist has his own unique style -- which made for a great demo.  Damon and Jeremy painted in oil, but in two very different ways.  Jeremy paints on paper and uses a trowel/palette knife most of the time while Damon paints on linen and uses brushes.  As you can see in the images above, both artists produced two distinct pieces, even though they were painting the same model.  To throw in another element, Jon worked in pencil to produce a beautiful drawing of our model Dennis.

​Jon Nix & Damon Lehrer  start their pieces of model Dennis

​Jon Nix's drawing & Jeremy Durling's 'blueprint'

For those who were unable to attend we've compiled a list of some of the most commonly asked questions to each artist. 

Q -- Do you use your eraser as a tool in drawing?

Jon Nix -- I usually use a kneaded eraser but didn't have one so I was using a mechanical eraser.  It made for a delicate instrument but it worked well.

Q -- Why did you choose to do a drawing instead of a painting?

Jon Nix -- The reason I chose to draw rather then paint was that in a single session, my painting method results in a much less complete result.  I thought it would be more instructional and rewarding for the viewers to see a work come closer to fruition than for them to see the faint contours and bulky masses I typically produce in a single sitting.

 

Q -- What colors are on your palette and why?

Damon -- ypically the smallest number of colors I can get away with.  Today it's whites, two reds, two blues, and two yellows.

Q -- What is the base color you started with on your canvas?

Damon -- Burnt Sienna.

​Damon Lehrer's Burnt Sienna base color

Q -- How do you choose the colors on your palette?

Jeremy -- My palette right now consists of all primary colors.  I have three yellows, one red, three blues, and lead white.  This is a slightly modified version of the palette Cezanne used in his painting 'The House of the Hanged Man' in 1873.  I saw a Cezanne of peaches on a plate in the Barnes Foundation.  It's a simple painting, but the color had my heart pounding and I could feel the weight of the fruit in the pit of my stomach.  I wrote down the year it was painted and found out what colors he was using.  I've been fond of limited palettes for the past few years, and I'm never afraid to choose a strange color I love and build a palette around it.  I love the Cezanne palette for its versatility.  Fighting the temptation to make everything bright and high key when I'm mixing these powerful primaries makes for some beautiful neutral colors that I wouldn't arrive at if I were using earth tones.  I have to really meditate on each color to give my subject it's weight.

Q -- What is the story behind your blue base drawing?

Jeremy -- It is really just a series of lines with no clear subject.  I use it as a way of measuring angles and proportions -- a blueprint for the person sitting in front of me.  The simple drawing is easily and quickly adjusted until I find the truth of the thing.  George Nick once told me: "Drawing is really very simple.  It's only how far by how wide, at what angle."

​Jeremy Durling's palette

​Jeremy Durling's painting at the end of the session

Thank you to our talented painters -- Damon, Jeremy, & Jon -- and our patient model Dennis.  Look for us to do another Paint Off later in the year.

Back to Back: A Call for Artists

Sloane Merrill Gallery and the Boston Figurative Art Center (BFAC) announce their first collaboration in the form of a themed group exhibition titled 'Back to Back' opening Friday, April 12th at 75 Charles Street, Boston.  

Below is the call to artists to submit for the juried portion of the exhibition. 

​Please feel free to contact Sloane Merrill Gallery with any questions at 617.227.1775 or by email at info@sloanemerrillgallery.com

Artist Process: Scott Bartner -- Julia Finished!

Julia -- all finished!  

​Her skin is flawless, her lips are full, her hair encompasses several shades, and her eyes are beautifully piercing.  And her buttons!  Scott painted the pearls with the perfect sheen and opalescence. 

'Julia' -- Finished Painting

Julia came together beautifully -- bravo to Scott!  For more information on Scott, take a browse through his website: http://www.bartner.nl.

​For any portrait commission inquiries, please contact the gallery directly: info@sloanemerrillgallery.com.

Framed Friday: Museum of Fine Arts

Today, we decided to go outside the gallery for our frames.  This week, we had the pleasure of playing host to new gallery artist -- Daniele Cestari!  Daniele is from Ferrara, Italy but is currently in the midst of spending two months in the United States.  It is always fun to explore your city with someone who has never been there.  We took him to some of our favorite places -- along with discovering new favorites! 

All this fun took us on a Wednesday night visit to the MFA.  Though we were only there for a few hours, we all loved walking around and seeing some of our favorite pieces!  While there are hundreds of frames we could have chosen -- from simple to elaborate -- we chose to feature a frame in a frame.  These beautiful frames can be found on Level 1 in Room 137 -- 18th Century Furniture: Design & Construction.

The shadows that are cast below each frame are just as elegant at the frames themselves.

Thank you to Daniele for a wonderful week -- and a reminder to everyone to visit their local art museum once a month!

Artist Process: Scott Bartner -- Part 2

Next step -- the first layers of color!  You can see the flesh tones bringing life to Julia's face, especially with the subtle rosiness to her cheeks.  Scott is a master of contrast and shadow, however slight, allowing her nose and chin to become much more dimensional.  Our favorite element of Scott's work is easily the draw of his eyes!  He creates figures with captivating eyes that bring the viewer right to the sitter or model.

Scott Bartner, 'Julia' -- First layer of colors.

Check back next week for Scott's progress on Julia!  For any portrait commission inquiries, please contact the gallery directly: info@sloanemerrillgallery.com.

Framed Friday: Joshua Flint

Happy Friday!  After three weeks of featuring detailed frames, this week we are going simple.  Sometimes simple and modern work better depending on the painting.  This recently arrived piece from Joshua Flint is titled 'Perfect Temerature'.  Appropriately named as our weather has been all over the place this week!

Joshua Flint, 'Perfect Temperature', 18 x 18, Oil on Panel.

The flat black frame allows Josh's gorgeous color palette to stand out.  Views of the inner and outer corners allow you to see the depth of the frame.  The clean lines of the frame also work to complement the drip affect on the painting, the more organic shape of the figures, and the structured lines of the architecture.  

Stop by to see Josh's piece in person and be sure to check out his great blog!

Artist Process: Scott Bartner -- Part 1

The artist's process: exciting, agonizing, exhausting, and fulfilling. 

Over the next couple of weeks, we'll be showing you an exclusive look at how Netherlands-based portrait painter Scott Bartner constructs one of his astonishing pieces.  Meet Julia, she's currently an underpainting or grisaille.  

Scott Bartner, 'Julia' - Underpainting

We love seeing the inner workings of Scott's process and know you will as well! 

Next image soon enough...