How to paint like the Old Masters using modern materials
I am a seasoned woman of three generations painting as a biblical storyteller through my art.
I am in my studio every day unless I am traveling to speak which usually happens one weekend a month.
My artistic challenges are color and figurative painting which is what I want to improve on.
The paintings I am doing require good portrait drawings and knowing with confidence what colors to use, along with good composition. …
… After graduating from high school and in parallel with the children’s art school (music branch), I went to Turkey to study politics and international relations. While being there, I took painting lessons for about four semesters and found my real purpose in life. Graduated from Bosphorus University, I returned to my childhood dream: painting in color.
I developed my pencil drawing skills gradually, then tested different mediums, acrylics, sanguine, pastels, etc. I was always afraid of oil color because, I didn’t know how to handle it: how to make it thin, how to clean brushes and such. …
For the past 2 years I’ve been drawing and I’ve grown a lot and have truly become a better artist in every way. Art is what I want to do in the future whether it’s just hobby or my full time job, it’s something that I want to do as long as I live.
The biggest challenge as an artist is motivation and artist blocks. Often times I find myself sitting at my desk with a blank canvas and a blank mind. I can’t seem to push myself to create enough and when I do, I don’t know what to make. I spend hours scouring the internet to find pictures or inspiration.
My biggest goal is to learn how to use oil paints as it is a fairly new medium for me. But most importantly I want to improve my skills in portrait painting. …
… Art is what I breath, and not a hobby. But the challenge is to get more into the style of the old masters. That’s what I always longed for.
I am mostly known for my portraits of African people, and my latest portrait of Nina Simone has the title Colour is a beautiful thing.
My value is diversity. The challenge is to have my sketchbook and sketch from life to later use it in my painting. It would make my artistic life so much more easy as well applying the old masters styles with confidence.
I think the Old Masters Academy is the missing link in all art education. They do not teach this in the academy and I see this as a must for every artist who takes her/himself seriously. …
Hi, my name is John Fowler – that’s a good place to start if it’s all about me. Is it all about me? This was certainly the feeling I got when I went to Art School in the 1980’s. A friend asked me recently what I had learned during those five years and I struggled to think of anything apart from how to drink, how to survive with zero money and how to tolerate the personalities of art students. Certainly the tutors seemed to have mastered the art of drinking many years before and were pretty good at avoiding students too.
On beginning my painting degree I found myself disillusioned and disappointed with the course and the environment. It was my own fault really – I had worked really hard on the foundation course and had fired myself up with the thought of being accepted onto the degree. But I had this fantasy that I was actually going to be taught how to paint there! How silly of me to think this. The vision I had projected onto the college was sadly disappointed. Why was this? What was Art School supposed to teach you? I can only imagine now that we were all thought of as geniuses and we were left alone for three years in a 6’ x 10’ white box so we could express our creative genius without the burden of the tuition in skills and techniques.
How could this happen? What was it about the history of art that had led to this situation? Why was there so little emphasis on the learning of craft and practical skills? Perhaps it is the ‘myth of the genius’ that has pervaded art history. The selective mythology of the ‘great artist’ whose creativity springs from a well of imagination that cannot be taught. Of course there is some truth in this but art historians often ignore the study and tuition that these ‘great artists’ received and continued to seek out in their lifetimes. I cannot imagine the same approach for other art disciplines. Would a music college put a student in a white room with a violin for three years and tell him/her to ‘just be creative’? …
… The biggest challenge to pursuing my art is ever increasing clarity in my artistic vision whilst enjoying the process that is life. Blending the passion of existence with technical proficiency and a desire to spread knowledge is what I have and only wish to continue learning through the pursuit of fine arts.
To me the Old Masters Academy is a boon for the education of not only artists but all creatives, who wish to learn more and dive deep into the fundamentals of art creation.
With a thirst for knowledge and a deep need to master it for use to help and motivate all in my circumference, I am a perfect candidate for this course as well as the very reason why people should vote for me.
