This workshop will stress the fundamentals of landscape painting outdoors.
Pastel is a great sketching medium—its consistency of color and quick handling are valuable when working outdoors. The importance of simplifying the landscape and composing on location will be discussed and applied. Theme emphasis, values, colors, edges, emotional involvement, atmospheric and linear perspective will be discussed. All three days will be spent in the field where we can observe and study the outdoors first hand. This is the single most important method for improving landscape painting skills.
Demonstrations will be done for the group and critiques will be conducted on an individual basis. Plenty of personal attention is the goal of the instructor.
WHY OUTDOORS ?
I am often asked why I like to paint outdoors or in plein air. The reason has evolved over the course of 25 years. Initially it was a way to grow as an artist wishing to paint landscapes in Colorado.
The best artists I consulted with advised that I take my French easel out into nature to study from life.
From this simple but timeless approach to painting landscapes grew a love for and need to commune with the natural world and to enjoy painting the effects of natural light in all seasons. This resulted in a far better understanding of the natural elements of light and atmosphere.
Eventually I felt the need to share insights gained in the field with others which lead to my teaching plein air workshops throughout the country. This sharing of my passion has been a great pleasure and journey.
Thorough out the years I have set up my French easel or Oil box in many locations all across America and overseas and have had the pleasure of studying incredible beauty. My love for this simple act of painting to understand light and the natural elements has not diminished but has grown to a deep and passionate love of the process and a need of being in the environment and feeling and needing to communicate the intangible life force that pulsates through the landscape. I am still amazed and enchanted by this way of painting. – LORENZO CHAVEZ
My art reflects my deep passion for the landscape of the American West. My hope is that the qualities represented in the art traditions of American painters such as the Taos Society of Artists and the American Impressionists are also echoed in my work.
The work of the Taos Society of Artists had a very early and powerful influence on my desire to become an artist. I first looked at their original art works while at the Albuquerque Art Museum in the early 1970’s, not aware or realizing who there where at the time, I was struck by the high quality and the way they captured the American Southwest and especial New Mexico on canvas and paper.
My appreciation for them and the art they created has only grown more over the many years since that young boy was smitten for the first time by their work. Since then I have traveled many hours to study their works in person whenever their works are on exhibition.
You can imagine my joy about four years ago when discovering the fine collection of The Taos Society of Artists at The Koshare Museum in La Junta, Colorado while out in the area on a painting trip around Bents Fort.
My constant goal as an artist since the start of my art career is to create something deeply personal and meaningful about this special land we call home The American Southwest and to uphold the traditions of the past artists who have created in this area.
I was born and raised in the southern most point of the Rockies in Albuquerque, New Mexico where the Chavez family settled in 1690. Through the years, while searching for subject matter to paint, I have realized there are many similarities throughout the Southwest and Rockies, I love the deep blue of the vaulting sky, clouds that float and dance, rabbit brush, fragrant sage, chamisa, pinon, pine and juniper, the willows that line the stream banks, the granite in the mountain ranges, aspens and the endless seas of grasses are all subjects for my ever-exploring eyes. I strive to represent landscapes that have a timeless appeal to them. I want the emotion I feel to come through in the surface textures of the art. The colors, textures and light of the western landscape inspire and guide my work. It is the simple glimpses into nature that move me to create.
Rudolfo Anaya in his book Bless Me Ultima wrote beautifully in a few words how I feel about this landscape. “I learned from her that there was a beauty in the time of day and in the time of night, and that there was peace in the river and in the hills. She taught me to listen to the mystery of the groaning earth and to feel complete in the fulfillment of its time.”
Lorenzo Chavez Pastel Workshop Supply List
Pastels – largest assortment of colors possible; Rembrant pastels are a fine pastel to begin with; conte crayons, earth tones.
Paper – Canson, gray tones I recommend Canson Moonstone and or UArt 400 grit pastel sanded paper (cut into approximately 11”x14”, 9”x12” 8”x10 “-to fit drawing board for plein air work)
Drawing board – For Plein Air Work approximately 12”x 16”, 11”x14” , 9”x12” ; light in weight, such as Masonite or birchwood .
French easel (Julian™) – half box or similar pastel pochade box
Small sketchbook – 8 ½” x 11” or 5”x7”
Masking tape – 1″ –Scotch brand.
Paper towels –VIVA
Sharpie -Large Black Marker
OTHER USEFUL SUPPLIES
Wide-brim hat – Needed outdoors for shade and to reduce glare from direct sunlight. It is helpful if the inside of the hat is a dark material – this reduces the glare from reflected light.
Sun block/Bug repellent
Each student must register individually. Students may pay in full or choose the payment-plan option during registration. The payment plan requires a non-refundable $125 deposit with the balance due 30 days before the first day of the workshop. There are no refunds after the 30-day final payments have been made. Students may enroll online or by calling the Sedona Arts Center’s Administrative Offices in the Art Barn toll-free at 888-954-4442 or locally at 928-282-3809. Visa, MasterCard, Discover, or American Express are accepted or student may pay with cash or check by registering in person during office hours at the Art Barn (M-F, 9-5).
The $125 deposit is non-refundable; the balance is due one month before the first day of the workshop. No refunds after the one-month cut-off date. If paying in full upon registration, $125 of the total tuition fee is non-refundable. The Sedona Arts Center is not responsible for providing make-up sessions or issuing refunds, credits, or transfers for courses missed as a result of illness, emergencies, or other events beyond our control. There are absolutely no refunds after the 30 day cut-off date for any reason, unless the Sedona Arts Center has to cancel the workshop, then all fees paid will be refunded in full.