Plein Air Workshops - Master Artists

Browse Master Artist (By Last Name):	A-B / C-D / E-H / I-L / M-O / P-R / S-T / U-Z
	Don Sahli “Everybody looks for a label. I would like to be known as a painter – one who painted what he saw while wandering around on his journey.” Don strives to continually expand his horizons and push the limits, presenting and creating his work in ways that are unexpected, fresh and stimulating. Instead of being limited by the technical bounds of painting and the expected response to subject matter, he takes these boundaries and uses them as the jumping off point - the start of something, not the end. And while Don's work can be seen as traditional with old world qualities that come from his background in the Russian School of Painting, it can also be seen as modern and contemporary - on the cutting edge in terms of color, design and passion.
	John Salchak In John's workshops he emphasizes the importance of selective vision through simplification and focus and using the design principles to create strong compositions. He encourages direct painting, getting the right value and color with the first wash, to achieve good clean color and prevent overworking. He has a special interest in the art of John Singer Sargent (1856-1925). Over the years he has developed an in-depth knowledge of his life and work and has presented slide-illustrated lectures on Sargent’s watercolors to many art organizations.
	Philip Salvato In his landscape Workshop, Philip Salvato shares his system to capture the elusive light of the landscape shown in a weekend workshop painting en plein air. "I love being outside with nature, watching light change during the day. I look at light and forget the names of things, seeing everything simply as objects in light." Philips course also offers studio discussion and preparation, painting on location and critique.
	Susan Sarback She has lectured about color at over 100 art schools, universities, and art associations in the United States. Since 1986, she has taught painting workshops and classes throughout the United States and Europe. Her "School of Light & Color" is in the picturesque village of Fair Oaks, California, about twenty miles east of Sacramento. The school offers a roomy studio and it is adjacent to Chroma Gallery. The nearby American River, local parks, and charming street scenes give ample painting subjects.
	Bill Schmidt Bill has been a plein air painter since his earliest lessons in Massachusetts decades ago. Like those early Impressionists, Bill paints outdoors in all seasons, doing all but his largest paintings on location. Painting on site can best capture the vibrancy and effects of color, light, and shadow in a scene, he believes. Whether at home or abroad, marines and water-related scenes are his favorites, but he also enjoys painting the countryside and street scenes.
	Randall Sexton My concerns as a painter have always been rather straight forward, (that is), to keep myself "in the moment" while I work, and always be open to new approaches. Nature has proven to be the most demanding and inspiring teacher...so I work from life, as often as possible. Each painting is a simple sentence in an ongoing story that will take a lifetime to unfold. The tale is a compilation of images that reflect the magic of life itself and the mysteries of light, color, and shape as I respond to the world around me. Painting has enabled me to be more observant and appreciative of the beauty and richness of everyday life.
	Pamela Simpson Pam's outdoor workshop is designed to give you a lot of information and feedback while also giving you the freedom to spread your wings and fly on your own. The schedule includes demonstration, lecture, group painting and one on one guidance. The unique program allows students to tackle each day from the perspective of the professional plein air painter.
	J. Thomas Soltesz Tom is represented by numerous galleries in California. His fine art oils are mainly landscapes and florals, however he also does figurative works. Tom teaches plein air landscape painting, and is an Artist member of the California Art Club and The Baywood Group of painters, which is a socially active environmental group of landscape painters. Tom was recently featured in South West Art magazine and The Artist's Magazine. Tom has many collectors in the United States and abroad and continues to develop into one of the most important landscape painters in the U.S.
	Craig Srebnik All of the concepts, principles and techniques are demonstrated and explained in Craig's workshops, followed by individual instruction as the students apply the lessons to their own artwork. He gives students the understanding and skills to develop their own vision and artistic voice by passing on the "Secrets of the Masters" - gained from his research in the U.S., Europe and from his own painting experience. The painting workshops open to artists of all levels. Demonstrations are in oil.
	Mel Stabin Mel's watercolor workshops reflect the title of his first book, 'Watercolor: Simple, Fast, and Focused'. Emphasis will be on design principles, composition, and color/value relationships with the objective of building strong paintings by seeing and thinking simply, painting quickly and energetically, and focusing on the the idea of the painting. Mel captures the essence of subjects in a loose, representational style.
	Cheryl St. John "Painting en plein-air is always a challenge, never-ever routine! The changing light and weather conditions create a sense of urgency that translates to a spontaneous and loose interpretation of the scene, something that is very difficult to achieve in the studio. Besides, it's a great excuse to be outdoors!" Her medium of choice is watercolor because she loves the luminosity and transparency of watercolor paint on paper. "Keeping the painting fresh, not over-worked is part of the fun and challenge of a good watercolorist, which I enjoy."
	Lyndelle Stonick Lyndelle's workshops typically focus on “Color and Light" - responding to the various landscape elements in plein air, selecting your best subject to translate using “dynamic” color choices, paying special attention to developing value contrasts. She’ll go over brushwork, how to translate color, exploring different schemes based on values and temperature, and how to work from a more intuitive place, responding to the ambience around you by tapping into your own creative flow in making dynamic, exciting paintings.
	James Sulkowski In landscape painting, James demonstrates and teaches the concepts of painting space, light and atmospheric effects in nature. Composition and color as well as technique are also discussed. Early morning effects, afternoons, sunsets, clouds, water and rocks are some of the subjects addressed in the landscape painting workshops. Those who like the landscapes of the 17th century Dutch painters, John Constable, JMW Turner and the Hudson River School will gain much from these workshops.
	John Taft “The landscape has always spoken to me, even from my earliest memories growing up in the country working the fields on my father’s tree nursery in Western New York. At best, the mundane can become music, even a symphony, the ordinary, beautiful. Painting for me, is translating to canvas what the eye “hears”, and doing so in a way that considers the lessons of the artists who have come before.”
	Nancy Tankersley No camera can record the experience of "being there". The camera treats all elements of the scene equally, hence diminishing the importance of that one thing that led the painter to record the scene in the first place. From plein air painting, because of the rapidly changing light and weather conditions, the artist learns to pick and choose and to become master of the painting, rather than just a dutiful recorder. The practice of plein air painting has profoundly influenced Nancy's studio paintings.
	Elizabeth Tolley Elizabeth's latest focus is her workshop, "Mastering the Mighty Eucalyptus: Compelling landscape paintings result when the artist knows how to capture both the sense of place and their own feelings about the subject." Focus is on understanding the land, design, composition, atmosphere through color and edges, temperature pigments, building values, and subtraction to create negative space. Achieve drama and dignity in your landscapes.
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