Description
In this two day practical oil painting workshop for an Intermediate/advanced level, students will work from a still life set up of painted objects inspired by the paintings of Italian artist Giorgio Morandi (1890-1964). We will consider Morandi’s approach to drawing and painting objects in compositions that display the beauty and complexity of quiet observation, and analyse some of his artworks. You will explore line, close tonal and colour relationships, the use of positive and negative shapes, the simplification of forms and approaches to paint application. You will make direct studies from the still life set up.
Day One – Introduction
Advanced students will be encouraged to mixed chromatic neutrals and consider temperature.
Day Two – How to encourage slow looking in the viewer
We will also consider paint application and gesture. Students will take time to observe and critique paintings produced during the course.
Materials:
Colour Palette:
Yellow Ochre or Raw Sienna
Raw Umber or Burnt Umber
Ultramarine Blue
Burnt Sienna
Titanium White
Alizarin Crimson or Rose Madder (optional)
Cadmium Red (optional)
Cadmium Yellow (optional)
Lemon Yellow (optional)
Veridian (optional)
Ivory Black (optional)
Zinc White (optional)
Other materials:
Canvas/Boards – a selection no smaller than A4.
Paint Brushes – selection of larger hog (round, flat or filbert) and smaller synthetic sable
(round)
Palette knife – larger drop handle knife
Palette (ideally not paper palette)
Linseed Oil or Painting Medium
Rags
Please note that course materials are not provided, but we sell them at competitive prices
About the tutor:
Clare Haward NEAC is a South London based painter, a recipient of the prestigious Elizabeth Greenshields Foundation Award and was elected to the New English Art Club in 2018. Clare studied Fine Art at Camberwell College of Art and Leeds University, as well as the Cyprus College of Art and the Jerusalem Studio School. Clare, a former tutor of the Dulwich Art Group, considers the process of painting as an act of discovery, a way to crystallise or articulate something ambiguous, buried in the tension between subject and surface. This emergence is precarious, the formation and destruction of pictorial ideas occur simultaneously, appearing and vanishing with the application and erasure of mediums, advancing and collapsing at different scales. Clare’s process involves responding to the painting as it emerges, working with the constraints of the painting’s internal logic. The process can allow a breaking through of the surface to find an image that was lying just beneath, a subconscious telling of a story.
