Blog Archives

Q: Do you remember the first pastel painting that you ever made?

First framed pastel painting, 1988

First framed pastel painting, 1988

A:  Yes, it was a small head-and-neck portrait of a live model in a figure drawing class at The Art League School in Alexandria, VA.   I don’t know what became of it.

I also remember the first pastel painting that I ever framed because it is still hanging in my Alexandria house. It is dated 1988 (see photo) and was made in a one-week workshop with Diane Tesler at The Art League.  The workshop was specifically to teach artists how to paint from photographs and it was my first time studying with Diane.  I made the mistake of bringing, as reference material, a magazine photograph that was originally a perfume ad in the The Sunday Times Magazine. Diane tactfully explained that it was wrong to use someone else’s photograph instead of my own, but let me do it this one time. 

So many years later walking by my painting I still think of Diane.  She taught me a valuable lesson:  do not use anyone else’s photographs, ever!  

Comments are welcome!   

 

Q: What’s on the easel today?

 

"Troublemaker" in progress

“Troublemaker” in progress

A:  I’m working on a small 20″ x 26″ pastel painting called, “Troublemaker.”  The reference photo is a favorite that I shot with Bryan’s old Nikon F1 in 2002, when I first began studying in earnest at the International Center of Photography.  The painting is very similar to the photo because I think the photo is quite good.

Comments are welcome!

 

Q: Do you have a daily artistic practice?

Studio entrance

Studio entrance

A:  In one way or another I suppose I do.  Of course, I don’t go to the studio six days a week like I used to, but I generally work five days, about seven to eight hours per day.  When I am not actually in the studio working at my easel, I try to make use of my time in ways that, hopefully, will make me a better artist.  I am usually reading, studying, looking at art, talking to friends who are artists, thinking about my creative practice, etc.  Art and everything related to it are naturally the focus of my life.

Comments are welcome!    

Q: You took classes at The Art League School in Alexandria, VA in the late eighties studying intensely with Lisa Semerad and Diane Tesler. How have these experiences impacted on the way you currently produce your artworks? By the way, I sometimes wonder if a certain kind of formal training in artistic disciplines could even stifle a young artist’s creativity. What do you think?

 

Barbara's studio

Barbara’s studio

A: From studying with Lisa and Diane I gained an excellent technical foundation and developed my ability to draw and depict just about anything in soft pastel.  They were both extremely effective teachers and I worked hard in their classes.  I probably got my work ethic from them.  Without Diane and Lisa I doubt I would have gained the necessary skills nor the confidence to move to New York to pursue my art career.

Needless to say, I believe developing excellent technical skills is paramount.  Artists can, and should, go ahead and break the rules later, but they won’t be able to make strong work, expressing what they want, without a firm foundation.  Once you have the skills, you can focus on the things that really make your work come alive and speak to an appreciative audience.   

Comments are welcome!    

Q: How did you prepare yourself to change careers and work as a professional artist?

"Krystyn," charcoal, 22" x 30", 1989

“Krystyn,” charcoal, 22″ x 30″, 1989

A:   At the age of 33 I was a Lieutenant in the Navy, working as  computer analyst at the Pentagon.  I was very unhappy with my job.  I began looking for something else to do and discovered The Art League School in Alexandria, VA.  I enrolled in classes with Lisa Semerad, then spent the next two years developing my drawing skills using black and white media (charcoal, pencils, conte crayon, etc.). 

After that I moved on to color media and began studying soft pastel with Diane Tesler.  During this time I was still in the Navy, working the midnight shift at the Pentagon and taking art classes during the day.  I was a very motivated student.    

After three years or so I was getting quite proficient as an artist, entering local juried shows, winning prizes, garnering press coverage, etc.  Prior to my career change, I worked hard to develop my portrait skills.  I really didn’t know how I could make a living other than by making commissioned portraits.  I volunteered to run a weekly life drawing class at The Art League School in Alexandria, VA, where I made hundreds of figure drawings using charcoal. 

I spent a semester commuting between Washington, DC and New York to study artistic anatomy at the New York Academy of Art.  I spent another semester studying gross anatomy with medical students at Georgetown University Medical School.  Over time I became skilled at making photo-realistic portraits.  In 1989 I resigned from the Navy and have worked full-time as a visual artist ever since.

Comments are welcome!