NEWS FROM THE HANDELL STUDIO
ALBERT HANDELL IN THE STUDIO
ALBERT HANDELL IN THE STUDIO
https://www.alberthandellstudio.com
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George Bernard Shaw is quoted saying ....
"those who can, do... those who can't.. teach "
well George I have news for you.... I do both.
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I took your workshop and learned a lot.
I have a few questions.
The first one is your use of the transparent block in.
I was taught that you should paint on top of these block-ins as if they
were some sort of a map - but you don't - you actually, as you put it
"incorporate" the transparent under painting, to some degree, as part
of the finish.
I can understand the confusion - I was taught the same thing.
I tell my students who work with me with both Pastel and Oils...
" The nice thing about oils is that they are wet and the problem with
the oils is that they are wet."
THE 2 REASONS FOR MY DRY TRANSPARENT UNDERPAINTING.
My relatively dry transparent block-in is scrubbed on so it dries
immediately and I can proceed with the painting, thusly avoiding the
problems many students encounter after an hour and a half of painting
and they are sliding all over wet paint. (This reason is
understandable. )
The next reason might not be so clear.
While I was at the Art Students League ( N Y C ) in a conversation over
coffee someone said. "A beautiful painting has an inner light,". I
never forgot that, and I try to get that as much as I can in my
paintings, and in my opinion nothing is more luminous than transparent
paint especially when painting with oils.
November Air by Albert Handell Oil 24x24 $10500 (2) copy
"November Air"
by Albert Handell Oil 24x24 $10500 (2) copy
The sky in this painting is painted transparently with one transparent
layer of paint over an other with the blue area painted semi opaquely
keeping the illuminosity of the sky
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"Invitation to Spring" is half transparent and very luminous. I don't
think there was anything else I could do to make this painting even
more beautiful. I think more opaque painting on this piece would
interfere with it's luminosity. You might agree with me, for the
painting has a glow and a beautiful sense of sunlight. That's what I
was trying to get. At one time in my career I might have felt that it
was unfinished. OK, these days, in my opinion, "finishing it" any
further would diminish the sense of luminosity. This painting took one
paint session to paint and that was it.
Invitation to Spring by Albert Handell oil 18x24 copy
"Invitation to Spring"
by Albert Handell oil 18x24 copy
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APPROACHING WEATHER by Albert Handell oils 14x18. .
"APPROACHING WEATHER"
by Albert Handell oils 14x18
I will never forget that late summer afternoon in nearby Taos when an
approaching storm was on its way.
The leaves were dancing. It felt like everything was in havoc. I wanted
to paint that feeling. It was a subject of Midsummer Greens. The white
storm clouds in the sky felt alive. I establish the sky holes with a
pinkish off-white applied with the pallet knife.
These sky holes stood out like pasted on shapes of pinkish whites - to
push them back behind the trees and keep their intensity I use the thin
edge of the pallet knife to establish the flutter of leaves. And I
ended up with a beauty. The melange of transparent and opaque paint
gave a sensual beauty to the entire painting.
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Chamisa by Albert Handell Oil 30X32 $18500(1) - Copy - Copy - Copy
"Chamisa"
by Albert Handell Oil 30X32
Here's a perfect example how textual differences between transparent
and opaque paint really adds beauty to a painting. Let's start at the
beginning:
This painting was painted on Claussen linen #66 Belgium linen. I love
the delicate weave of this canvas. The white sky was painted
transparently giving the painting it's very luminous quality.
The lower parts of the canvas were painted with a combination of brush
and palette knife leaving areas untouched so the transparent colors of
the under painting shows through to the very end.
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Rock Ledge by Albert Handell Oil 16x20 -cover painting for the article
"Rock Ledge"
by Albert Handell Oil 16x20
The inspiration for painting "Rock Ledge" was the intensity of the
white of the Limestone. It caught my attention and 'became the center
of interest'.
The dark background of the woods behind is all is painted transparently
using a combination of Ultramarine Blue, Burnt Sienna and Viridian Green
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Workshop Schedule 2022
Santa Fe, NM - March 23 - 26 (SOLD)
Santa Fe, NM - March 30 - April 2 (2 openings)
Raleigh, NC - April 26-29 (waitlist)
Gig Harbor, WA - May 3-5 - (full)
Santa Fe, NM - July 13 - 16
Highlands, NC - Sept. 14 - 17
Dates to be Determined
Santa Fe, NM October
Santa Fe, NM early November
Events
Plein Air Convention - Santa Fe, NM - May 17-26
OPA Convention - Steamboat Springs, Co. - May 31-June 5
IAPS - Albuquerque, NM - June 20 - 26
Pastel Live - August 17 - 20
To Register for any workshop….
please contact the Handell Studio directly.
Cell: 505 602 1524, alberthandell@msn.com
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PLEASE CONTACT THE HANDELL OFFICE DIRECTLY ....
CELL: 505 603 1524 ....alberthandell@msn.com
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STUDIO VISITS WELCOMED!
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