Laden...
If you like our writing, we’d be much obliged if you would click the ❤️ or the 🔁 icon on this post so more collectors, art lovers, and artists can discover us on Substack. 🙏 Susan Hope FogelBoldBrush Recommends: Susan Hope Fogel
A daily newsletter featuring today’s finest visual artists. Today's Newsletter is Brought to You by BoldBrush CircleCreating Art is about Creating Magic. BoldBrush Recommends: Susan FogelGet Notified When Susan Posts New Art BiographySerendipitous Beginnings A move to Manhattan and a seemingly perfect sequence of art classes changed the trajectory of my art. Although there was no long range plan the time line of the courses I was attracted to became the perfect sequence for building my knowledge of drawing and painting. The first step was studying Classical Drawing, from plaster casts, at The New York Academy of Art. I was in the first class of this school as they had just opened their doors. Drawing from the casts and an excellent teacher, Gary Morrison helped me improve my foundation skills in drawing. Working from the live model at The Art Students League(NYC) was my next goal. Initially working in pastel with Harvey Dinnerstein and then moving on to oils. I continued my studies of portrait and figure painting at the National Academy of Design(NYC) with Harvey Dinnerstein and Ron Sher. Harvey Dinnerstein taught me how to work with pastels which eventually led to my membership in the Pastel Society of America. After several years of living in NYC my family which now had grown with the addition of two boys moved to our country home 90 minutes north of the city. Now living in the lower Hudson Valley I was soon inspired by the beautiful landscape I was surrounded by. At a friend's suggestion I studied at Ridgewood Art Institute in New Jersey, to study with with master painter/teacher John Philip Osborne. My intent was to learn landscape painting as I was so inspired by my new surroundings. However, the light in the North light studio also captured my attention. So in addition to studying Plein air painting I added painting the still life, floral and figurative work in North Light. Although I had no interest in doing the still life the school's North lit studios soon changed my mind. The North lit studio of The Art Students League served as a design model for Ridgewood Art Institute's studio that I worked in. Frank Vincent Dumond taught the prismatic palette at the League for 50 years. One of his students was Arthur Maynard who started the Ridgewood Institute. My teacher, John Osborne was a student of Maynard's and we worked with the prismatic palette. Eventually I came to love working in North Light which is cool and poetic, colors are rich and shadows luminous...an artist could not ask for more. My love of painting in North Light received some recognition with two articles about my work...One in American Artist and another in their Special Edition - Guide to Painting by 22 Masters. At this time I am more focused on landscape oil painting as my environment inspires me every day. I am fortunate that I can paint in my backyard or go for a short drive to see abundant beauty in each season. In 2015 I was invited to work with a group of artists using an old factory as studio space in Harlem, New York. The artists were all students of master watercolorist Paul Ching Bor. Seeing their work inspired me to give deconstructive watercolor a try.... This was a leap of faith as I was embedded in the world of traditional realism for a long time. I started taking classes at The Art Students League once again -this time in a very different style and material. From the first day I was hooked on experimenting with this new material. Within a short time my oil painting students were asking me to give a workshop in what I was calling Experimental Watercolor. It was a form of liberation from the linear steps I was used to taking in developing an oil painting. With this freedom emerged a style that has stretched my creativity beyond anything I could have ever imagined. Each watercolor painting is a true exploration in new techniques...anything goes to get the effects one wants. We splatter, drip, pull, spray while manipulating the paper in various directions to move the paint! It is more physical since I am usually working in a larger format, too. Within a few years I achieved my goal of membership in The American Watercolor Society and gallery representation. Being in the city for classes and visiting my son who lived there led me to painting city scenes with people in a monochromatic color scheme....just about opposite of painting the landscape! Initially I was keeping my watercolor work on a separate website but decided to merge the two on this site since that is more authentic and representative of who I am as an artist.....At times I feel like a schizophrenic artist but the one element that is present in ALL my work and inspires me more than anything else is LIGHT. Take a look at the work and you will see .... light! My mantra when I paint is...PAINT THE LIGHT! Learn More About Susan Hope Fogel to see her two distinctive styles. FASO Loves Paul Batch’s oil paintings! See More of Paul Batch’s art by clicking here. Wouldn’t You Love to work with a website hosting company that actually promotes their artists?As you can see, at FASO, we actually do, and, Click the button below to start working Get Started with FASO for Free New Artwork by FASO Members Your art could be here tomorrow, for free.
© 2023 Clint Watson |
Laden...
Laden...
