Recent Cityscapes

Posted in Landscape on November 25th, 2009 by Marc – 7 Comments
Here are a few recent cityscapes around the Oltrarno (the south side of the river in Florence). Painted with my little cigar box set-up.
(Update: Here are a few more)
San Felice in Piazza. 14 x 16 in. Oil on board.

San Felice in Piazza. 14 x 16 in. Oil on panel.

Scaffolding on Borgo Tegolaio. 12 x 8 in. Oil on board.

Scaffolding on Borgo Tegolaio. 12 x 8 in. Oil on panel.

Via della Chiesa. 10 x 14 in. oil on panel

Via della Chiesa. 10 x 14 in. oil on panel

Via del Campuccio. 12 x 8 in.

Via del Campuccio. 12 x 8 in. Oil on Panel.

Torrigiani Garden Wall

Torrigiani Garden Wall. 16 x 12 in. Oil on panel.

P1040251 Recent Cityscapes

Can't remember the name of this street. 12 x 8 in, oil on panel.

Porta San Miniato.

Porta San Miniato. 8 x 10 in, oil on panel.

Via del Canneto.

Via del Canneto. 10 x 14 in, oil on panel.

What’s in a Name?

Posted in Exhibitions, Random on November 21st, 2009 by Marc – 18 Comments

The Contemporary Florentine Realism exhibition received some criticism for the title. Some of the participating painters objected to the term ‘realism’ and on the Rational Painting forums the title sparked a thread questioning the need to use the word ‘contemporary’. Granted I did not spend a great deal of time thinking of the name. I just needed to come up with an all-inclusive title to describe what we do in the least offensive manner to all parties. Sometimes talking with other realists reminds me of what some wise man once said: ‘there is no greater cause for ferocious argument than a subtle difference between two abstract ideas’ (along those lines anyways, I can’t find the quote).

Most art movements were given their appellations long after the fact but in today’s soundbite-driven world, we should probably have a catchy name. Its interesting to think that some art movement names were originally insults, such as Baroque, Macchiaoli or Fauvism. Odd Nerdrum has been going for this approach by adopting ‘Kitsch’ to describe his painting, you can read his ideas on the subject on his website.

When I was studying, Classical Realism was the blanket denomination for traditional painting. It always seemed too ivory-tower to me, however, as many of my favorite artists are painting very modern subjects albeit with traditional methods and much of the plein air work I admire has nothing really ‘classical’ about it.

‘Slow Art Florence’ was an early choice for the show’s title, especially as the Slow Food movement it pilfers the name from is very popular here. Greg Hedberg has already used ‘Slow Painting’ for his show at the Oglethorpe University Museum in 2006 (Aristos had an interesting critique of the name here). Though it’s a good idea, a quick google search for ‘Slow Art’ turns up a lot of stuff that has nothing to do with this show, and I paint pretty fast anyways.

Two of the best ideas for a title were from the Rational Painting forums. The first was Graydon Parish’s ‘Post-Contemporary’ art, since the word has already been corrupted to mean a style and not a time. The other was Mark Diederichsen’s ‘Reconstructionism’, a play on Derrida’s Deconstructionism which has influenced so much of Postmodernism. Unfortunately, once again, a quick browse through google turns up exhibitions of Post-Contemporary art (which appear to just be more of the same), and Reconstructionism is already a hard-core Christian movement advocating a return to Mosaic law.

Back to the drawing board. If anyone has suggestions, post them in the comments please.

Update: For the time being I’m using ‘Post-contemporary’ for the show title on the door, I find it too amusing to pass on.

Spam Filter Problems

Posted in Random on November 21st, 2009 by Marc – Be the first to comment

Gmail’s spam filter has become over-zealous of late and is sending lots of real emails to the trash (including family and gallerists who I would never mark as spam). I’m aware of the problem now and have been digging through the muck to find your unanswered emails.

Just so you know I’m not ignoring people and will get around to replying very soon.

Contemporary Florentine Realism

Posted in Exhibitions on November 18th, 2009 by Marc – Be the first to comment
Mia Madre by Elena Arcangeli.

Mia Madre by Elena Arcangeli.

Tomorrow is the vernissage for the first show I’ve ever ‘curated’ (I actually chose the artists, but not necessarily the pieces). There is a lot of excellent work on display from the teachers and alumni of the three traditional painting schools here: The Angel Academy of Art, Charles H. Cecil Studios, and the Florence Academy of Art.

The opening will be from 6 to 8pm at the Cami Gallery so if you’re in the neighborhood please stop by. The address is via della Condotta 36r:




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Here are some images from the show:

Update: Here is a very short time-lapse film of the evening, you can use pause to see frames individually (sorry for the lazy photography, but I didn’t want to run around with a camera all night).

Painting the Fall Landscape

Posted in Landscape on November 8th, 2009 by Marc – 11 Comments
George Inness. Early Autumn, Montclair. 1891 Oil on canvas 30 x 45 in.

George Inness. Early Autumn, Montclair. 1891.

It’s that time of year again.  Days are shorter, the rain is back, and the trees have all gone garish reds and yellows.  I’m not a big fan of Autumn landscapes, but as I still have to paint outside, I  thought I’d try to find some inspirational paintings to help me along. Inness was probably the greatest painter of fall, and by the sheer amount of scenes he did this time of year, it would appear he really enjoyed it.

George Inness. Early Autumn, Montclair. 1888 Oil on canvas 30 x 45 in.

George Inness. Early Autumn, Montclair. 1888.

The problem I have with painting fall scenes is that is very easy to end up looking like a Sierra Club calendar (no offense to the Sierra Club) in the sense that the views can be too beautiful. A story I often tell my students is about the time I watched dolphins jumping in the Pacific at sunset,  a stunning thing to see, and very moving, but under no circumstances would I ever recommend anyone try to make a painting of dolphins jumping at sunset. Some things can be inspiring and beautiful without being remotely picturesque and it is part of the landscape painter’s job to decide which is which.

Here are a couple of Levitans as well:

Isaac Levitan. On the Volga. 1887-88, Oil on canvas

Isaac Levitan. On the Volga. 1887-88.

Isaac Levitan. Golden Autumn, 1895.

Isaac Levitan. Golden Autumn, 1895.

If anyone has more good Autumn landscape paintings to recommend, I’d love to see them.

The Fourth Dimension

Posted in Landscape, Portraiture, Studio on November 4th, 2009 by Marc – 3 Comments

I recently got a new DSLR camera capable of filming in 1080/24p full-HD (a Panasonic Lumix GH1 The Fourth Dimension) for some video projects I want to do. Having never filmed anything before (and I’ve only owned a regular camera for a couple of years), I’ve been using the forums over at DVXuser and youtube tutorials to learn a bit about shooting and editing the footage after.

These are my first attempts, so they’re a bit messy. The first was practicing with the camera while some friends painted a portrait sketch at Ben Fenske’s studio.

The second is my trip last week with Leo Mancini-Hresko and Joe Altwer to find where Corot painted his ‘Bridge at Narni‘ in southern Umbria.

My hope is to start using video to do tutorials, so stay tuned.

American Artist Article

Posted in Landscape on October 29th, 2009 by Marc – 1 Comment
American Artist December 2009 issue.

American Artist December 2009 issue.

There is an article about me in the new December issue of American Artist. It focuses on my method of using sight-size for plein air landscape painting. It should be on the stands this week if you have a chance to pick one up.

Update: You can download a PDF of the article here.

Painters For

Posted in Exhibitions on October 18th, 2009 by Marc – 1 Comment

This week my traveling painting group will be having our first exhibition in Munich. Our goal is to raise funds for the Myanmar Foundation and Interplast München, both of whose incredible work helping the people of Myanmar we witnessed on our trip there earlier this year. A beautiful gallery space has been donated for the show by the Dorotheum.

We also have a new website with examples of the work, short biographies of each of the artists, and a short film on the Myanmar Foundation.

Making Frames

Posted in Materials on October 18th, 2009 by Marc – 5 Comments
Joseph Altwer helping me with my frames this weekend.

Joseph Altwer helping me with my frames this weekend.

Two coats of gesso, sand them forever, red bole, buff them forever, masking tape, glue, gold leaf, shellac, black bole, buff again, wax, two coats of bitumen, buff again, retouch, then clean the gold leaf from every nook and corner of the studio. I’m probably forgetting something, anyways, not worth it. This was my first time making frames and while I think its good for painters to understand every aspect of their materials (and making paints, mediums and canvases is definitely worth it for the cost savings and the control), I’ll draw the line at framing and leave it to the experts.

Leo Mancini-Hresko showing us how its done (on his birthday no less, what a guy).

Leo Mancini-Hresko showing us how its done (on his birthday no less, what a guy).

Lake Como Plein Air

Posted in Landscape on October 15th, 2009 by Marc – 6 Comments

Here, quickly, are a few of the sketches from my trip to lake Como this week. We stayed above Varenna at the beautiful Castle di Vezio (if anyone is looking for an exceedingly picturesque agritursimo around the lake).

View of Bellagio. Oil on panel, 20 x 30 cm.

View of Bellagio. Oil on panel, 20 x 30 cm.

Monte di Tremezzo. Oil on panel, 25 x 35 cm.

Monte di Tremezzo. Oil on panel, 25 x 35 cm.

Ben Fenske and I had a painting competition for the view above. We bet our cars and I thrashed him. Too bad I wouldn’t know what to do with a purple Opel station wagon. (To be fair, the last time we had a paint-off he won by a mile).

The Ferry Landing at Varenna. Oil on panel, 20 x 30 cm.

The Ferry Landing at Varenna. Oil on panel, 20 x 30 cm.

Varenna from the Port. Oil on canvas, 18 x 25 cm.

Varenna from the Port. Oil on canvas, 18 x 25 cm.


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