16×20 Alla Prima Painting Demo

I’m back from my workshop in Amelia Island Florida which was a great success in spite of the crummy weather. Stayed in Charleston on the return trip and was unable to post to the blog last Sunday because of a lack of internet service. I will return to my weekly Sunday posting schedule following this post.

Monday I painted a 16×20 demo at Fort Clinch State Park and opened it up to the public. We had 13 people in the class and another 12 showed up in the rain to watch me paint. The last 45 minutes the rain got too heavy and we all ran inside where I finished the painting from memory. Here are a few pictures.

 

Starting with the line of action for the tree
Massing in the large shapes
50 degrees and light rain
Modelling the forms
Painting inside from memory. I would never do this for myself but it was a good lesson for the students on being flexible and not giving up on a painting.
The finished demo
The Old Oak 16×20
2 hours painting time
There is enough information here for me to paint a studio painting at a later time. Sometimes you can’t get a finished painting in the field but you can collect enough information for a great studio painting.
A field sketch will always have more truth than a photo will.
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2009 Workshops

Workshops, Demos and E-Classes

 

Yes, I have to pay bills too.
This is a list of upcoming Armand Cabrera events for 2009.

E-CLASSES

 

Study Studio Painting
Intense, pesonal instruction by Armand Cabrera

 

2009 FREE PAINTING DEMONSTRATION SERIES

 

~ FEBRUARY 2009 ~
Saturday, February 7th

 

Our first demonstration of the year will be held at
Ayr Hill Gallery in Vienna, Virginia.
The demonstration is free, but you must register in advance
for the gallery to hold a place for you.
Limited space12:30 – 2:30ish

This is a BYOC event—-bring your own chair!

Please contact Gail Roberts to register.
Email Gail

Telephone: (703) 938-3880141
Church Street NWVienna, Virginia 22180

 

Thursday, February 12th

 

This demonstration will be sponsored by
The Vienna Arts Society
115 Pleasant Street N. W. Vienna, Virginia

 

This is an indoor demonstration – so come, rain or shine
10:30 am – 12:30 pm
We’ll begin right after their monthly meeting

Armand Cabrera Workshops

 

~ APRIL 2009 ~
STUDIO AND OUTDOOR PAINTING ON HILTON HEAD ISLAND
Arts Center of Coastal Carolina
April 26 – May 1
Evening Orientation * 3 days painting in studio * 2 days painting outdoors
~ SEPTEMBER 2009 ~
STUDIO AND OUTDOOR PAINTING IN RICHMOND, VIRGINIA
Brazier Studio Workshops
September 24 – 27
If there is any trouble with the links above please visit the workshop page on my site
http://www.armandcabrera.com/workshops.html

 

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2014 Armand Cabrera Workshops

I am teaching two workshops this year the first will be in Highlands North Carolina at The Bascom Center for the Visual Arts.  My workshop, Practical Solutions for Painting Anything will focus on helping artists improve their skills to translate the beauty in the world around them into paintings. The class time will be split between working in the studio and working from life.  The dates are Monday through Friday August 11 to 15; hours are 10 AM to 4 PM

In September this year I will be in Southwest Harbor, Maine at the Acadia Workshop Center   Again the focus is on both Studio and Outdoor Painting. My workshop Successful Paintings for Any Level will be 4 days Monday through Thursday September 8 – 11, hours 9 AM to 4:30 PM.

These workshops have been designed by me to make each student better at what they do, not blindly copy my style of painting. I believe each artist has a unique way of seeing the world and expressing themselves. My job and my responsibilities as a teacher are to preserve that unique expression and strengthen the students skill sets, giving them more choices to explore their creative vision. 

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2014 Maine Workshop

by

Armand Cabrera
                                Fields of Goldenrod             9 x 12                            Oil on Linen
I will be teaching again in Southwest Harbor Maine at the AcadiaWorkshop Center. The program will be focused on outdoor and indoor work for oil and acrylic painters. The dates are September 8 through September 11 2014.

 

                                 Low Tide near otter Cliffs          12 x 16                  Oil on Linen

The locations for this workshop are beautiful and offer plenty to paint. My teaching style is to help each student achieve their immediate goals as a painter and help them find a strategy for more successful paintings in the long term. Whatever the difficulty, there is a solution for it with a little patience and perseverance any problem can be overcome. I make sure my classes are noncompetitive and fun with lots of time for individual instruction. Last time I taught there I sold out the class so sign up early. Remember a workshop is a great gift for the artist in your life, Acadia and Southwest harbor are great getaway places and have plenty for spouses to do. Class is limited to 12 students.

                                High Tide Evening                   11 x 14                      Oil on Linen

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A Proactive Approach to Gallery Representation

by
Armand Cabrera

I am always shocked at how lackadaisical most professional artists are when it comes to their representation in galleries. In these economic times, it is more important than ever to have a proactive, professional approach to representation.

Most galleries are as ineffectual as the artists they represent. As some of you know, I have an Agent, Diane Burket, who deals with a lot of my gallery issues. Please keep in mind, I pay for this service. If you find you can’t manage all the details, perhaps you should hire someone, too.

For this article, I will refer to “paintings”. However, these tips apply to any type of art you may create and wish to sell. Here are 3 things you can do to help your painting career and give yourself an edge in the marketplace.

1. Always Provide An Updated Consignment Sheet To Your Galleries
It doesn’t matter if the gallery provides a Consignment Form or you generate your own— never leave your artwork at a gallery without getting a signed Consignment Sheet proving what you have delivered to the gallery. The form should include 1) Name of Painting, 2) Size of Painting, 3) Retail Price, and 4) Amount Due To The Artist. I include an updated Consignment Sheet every time I send or drop off artwork at a gallery. With galleries going out of business at record rates, this little piece of paper might be the only thing that helps you retrieve your art from a failed gallery. Make sure you have two copies– one signed by you to leave with the gallery and one signed by the gallery for your records. If the gallery will not sign the form, don’t give them any work.
2. Keep A Photographic Record Of Your Work
Provide the gallery with digital images of your work for their website; don’t wait for them to shoot your paintings. You know what your paintings look like. You shouldn’t rely on your galleries to capture an accurate image of your painting after it has been varnished. I want my galleries contacting customers and selling paintings—not spending their day shooting images for artists too lazy (sorry) to do it themselves. My best selling galleries charge a fee to artists if they fail to provide professional quality images of their work. Don’t know how to shoot your paintings? Take a class, pay someone to do it or figure out how to do it yourself (like I did).

Keep a high resolution JPEG of all your paintings. If the gallery calls you about press opportunities, you’ll be prepared to provide them with the images they need in just minutes. I can’t tell you how many times I’ve been included in national and local press because I had a usable image ready to go. Other artists were ill-prepared and missed the opportunity.

3. Provide Your Galleries New Work
Make sure you maintain a schedule with your galleries to provide them with sellable paintings on a regular basis. One of the biggest complaints I hear from galleries is that artists dump a lot of old and inferior work on them. Why the galleries accept this substandard work is beyond me. But if you want to be represented and sell paintings, you have to provide good work for sale. I recommend swapping paintings out once a year—sooner if you are selling well or if your work is improving rapidly and there is a noticeable change in its quality.
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