Sorolla's "Visions of Spain" at the Hispanic Society of America

Part of Joaquin Sorolla's "Vision of Spain" Mural Commission at the Hispanic Society of America in NYC

Yesterday was consumed merrily from pre-dawn to midnight with a visit to Joaquin Sorolla's (1863-1923) masterful mural commission "Visions of Spain" (a 14-mural project representing the Iberian Peninsula) at the Hispanic Society of America in New York City. The tour was led by Rob Liberace, coordinated through the Art League in Old Town Alexandria ... so Randy and I were with friends from previous art historical trips, Rob's drawing classes, and many new acquaintances.

The murals vary from 12 to 14 feet in height and total 227 feet in length (source: Wikipedia) and all but one of these immense paintings were created en plein air.  The physical, logistical, artistic challenges of composing and creating each of these masterpieces with the 1000s of unique characters dressed in local costumes ... is simply unimaginable.  Sorolla finished the first mural in 1913 and last in 1919 ... a commission contracted by his great patron, Archer Milton Huntington ... the founder of the Hispanic Society of America to be hung on permanent display in what is now the Sorolla room.

It's there for you to see, a well-kept secret, but free and open to the public.

Sorolla's grand room-filling mural that greets you on the far wall. He was the true painter of light.

The Hispanic Society of America holds amazing art treasures with a huge concentration of Joaquin Sorolla's work -- my favorite artist.

Sorolla's painting of his birth home of Valencia was my favorite ... although it isn't easy to choose

One of my thoughts on seeing Sorolla's 14 masterpieces circling the room was of all those instances that visitors, young and old would enter my tent at an art fair or studio or other exhibits and ask with amazement, "Are ALL of these yours?".

Imagine what they'd say standing in the midst of these works.

One of our additional treats was to witness the rehanging of Sorolla's portrait of Louis Comfort Tiffany in the upper gallery at the Hispanic Society. One in the crew who hung the work mentioned that the painting was created in Tiffany's garden in Cold Spring Harbor (the North Shore of Long Island).  I lived there and attended Cold Spring Harbor High Laurelton Hall, Tiffany's estate that had sweeping views of the harbor that I enjoyed from a different vantage point for many years.

Sorolla's portrait of Louis Comfort Tiffany being reinstalled at the Hispanic Society

School. A little research marked the spot as

What I love about Joaquin Sorolla's work is the sheer joy that emanates from his paintings. His heart and soul flowed through his paintbrush. He clearly loved to paint, loved the people around him, loved his homeland, adored his family.  He captured light, captured life, honestly and beautifully.

What a joy!!!!

The photos are my own ... and may be distorted since the paintings tower above me.  So, these will give you an idea of how gorgeous these works are, but not the perfect picture.

Thanks Rob and Margaret Cerutti ... and fellow travelers for one heck of a day!

Events and Exhibits

• February: "The Art of Romance," Atelier Group Exhibition, 1144 Walker Road, Suite G, Great Falls, VA.Open Wed. and Sat., noon to 4pm
• April 9 - May 1: Women Painters of the Southeast Annual Juried Exhibition, Blue Ridge, GA
• June 5-7: Rittenhouse Square: The Original Art Show, Philadelphia, PA. 
  June 29-July 5: Telluride Plein Air, Telluride, CO.  Juried as one of 32 artists who will spend the week painting this very cool town lined with Victorian houses, bustling street against a gorgeous mountainous backdrop.
  July 11-12: Wickford Art Festival, Wickford, RI.
   
• Paint with Me in Italy Plein Air Workshop: July 27 to August 2, 2015. Registration is now open. (This is where "Piemonte Lunch" was "born"!)
• See the Events page for more info/updates
• Ongoing: Visit the studio I share with 14 other artists at the Artists’ Atelier, Great Falls, VA open Wed. and Sat.,
  12- 4pm

Thanks for reading!

Jill

Phone: 703.403.7435
Email: jill@jillbanks.com
Web: www.JillBanks.com
Blog: jillbanks.blogspot.com

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Now There Are 101 Faces...

"David Reynolds: Face #101," oil on linen, 12"h x 12"w, copyright Jill Banks 2011

Today I gave an artist's talk/demo at the Great Falls Library for my "100 Faces in 100 Days" Exhibit. David Reynolds, the founder and publisher of élan Magazine, kindly let me rope him in as volunteer Face #101. Great choice!

Because I was combining a talk about the project with the demo, and I had a three-hour time limit (a little shorter than what's comfortable for me), I wanted a face I knew I could capture quickly and relatively easily. So my selection criteria for sitter #101 was ... to find a man with a beard and an interesting, good-looking face. Sort of like a scavenger hunt.

David's office is right next to the Great Falls School of Art (where I teach) and the Artists' Atelier (where I share studio space with 15 other artists at 1144 Walker Road, Suite D, Great Falls, VA). I saw him pull out of the parking lot in his convertible. Voila! I found my face.

élan Magazine's focus is on the arts and local artists. David has gotten to know a LOT of artists over the past 11 years as publisher... and his immersion in that world gave an added dimension to this afternoon's discussion.

I talked about the magazine's influence on my life as an artist. In 2003, I read an article (in élan) about Robert Liberace and knew that "this" was what I wanted to do and that Rob was someone I had to study with. (I did ... taking classes year round with him at the Art League for years.) A dream of mine was to someday be featured in élan ... a sign for me of official artistdom. I was thrilled in May 2006 to be featured on the cover with a great article inside. Last month, April 2011, my painting "Dining Alfresco" made it to the cover as well. David's brainchild has offered a huge boost for all of us working to gain recognition and exposure for our art.

Think he likes it?

David is a humble, kind, funny, easygoing guy. During my "100 Faces in 100 Days" adventure, I regretted a bit the times when I painted my sitters with other people around ... because I wanted that one-on-one time that let me get to know him/her. David was comfortable, open and conversant with me and the audience so we all had a chance to see the real "him."

The painting went well from beginning to end ... but my husband Randy told me later that it took me about 10 minutes to put down the first stroke. (I was thinking ... and talking.) I called it a wrap at about the two-and-a-half hour mark very happy with the painting. So was my sitter!

It was fun to share the demo and some of this project's story ... to let others in on what these 100 days were like. It was really fun.

Highlights, too, from the day were my visitors. It was an interconnected day. Everyone had ties or common interests or wonderful help/advice for someone else. Elaine Sheetz, who modeled for my portrait class said that I bring people together. Well, I hope so. They all need to meet.

A great treat was that Rob and Lina Liberace came, walking through the door right as I was putting my last brushstroke on the painting. These two lead unbelievably jam-packed lives and it meant a whole lot to me that they came. Thank you! Both Lina and Rob have been featured in élan ... talked with David and again, there were all these connections.

Thanks, David. Thanks all for showing up. Great day.

All the 100 Faces in 100 Days Exhibit Events

Mark your calendars for the 100 Faces exhibit events. All 100 faces will be on view two times this Spring/Summer. Please come!

May 3-31 at the Great Falls Library, Great Falls, VA

Reception: Saturday, May 7, 2:30-5:30pm

Demo/Artist’s Talk: Saturday, May 21, 2-5pm

August at the Artists’ Atelier, 1144 Walker Road, Suite G, Great Falls, VA

Reception: Friday, August 12, 6-9pm

Ice Cream Social: Saturday, August 13, 2-4pm

Web: www.jillbanks.com
Blog: jillbanks.blogspot.com
100 Faces in 100 Days Project: www.jillbanks.com/jillbanks/100_Faces_in_100_Days_Project.html
Email: jillbanks1@aol.com
Phone: 703.403.7435

A Day at the Tate Britain

Rob Liberace discussing Sargent's "Carnation, Lily, Lily Rose"

Today was the official start of our art historical trip … with the morning spent at the Tate Britain and afternoon enjoying a close-up view in the Tate’s Print & Drawing Room. Highlights of the day were seeing John Singer Sargent’s (1856-1925) “Carnation, Lily, Lily Rose" next to Sargent's “Claude Monet Painting By the Edge of a Wood." I'm taking an art historical workshop with Robert Liberace as our artist guide. Rob explained how both paintings showed a departure from Sargent's more traditional approach. He took on some of what he learned from the Impressionists about peering into shadows for color rather than dipping into his traditional tools of black … and see what’s there. He also approached the “Carnation, Lily, Lily Rose” canvas in five minute stints per day … over two years’ time. He held to painting according to the tenets of the Impressionists working in plein air, with the subject right in front of him … and not relying on his memory or the comfort of the studio. Considering this is a massive canvas, with young models, with light that appears and fades within moments … Sargent had taken on quite a feat. Successfully. We also saw Sargent’s painting “Ellen Tracy” of a well-known actress. I’ve admired that one for some time and want to capture some of that drama someday in one of mine. Actually, perhaps I have. Not all, but part. There are lessons here.

John Singer Sargent's "Claude Monet Painting By the Edge Of A Wood" at Tate Britain

We also took a good look at paintings by the Pre-Raphaelites, particularly John William Waterhouse (1849-1917). These are dreamy and detailed. (Too much so for me.) But exquisite. Every detail was carefully and beautifully rendered. Rob explained that the Pre-Raphaelites were inspired by Raphael’s predecessors, particularly Botticelli. I could see that.

We looked at lots of JMW Turner paintings and drawings, too… moving into the Romantic Period (around 1800) … but the real treat was in the Print and Drawing room where we looked at many of his watercolor studies for oil paintings. We saw watercolors he’d developed as guides for etchings to be used in travel guides. Best of all, we saw one of Turner’s many sketchbooks donated to the Tate upon his death. Nothing like that. What a treasure.

JMW Turner's Sketchbook: right there. Amazing!

I did two drawings yesterday that probably aren’t ready for prime time … but Randy and I enjoyed visiting the Courtauld Museum and the Somerset House. A beautiful place. I’m gaining a whole new “vocabulary” of British painters. Funny how I have to gain this knowledge a bit at a time. I never took Art History in college. Guess I was a chicken. I sure love learning it now as I can look at the work relative to contemporaries and just through my own understanding of painting.

Today I created two more sketches … totally different than one another. The first was done in a very short stretch of time while I waited for my group’s turn in the Print & Drawing room … so this is done outside the Tate Britain in ink brush and ink pen.

"Waiting Outside The Tate," pencil, ink brush and pen, copyright Jill Banks 2011

My second drawing of the day is a start at capturing “Parliament” in watercolor wash and pencil. This isn’t easy but I will return to it as soon as I can. It has potential … but like Sargent, I had temporary, changing light to reckon with.

I’m now paying for Internet service. I’m buying it in 24 hour stretches … then some time away … etc. Hopefully, I’ll post again tomorrow.

By the way, my drawings are not on blue paper.  Just weird photos ... so excuse them ... think positively and see them in person sometime.

"Parliament" work in progress, watercolor and ink, copyright Jill Banks 2011

100 Faces in 100 Days Exhibits

Even though I’m out of town, please mark your calendars for the 100 Faces exhibit events. All 100 faces will be on view two times this Spring/Summer. These will be WONDERFUL, not to be missed exhibits. Come see everyone!

May 3-31 at the Great Falls Library, Great Falls, VA

Reception: Saturday, May 7, 2:30-5:30pm

Demo/Artist’s Talk: Saturday, May 21, 2-5pm

August at the Artists’ Atelier, 1144 Walker Road, Suite G, Great Falls, VA

Reception: Friday, August 12, 6-9pm

Ice Cream Social: Saturday, August 13, 2-4pm

I hope to be blogging regularly during my stay here. See what's new. Hopefully tomorrow.

Web: www.jillbanks.com
Blog: jillbanks.blogspot.com
100 Faces in 100 Days Project: www.jillbanks.com/jillbanks/100_Faces_in_100_Days_Project.html
Email: jillbanks1@aol.com
Phone: 703.403.7435

Here's a Repeat: You've Got to See the School! Register Now... Classes Start Beginning of May!

Wow! I went to see the classroom that I normally teach in ... now expanded to include my previous second downstairs studio at 1144 Walker Road, Great Falls, VA. Wow again! I'm so excited about teaching there in May. The expansion made all the difference. It gets great light. There's plenty of room. Such a difference. I'll try to take a photo of the classroom soon and post it here. Yea!

Get info about the classes I'm offering on the Classes page on my web site. Portrait Painting and Drawing. Still Life Painting in Oils. A workshop on "Mastering the Business of Art" on May 25 & 26, 6:30-9:30pm. Sign up. Be happy!!!

"Becky" Three-Color Chalk Drawing Wins Award

"Becky", three-color chalk drawing by Jill Banks,  $300

I just got word that "Becky", a three-color chalk drawing has won Third Prize in the 41st Annual Treasury of Art Juried Show and Sale sponsored by the Vienna Arts Society. What's especially exciting about that award is who awarded it: juror William Woodward, a mentor of my teacher, Robert Liberace, who studied under William Woodward at GWU. I learned this three-color chalk drawing technique from Rob.

William Woodward is Professor Emeritus of Fine Art at The George Washington University where he taught and directed the painting program for graduate students.  Woodward grew up in Washington D.C., and earned his B.A. and M.A. from American University. He studied at the Corcoran College of Art and Design, and at the Accademia di Belli Arti in Florence, Italy on a Fellowship from The Leopold Shepp Foundation.

William Woodward had some very nice things to say about "Becky", too. His comments were read to me over the phone -- so I don't remember all but they will be printed in the catalog for the Show. I do remember hearing "Renaissance" and that the drawing of Becky "isn't on the paper, it's in the paper." Okay, that made me feel great!

"The Writer," oil on linen, 24"h x 20"w, $2400

This is my first time participating in the Treasury of Art show that is taking place at the Vienna Community Center, 120 Cherry Street NW, Vienna, Virginia this Friday, November 19 through Sunday, November 21. Hours are: Friday, 10am-9pm; Saturday, 10am-9pm; and Sunday, noon to 4pm. There's a reception Friday night, 7-9pm with the awards being given out around 8pm. I, unfortunately, won't be there because I'm scheduled to demo at the Great Falls Foundation for the Arts "Art Night Out" fundraising gala from 7-10pm the same night. I will go by and see the show to take a look at the treasury of art.

I have two other framed pieces in the show (you could submit up to three) and two matted drawings in the bin (one from Williamsburg and one from Rome). So I hope you can stop by and take a look. Maybe take something home with you.

"Rachel," oil on linen, 14"h x 11"w, $950

"Becky", three-color chalk drawing on treated paper, and I can't remember what size -- oops, copyright Jill Banks.
"The Writer," oil on linen, 24"h x 20"w, copyright Jill Banks.
"Rachel," oil on linen, 14"h x 11"w, copyright Jill Banks.

Web: www.jillbanks.com
Blog: jillbanks.blogspot.com
Email: jillbanks1@aol.com
Phone: 703.403.7435 

Looking Back: Hurray to 2009!

While I'm figuring out just how I can make 2010 a roaring success (good start already), I'm taking some time in-between brushstrokes to appreciate just how terrific 2009 was for my art career... thanks to some incredibly terrific supporters -- enthusiasts, jurors, collectors, students, and my art buddies.

Quick recap of three of 2009 highlights:

• SOLD and Delivered: 36 original pieces of art including some major commissions. Gross sales increased over a very successful 2008... an astonishing achievement considering this very tough economy.
  
• Accepted into four highly prestigious juried National shows for the first time: Salon International 2009 (Greenhouse Gallery, San Antonio, TX), Allied Artists of America's Annual Exhibition (National Arts Club, NYC), Salmagundi Club's Annual Exhibition (Salmagundi Club, NYC) and the Grand National 2009 (American Artists Professional League, Salmagundi Club, NYC). Getting accepted was a huge step. (Next up: I want to win!)
• "On the Bright Side" solo show at the Great Falls Library (Great Falls, VA) this summer was a huge success. I have received tremendous support from the community of Great Falls in my art endeavors... including my fellow Artists' Atelier studiomates, fellow artists (now numbering 88) in an incredibly active and successful arts organization - Great Falls Studios, students and volunteers in the recently founded Great Falls Foundation for the Arts (where I began teaching in 2008), and an ever-growing base of collectors and enthusiasts who have followed my career over the past few years. I had a blast at a public painting demo with plenty of attendees enjoying brushstroke-by-brushstroke commentary by student Dana Fredericksen. So many people turned out! You have no idea how great that made me feel! Plus, I had the pleasure of reading comments left in my guest book during the two-month exhibit. Knowing that you're doing something that brings real joy to people is an astounding ... well, joy!

Since I'm "looking back", I figured an apropos visual would be my "Over the Shoulder" painting. This one is one of only two that I painted in oil on paper ... a little unusual experiment. What's interesting about it is that unlike on canvas, you can't wipe out any paint marks (you can paint over them -- but can't "erase" back to the paper's surface). So, all my "intentions" as a painter show. It's immediate, fresh and moody.  Still, the reason that there's only two of them is that I don't like the "feel" or tug on the brush that the paper gave. I love working on canvas (actually, Belgian linen) too much to give it up.

"Over the Shoulder", oil on Canson paper, copyright Jill Banks 2007. (That's a bit of a guess. Created in Robert Liberace's class at the Art League.)

By the way, I have a really exciting, jam-packed, special "life as an artist" day lined up for tomorrow. I might write about it later on today. So, stay tuned...

Web: www.jillbanks.com
Blog: jillbanks.blogspot.com
Email: jillbanks1@aol.com
Phone: 703.403.7435

Last Night's Drawings: Poinsettia and a Bargue Plate

One of my Christmas presents was a book "Drawing Course" by Charles Bargue (1826/7-1883) with the collaboration of Jean-Leon Gerome, a new printing sponsored by the Dahesh Museum of Art. The book consists of 197 lithographic plates that were copied or drawn on stone by Bargue. Robert Liberace, my teacher at the Art League, regularly recommended the book for drawing practice. When I took classes there, the book was out of print and incredibly expensive ... so it was exciting to have it available again... affordably.

Other presents for Christmas and my December birthday were also art-related. One was an easel -- to accommodate the portrait commission I'm working on. Another was a book by David Leffel "An Artist Teaches" which I'm currently reading and pondering. Even clothing gifts were geared to art -- so I look okay at art functions. It's a life obsessed.

My drawing of the hand is from Bargue's plate I, 16. I haven't done much reading yet ... but the plate made a ready model. Those are hard to come by around 11pm at night.

My second drawing was really my first for the evening. The white poinsettia was available to model at around 9:30pm. No complaints. Kept still.

Today I'm working on a portrait commission ... painting.

"Bargue's Plate I, 16, After Bargue", graphite and graphite wash, approximately 6"h x  4"w, Jill Banks 2009.

"White Poinsettia", sketch and wash graphite pencils with wash, approximtely 11"h x 8'w, copyright Jill Banks 2009.

Web: www.jillbanks.com
Blog: jillbanks.blogspot.com
Email: jillbanks1@aol.com
Phone: 703.403.7435

"Caffe Bar" and "Lemon Yellow" at the Art League

Two of my paintings, "Caffe Bar" and "Lemon Yellow" are on exhibit at the Art League in Alexandria (VA) for the month of September. It seems appropriate that "Caffe Bar" was juried in. It depicts a scene from last year's art historical trip to Venice that my husband and I took, led by Rob Liberace and arranged through the Art League. Randy and I dropped off my entries last night for the Art League's monthly show. This may be more than you want to know ... but each month as an Art League member you can submit two works, only one of which can be accepted. Receiving happens the first Monday night and Tuesday am of each month ... and it's a regular ritual for area artists. The Art League chooses a different juror each month (and in the DC area we have a wealth of capable jurors from the Smithsonian system, area art institutions, etc.) and that juror selects the pieces that will make up that month's show. Each month's juror also selects award winners. While "Caffe Bar" didn't win an award, I've won two Best of Shows and two Honorable Mentions in other exhibits there.

"Lemon Yellow" hangs in the bin gallery -- an area of the Art League gallery where artists who have been juried into three (of the Art League's) shows that past year can hang a small work. So I did.

Today was the first day of my painting class taught through the Great Falls Foundation for the Arts. I'll post some works in progress from my demo painting tomorrow. One of the most important lessons I try to teach is patience. Just as Rome wasn't built in a day, painting is clearly an acquired -- through hard work, time spent, canvases covered -- art. You can't rush it. You can work toward becoming a good, even great painter, one step at a time.

"Caffe Bar", oil on Senso linen, 20"h x 16"w, copyright Jill Banks 2009 and "Lemon Yellow", oil on Senso linen, 8"h x 10"w, copyright Jill Banks 2009.

Web: www.jillbanks.com
Blog: jillbanks.blogspot.com
Email: jillbanks1@aol.com
Phone: 703.403.7435

New Market Series Painting Start Today: "Fruit and Wine"

I started "Fruit and Wine" today -- the latest painting in my new Market series. This last week I've been working on a portrait commission and it was time to let it rest for a few days. Later I'll be able to return to it with a fresh perspective. Always a good thing!

"Fruit and Wine" depicts a fruit stand in Burano, Italy ... a fishing village near Venice. All of the buildings are painted unbelievably bright, beautiful colors to help the fishermen find their way back home. Arriving there on the ferry, you pass one impossibly vibrant building after another. Randy and I went there during Easter week last year on Robert Liberace's art historical tour. Artist friend Linda Wharton missed the ferry the rest of the group took because she got engrossed in a painting done on the spot. That happens. She rejoined the group many worried hours later.

For day one, I wanted to get the base, loose drawing in place and roughly block in the colors. The blue of the walls will get knocked down in intensity later ... to make it drift back in space. It's interesting that I'll have to do that, as blues are the most difficult colors to keep bright. They look bright and intense on the palette, and as soon as you mix them with another color, they immediately dull. An exception I've found is Winsor Blue (made by Winsor and Newton). To dull it, I will probably use a glaze made with Gamblin's Neomegilp and Transparent Earth Orange (a complementary color). We'll see if that works.

"Fruit and Wine" work in progress (day one), oil on Senso linen, 24"h x 36"w, copyright Jill Banks 2009.

See more of my Market paintings ("Limoni", "Rialto Market", and "Rainy Day Market") on my web site, www.jillbanks.com in the gallery pages. Since I can't figure out whether they are "still lifes" or "places", you'll have to look at them both. Or, better yet, stop by this weekend at my new upstairs, downstairs studios at 1144 Walker Road, Suites D & G, Great Falls, VA. I'll be participating in the Spring Arts Festival sponsored by Great Falls Studios, a membership organization of 84 artists who live or work in Great Falls. 30 of those 84 will be taking part in the Festival that occurs in two locations near the intersection of Walker Road and Colvin Run Road. That's this Saturday and Sunday, 10am-5pm. I'll give more details in another post.

Web: www.jillbanks.com
Blog: jillbanks.blogspot.com
Email: jillbanks1@aol.com
Phone: 703.403.7435

Alla Prima Painting of John Irvine

Today was a day I really was happy as a clam. I've been operating under a personal "cloud" for awhile now; yesterday it lifted; and today I painted and drew ... freely, happily, and well. This summer, I've been taking Rob Liberace's drawing and painting class at the Art League. It's actually interesting to be teaching class one day a week (Wednesdays) and a student another. I enjoy both roles.

I drew a black & white charcoal of John in the morning. This is done on Canson pastel paper using vine charcoal, some conte stick and black and white General's charcoal pencils.

The oil painting of John was done this afternoon. I'm working on Senso clear acrylic-primed linen canvases -- that I buy from Jerry's Artarama. Fellow artist and friend, Adrienne Kralick, was the first adopter of these. I try all sorts of materials -- every color of paint that catches my eye, and lots of different support materials. I love the Senso canvases. They're not perfectly stretched, but the linen has just the right tooth for painting from first to last stroke and I really like letting the unpainted linen show through.


This painting of John reminds me of two other favorite paintings I've done. One is "Robert" -- a painting that was done in the same period of time -- three hours max -- that benefits from the same fresh appeal and bravura of brushstrokes. You can't mess around when you aim to start and complete a painting this quickly. Thank goodness! Less opportunity to overwork or mess it up!

The other painting this reminds me of is another that I did of John. He's simply a great model. He's a favorite with artists throughout the Washington area, and he posed for the Portrait Society of America conference held in DC last year -- so many portrait artists know John's face.

See Tricia Ratliff's blog entry about painting John in Rick Weaver's portrait painting workshop.

"John in August", oil on linen, 20"h x 16"w, copyright Jill Banks 2008.

Sepia-Toned Watercolor Figure Painting

Yesterday morning, in Robert Liberace's figure drawing class, I had a chance to revisit one of my favorite media: watercolor wash, and rendered this piece. It's an unforgiving media, which is part of its charms for me. There's a great sense of emotion that it elicits. I used burnt sienna artists' watercolor on Fabriano Artistico 140 lb. hot press watercolor paper. This will be framed and in the Atelier soon.