1st. Place at the Bob Jones National High School National Art Competition!
Congratulations to our High School Student Maggie Frick!
Maggie Frick WON: 1st Place in Painting!
First Place in Drawing!
Best of Show!
Sorry I do not have her winning drawing of ‘The Apples” and her winning drawing “the Harnet”. Since this is about Maggie the person I am hoping you will forgive me, I have requested the images.
diDomizio Arts Center is proud of our own student Maggie Frick.
Maggie has worked diligently on each art exercise. Learning not just how to do the exercise but also the concepts behind the art principle., learning when to use the principle and when not to use the same principle. Turning the principle into “ART TOOLZ TODAY”!
Since joining Our art program this last year last year, I have watch Maggie take diligent notes during the class lectures each day as well as during the explanation of the exercises. For each drawing exercise in the art drawing program Maggie has been a pleasure to teach and help. Now just starting to paint here in this photograph with her third painting she continues to flourish as she paints her way through the painting classes.
Her desire to learn and apply the art toolz she has learned have already yielded tremendous fruit.
Maggie Frick ,working on her 3rd painting, color exercise: painting with transparent oil paint colors.
I have seen Maggie with an openness to learn, to be TEACHABLE, To take an attitude toward doing everything she does to the best of her ability, a habit to make Excellence a way of life, I see this in her in every aspect of her life.
It is not something she can turn on or off.
Can you imagine what our life could start to be when we open our eyes and heart into avenues we never could image?
Maggie’s entire family seems to appear to have the same outlook on life as I have watched her older sister drive Maggie to art class with a smile and a heart to help each week as she carries Maggie’s art supplies into class
Regardless of what Maggie chooses I believe this outstanding young lady will succeed in anything she choses because of the amazing job her parents have done instilling such wonderful work ethic and attitude in life to be open to learn and see things in different ways
. during a social time when entitlement and self centered attitudes seem to prevail.
I see Maggie succeeding in any avenue she choses to follow. This week I mentioned another previous high school art student in class who is also talented like Maggie, Christina Flores.
( Here with her Painting while in High School) after John S. Sargent’s “Breakfast Table”. ( one of the last paintings in our painting program) I saw the same attributes in Christina.
Here is Christina Completing her oil Painting after John S Sargent. Amazing job!
I have not held it against Christina when she decided to go to Princeton to study Pre- Med instead of art.
These young people are examples of what we all could strive to be. I have complete confidence that both Maggie and Christina will succeed in anything they chose to pursue, because I have seen their work ethic.
It is and has been a pleasure teaching students like both Maggie Frick and Christina Flores, they give me a desire to do a better job teaching and to look for more things to teach in new ways.
In my conclusion I say to their parents and to the students,
THANK YOU for allowing me to be part of your lives.
diDomizio arts center
My list is from someone who wishes to enjoy the day and not have it be WORK. My goal is to use this time to refine my drawing skills by applying the 19c.French Academy’s dot to dot – in our art program in the art classes and in the painting classes we call ” Touch-Point-Drawing concepts of site drawing. As our goal in all of our art classes we are to refine our seeing and drawing of shapes both positive and negative shapes. To take the classroom art school exercises and to use them in the ousted classroom To look for figure ground relationships, To capture the Essence of my senses are experiencing. To look beyond any preconceived ideas of what to paint and allow a soaking in to experience the moment. To refine and map out a my storyline based on that discovery. Just as you are taught in our art program through our art courses So, here is my list of Art Tools:
Chris diDomizio working in Oil Paint and Dylan Scott Pierce working in Watercolor
What Makes a Painting Seem Overworked?
After going to the Brooklyn Museum of Art in New York for the John S. Sargent Watercolor Show with Dylan Scott Pierce we went to the Metropolitan Museum of Art and noticed a particular area in one of John S. Sargent’s paintings. As I looked at the hand I saw that there seemed to be an appearance of different marks made by different brushes.
Degas told John Singer Sargent – “…that anyone could keep a painting fresh and spontaneous in an hour and a half, but try to keep a painting fresh when you work on it for three years,” as did Degas in his Ballerina series!
Degas went on to say to Sargent
“…that if you do not like the stroke you put down than scrape it and do it again”.
Degas Classically trained Charcoal Drawing
This prompts my wild imagination, so here goes… Just Imagine Degas on stage trying to frantically capture the ballerinas who are frantically changing their clothes. As they peek through the curtain waiting to go back on stage, the ballerinas are not ready.
Degas has too many ballerina’s in his scene, too many with unfinished arms and areas not painted, yet he knows they are seconds from leaving his scene! Paint flying!, Areas unpainted!.
Sounds great, Plein Air Painting at it’s best!
Degas did not do many of those paintings on stage. He painted from photographs. Degas has a desired message, to make the viewer feel the ballerina’s feelings, as well as his. He did this through the mark he made, one at a time, analyzing each stroke and questioning whether that stroke added to his message. He did this for years while working on The Ballerina paintings.
John S. Sargent’s painting: “The Wyndham Sister’s”
What caught my eye was the variety of brush strokes in this small area
The longer strokes have some type of oil, as a medium- longer strokes, some strokes are without a medium – much shorter. Some areas are with a fan brush, some with a sable hair used while the painting was wet, some when the painting dried and he used a bristle brush leaving a much thicker, stronger stroke.
There they were, marks made with, and without, medium. Marks are made with different textured hairs, at different times in the painting. Some marks were made after the painting had dried with and without a painting medium!
This small area was like a symphony for my eyes, a real treat. The entire painting with its color, contrast and texture was Sargent’s Orchestra.
This has the appearance of a plan!
It was easy to see wherever Sargent wanted the paint to be thick he left the area next to it thin, like a watercolor wash. This could be intentional, purposeful, and well thought out. I am not saying that the entire painting was classically thought out, but some parts were!
That left me with these thoughts about art made today :
Do we plan our painting with the Art Tools we have?
Do we use different brushes for different messages?
Do we use texture as an Art Tool Today?
Could each stroke start to have a purpose? a thought, a reason?
But then you would have to have a story or message to tell.
Then it would have to be your art, your perspective of whatever you were seeing.
Your hope, your wants, your desires, art tools – not rules. Then you would know that The Question is the Answer.
Do you ask yourself the question to find the Art Tool to use?
In our art program in each drawing class and each painting class the sole purpose of each exercise is to teach the artist to hold every thought captive and to be aware that something happens with each stroke. In this art school we strive to train and equip the artist to make their art. Art tools not rules. Atlanta Art Classes.
Is Something Missing in Your Art?
In art school I was trained to paint realistically by using art rules and principles. Though I had twelve years of art classes and art painting classes eventually I felt like something was missing in my art. I started searching for more. More what? Over time I found “more” of a lot of things. I found a magic glaze medium (thank you Rubens!), an amazing Portrait palette, and various color schemes. But in spite of a fruitful career painting realistically, I QUIT painting. Never mind studying in Italy and the national awards. Never mind that several of my private commission clients were among the wealthiest in the country, hanging my work among their Rembrandt’s, Sargent’s, and Degas’. I didn’t paint. Instead I spent the next twenty-five years teaching others how to paint at my own art school, all the while lamenting, searching, examining other work, and coming up blank. I had questions and no answers. I wanted to know more.
John S. Sargent “Mrs/ Boit” 1880-1882
I found the answer at the Museum of Fine Art in Boston and spent another ten years unpacking it. It started the first time I saw John S. Sargent’s “Portrait of Mrs. Boit,” (1887). I was blown away by Sargent’s command of what I understood to be the classical art rules. As my eye followed his powerful brush strokes and bold contrast, I saw how he found specific edges and how he weaved his lost and found edges into his figure ground relationships. I saw that his beautiful and intentional placement of the color’s intensity, and how he used that intensity to move my eye, was done deliberately – and I saw how it evoked a specific mood. I saw his understanding of Monet’s color. I stood for an hour and a half…seeing.
Before that day of seeing, I had viewed some of Sargent’s work at different places, but those paintings were beyond my understanding at that time and some where solid black silhouettes that lacked dimension and so I did not find Sargent to be very impressive.
John S. Sargent “Madame Edourd Pailleron” 1879
How could he be perceived as Great? If the work is not realistic, I had thought, then it can’t be art.
But on that day in Boston, for the first time, Sargent gained my respect. He had to show me that he was better than I was for me to be able to listen to him. So I started seeing Sargent and listening to him. I saw his paint go down on the canvas as a voice, speaking something to the viewer.
John S. Sargent “Mrs.Boit” 1880-1882
John S. Sargent close up of “Mrs. Boit ” 1880-1882
Sargent wasn’t done with me yet. A few days later at the Sterling Francine Clark Art Institute, I saw “A Street in Venice 1878 ” and “A Venetian Interior 1880-1882.” Sargent painted these around the same time as the Mrs. Boit portrait 1880-1882.
John S. Sargent “A Street in Venice” 1880-1882
Yet in this painting he left out the beautiful use of color.
Monet Close up
He left out the figure ground relationship. And he left out most of the intentionally lost edges. Standing there I thought, why would Sargent, who was clearly better than any artist I had ever seen, leave out some of the art rules he knew and had so clearly demonstrated in another work during the same period of time?
John S. Sargent Watercolor
Really? Sargent was messing with my brain. (And my way of life! I like things the way they are. I’m like a dog, I do things the same way. I want my bowl of food on the floor in the same place every day! This was uncomfortable for me).
John S. Sargent “A Venetian Interior” 1880-1882
As the years have gone by, I finally see Sargent. I see that all the classical art rules, taught by the traditional art academies (including the French Academy where Sargent studied and which are no longer a part of our modern art schools) are optional. I see that they must be mastered and understood so they can be used with purpose and intent, just as Sargent has done. Sargent saw, and showed me, that the “rules” of classical art are really art TOOLS!
John S. Sargent in his studio in front of ” Madam X Madam Pierre Gautreau” 1883-1884
Inside my heart, soul, and spirit I connected with his way of painting, taking each stroke captive in a thought. The way he painted was purposeful and I wanted that. I recognized Sargent was equipped to master a painting through precise steps and used the Tools like no other artist. He knew how to deliver a message to the viewer, fostering an exchange between the sitter, the viewer, and himself. Sargent’s knowledge of the classical tools, and his thoughtful application of those tools to convey his specific message, was pure genius.
John S. Sargent watercolor
The discovery of John S. Sargent’s genius back in Boston, and my later examination of his other work — and the work of others — fueled the flame inside of me in a more directed and purposeful search for “more.” The Greats discovered things that we can employ today:
Different ways to change the intensity of a color.
Different reasons you bring attention to an area.
HOW to bring attention to an area.
The different ways to make a brush stroke, and why you should use one over another.
The list goes on.
By understanding all that was already discovered and invented, we have a wealth of understanding to pull from — and we do just that at the art school I opened in Atlanta in the early nineties. The success of my art program comes from my ability to see these connections and communicate them to others. Artists are introduced to methods of drawing and painting that can help them take control over their art and achieve beautiful outcomes on purpose!
Do you want more?
Yes, I’m painting again, and this time WITH A PURPOSE ! by using Art Toolz Today! P.S. I just found out about a lovely series of brushes while attending The Portrait Society of America this May (ah, Rosemary Co.!)
“ The Light Awakens The Darkness”