Traditional Oil Painting with a Limited Palette with Charles Philip Brooks

Using a limited palette of oil colors (yellow ochre, mars. ivory, or chromatic black, titanium white, naples yellow, ultramarine blue, and venetian red), students will study form, light, composition, and harmonious arrangement by making copies from masterworks. Students may bring materials to copy from or choose from the artist’s collection of reproductions.

About the Artist: Charles Philip Brooks, one of the most highly-regarded contemporary Tonalist painters, studied in New England in the studio of highly respected Boston School authority, Paul Ingbretson and with the renowned American Barbizon painter, Dennis Sheehan. He is primarily a landscape painter, focusing on the landscape of the southeastern United States. His work incorporates elements of impressionism and is firmly rooted in the American Barbizon/Tonalist tradition of landscape painting. He works out of the tradition established by such artists as George Inness, Alexander Wyant, Bruce Crane, John Frances Murphy, Dwight William Tyron, and North Carolina’s own Elliott Daingerfield. Further influences include the painters Eugene Boudin and Charles-Francois Daubigny, as well as many other painters of the French Barbizon School. Mr. Brooks is currently Artist-in-Residence for the Imperial Centre for the Arts and Sciences in Rocky Mount, North Carolina where he leads the atelier-style Imperial Centre School of Painting and teaches a select group of painting students working with 19th century techniques.

Sign up now to work with American Tonalist painter, Charles Philip Brooks the weekend of January 22 and 23, 2011, when he will share his expertise and guide the group through a weekend of painting. Whether this will be your first class or a continuation of previous sessions, you are welcome to participate. The pricing structure for the workshop is as follows: First-Time: $120 for either day $200 for both Returning: $100 for either day $180 for both Dates: January 22 & 23, 2011 Times: 11AM to 5PM Size: 6 spaces available

With hands-on experience, Charles shares his knowledge and passion for painting with oils for those who want to learn about the ins and outs of oil painting or who want to expand their own experience and push their talent to another level.

Supply List: 1. Easel with clamp to secure a canvas. 2.Several 11 X 14 and 12 X 16 canvas panels (Fredrix*) or to stretch your own: Cotton or linen canvas, separate wooden stretcher bars , staples, canvas pliers, small hammer, and staple gun. 3. Hand-held palette wood, paper, or plexiglass. 4. Bristle brushes in various sizes. 5. Linseed oil or pale drying oil.

12 12 Gallery, South Richmond’s Fine Art Gallery, is located at 12 East 12th Street, in the John B Anderson House, just east of Hull Street.

Gallery hours: Thursdays and Fridays 12-4, Saturdays 11-6, Sundays 12-5, and by appointment.

Weekend Workshops 12 12 Gallery 804.233.9957 1212galleryrichmond@gmail.com www.1212galleryrva.com And kindly see: www.charlesphilipbrooks.com

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The Beginnings of a Canna Lily Painting

Canna Lily Graphite Pencil Sketch Step 1Canna Lily Graphite Pencil Sketch Step 2Canna Lily Graphite Pencil Sketch Step 3Canna Lily Graphite Pencil Sketch Step 4Thank you for stopping by to check out my latest painting a beautiful Canna Lily from my mother’s flower garden.  I started it the other day and it should be done soon. 

Suddenly Stunning Rose Pencil Drawing

Suddenly Stunning Rose Pencil Drawing

The thinking behind the composition of the pencil sketch for Suddenly Stunning Rose:

1. I drew lines defining the armature of the panel that I would use to draw the rose.
2. I started thinking about how I was going to keep people’s attention riveted to the artwork.
3. I started asking questions.
   1. What makes this rose different?
   2. What makes this rose special?
   3. How can I make this rose into a fine art oil painting?
   4. What colors do I want to use?
   5. What kind of spatial relationships appear to be going on?
   6. What are the big shapes?
   7. How will I divide up the viewing plane?
   8. What are the most interesting elements?
   9. What is distracting in the scene?
   10. What is magical?
   11. Where should the rose’s bloom be placed?
   12. I started darkening in the big secondary shapes, light at first, working my way to the darks.  It was my first step in developing tonal relationships.
   13. I thought about spatial harmonies.
   14. I thought about tonal harmonies.
   15. I thought about shape harmonies.
   16. I slowed down and really looked at what I was drawing.
   17. I considered what I wanted to do.
   18. I wanted to know completely where I would end before I started drawing.
   19. I asked as I was drawing, “How is it shaping up? Are all the parts synchronizing? Is it beautiful?”
   20. I used a blending stump to blend the background into a soft backdrop for the rose.
   21. The drawing is for an oil painting so it has more harsh lines than it would if it was just going to be a pencil drawing. 
   22. I drew the shapes very clearly that I wanted to emphasize for smooth sailing when I begin to paint the rose.
   23. After using the armature of a rectangle a few times to compose your paintings, you will fall in love with it as it pretty much composes your art for you. 
   24. Don’t you just love how a rose unfolds before you revealing all the force of its beauty?  From a thorny stem it bursts into the most celebrated of flowers.  The gift of passion from one lover to another.
   25. I softened the edges with a blending stump and established the values in the rose’s leaves. 

This is a scatter brained overview of the composition and design of this graphite pencil drawing but I hope it will give you a few ideas for your next sketch.  Thank you so much for dropping by Boyd Greene Fine Art for a browse it is so appreciated and happy drawing and a very good day to all. 

Rose Oil Painting in Progress

Rose Oil Painting in Progress by Artist Boyd Greene 36” x 48”

Sweet Embraceable You Original Oil Painting

Frank Sinatra sang,

Embrace me, my sweet embraceable you
Embrace me, my silk-and-lace-able you
I’m in love with you, I am and verily so

which inspired fine artist Boyd Greene’s oil painting “Sweet Embraceable You.”  It is his latest addition to his portfolio.  The painting is a beautiful original oil painting on a panel consisting of Blockx and Old Holland Oil Paints as well as Amber Medium.

He has taken a wildflower and made it exciting and interesting by his stimulating use of luscious color and texture.  His expressive brushwork vibrates throughout the piece.

He has captured the romantic’s desire in a gorgeous wildflower freely dancing in a gentle breeze.  It is a flower that you want to pluck and make your own.

The delicate petals speak of the tender touch the romantic feels for his princess.

The flower’s elegant sway in the wind speaks of the passionate love words cannot transcribe. 

Sweet Embraceable You Original Oil Painting on a Panel 9”x12”

It is always Boyd’s desire to create art that helps people relate to nature and the outdoors, thus his rhythmic realism creation of an oil painting that is so descriptive of the romantic’s feelings. 

Thank you for stopping by Boyd Greene Fine Art for a browse your most appreciated by artist Boyd Greene.

New Wildflower Oil Painting

New Wildflower Oil Painting (Pencil Sketch)

New Wildflower Oil Painting (Background)

New Wildflower Oil Painting (Fine Details)

Thank you for stopping by Boyd Greene Fine Art for a browse it is much appreciated.