Workshop wonder

0

Dear Artist,

It may just be that workshops are the main source of traditional art education. I’m talking about the acquisition of academic technique and realistic, perhaps impressionistic methodology. Augmented by books, websites and personal mentoring, the torch is passed.

060711_daniel-keys5

“Lilies and Daffodils”
oil painting by Daniel J Keys

A good example is 26-year-old Daniel J. Keys who makes his home and studio in the agricultural town of Firebaugh, California. A fan of Richard Schmid from an early age, Keys studied Schmid’s books and website. When Keys and Schmid finally met at American Artist’s Weekend with the Masters in 2009, Schmid saw both drive and talent in the young man and took him on with the provision that Keys would someday pass on the knowledge.

Now Keys is a much sought-after workshop instructor himself. In the words of Allison Malafronte, senior editor of American Artist Workshop Magazine, “There wasn’t a hint of anxiety or trepidation from Keys. From his initial instruction on the first day until his last lesson, Keys taught like a seasoned pro, belying his young age with articulate explanations and confident painting lessons.”

One of his students reported, “I have never seen an artist so freely share his hard-earned knowledge with others.”

060711_daniel-keys6

“Bowl of Citrus”
oil painting by Daniel J Keys

One might ask where this early evidence of quality comes from. It starts with a sense of (perhaps conservative) taste and the desire and imperative to do the slogging that makes for better pictures. More than anything, it takes rubbing shoulders with others who have mastered their craft. The convention of masters sharing their knowledge in workshops emerged with the decline of the apprenticeship system in the 19th century. With the current democratization of art and the popularization of painting as a pastime, there is a range from the-blind-leading-the-blind to a ringside seat at the feet of a living master, even a very young one.

Choose your workshops well. Analyze the instructor’s work and try to figure out in advance if he or she has the depth of understanding and knowledge to be of real use to you. Through the jungle telegraph, try to find out if he or she is a good communicator. As always, challenge is better than the same old, same old. You can select from a wide range of workshops in our own workshop calendar.

060711_robert-genn11

The sense of discovery in remote plein air locations. We leave nothing behind and take only our joy and feelings of privilege with us.

Best regards,

Robert

PS: “The more we all know, the better we collectively become, and representational art will move forward with momentum into the future.” (Daniel J. Keys)

Esoterica: As an occasional workshop-giver myself, I’m always looking out for unique situations that might be a stretch for creative minds. A recent four-day cruise with seven eager-to-learn students in a vintage boat through spectacular coastal scenery made it clearer to me. Positive energy, frank crits, a thirst for knowledge, varied subject matter, a sense of isolated wellbeing and warm companionship made for better work every day. As well as Daniel J. Keys’s material, we’ve included some annotated photos of our recent workshop voyage of discovery below.

The mentored fortunate
by Brenda Swenson, South Pasadena, CA, USA

061011_brenda-swenson

“Sunset Over Pasadena”
original painting by Brenda Swenson

I applaud Richard Schmid for taking the young man under his wing, and I applaud Daniel J. Keys for making good with his promise to pass on the knowledge. Knowledge and craftsmanship are hard won in the art world. I have had to work hard and I’ve struggled to learn my craft. I have been lucky, too. Early on I was mentored and because of this person I had doors opened. I am forever grateful. I am fortunate to teach watercolor workshops nationwide and abroad. I am driven to pass the knowledge on to others that was so generously given to me.



There are 3 comments for The mentored fortunate by Brenda Swenson

From: Marie Tesch — Jun 10, 2011

Curious why you didn’t name your mentor.

From: Janet Blair — Jun 10, 2011

Love your colours,great compostion.

From: Brenda Swenson — Jun 10, 2011

I am glad you asked. My mentor and dear friend was John Koser.

Benefits and limits of schools
by oliver, TX, USA

061011_oliver

“Sil38”
digital photograph
by oliver

Art schools and accredited institutions of higher learning or at a university that has accreditation also provide “mentoring.” For certain art jobs a diploma from such an institution is a must, such as teaching at a high school or college and maybe even certain commercial art or illustration jobs in the private sector. Animation or special effects jobs may also have almost a requirement for such accredited learning. Certainly you can learn art and your craft from anyone, but in many cases you will be limited in opportunities if you don’t have a degree from an accredited source. That may work just fine, but you have to understand the benefits and limits of a school. Sometimes a school winds up limiting vision of the students.

Giving and taking workshops
by Liz Wiltzen, Banff, AB, Canada

061011_elizabeth-wiltzen

“Valley of the 10 Peaks”
oil painting by
Elizabeth Wiltzen

We live in such a marvelous time – we have the ability to handpick the artists whose work we admire, and travel far and wide to share a few days learning from and talking art with them. If we are lucky a keen student or art group will bring a valuable teacher into our own back yard. These are golden opportunities. I am a huge believer in studying with fellow skilled artists as a means of deepening and broadening our own abilities. Painting is a highly complex pursuit with endless possibilities for advancement and improvement, and whatever we may know, there will be others who know something in addition to it.

At the very least, a good workshop will shake things up and push you out of your comfort zone. At best, it will give you some fresh ideas for exploration, and one or two pearls of wisdom you will carry with you for the rest of your painting life. As well as teaching workshops, I take at least one a year. It has become my process when I return from a workshop to dedicate myself to honing the best of the skills I’ve learned, and then incorporating them into the rhythm of my own teaching. In this way, my students learn not only from me, but indirectly from all the wonderful artists I have studied with.



There are 4 comments for Giving and taking workshops by Liz Wiltzen

From: Sheila Minifie — Jun 10, 2011

Fascinating painting Liz.

From: Anita Stephenson — Jun 10, 2011

Very nice!!!

From: Loretta West — Jun 10, 2011

Beautiful painting, Liz. I also only take one workshop per year, any more and I find it muddling. I like to think that I am a vessel in which knowledge passes through to my students.

From: Laurel Alanna McBrine — Jun 10, 2011

Love your painting and I couldn’t agree more with your words.

Art incubator workshops
by Alan Soffer, Wallingford, PA, USA

061011_alan-soffer

“Solar Splash III”
encaustic painting by Alan Soffer

The workshop system is a true way to find your voice in the art world. Before I became a full time artist I took workshops nearly every summer for one or two weeks, usually with my wife who is also an artist. We had a great time, changing gears from our everyday lives. It is so different to be away from all the phone calls, household chores, e-mails (now people unfortunately bring all that with them on their laptop), and family responsibilities. We always got lots of technical and problem-solving advice, which was great. The one area that seemed to be forgotten was the basics.

Eventually, we felt that everything succeeded on the basics of color, composition, and concept. That has become the hallmark of our approach to teaching in the art incubator workshops. The technical stuff always takes care of itself either through us or the serious learning from the other students.



There is 1 comment for Art incubator workshops by Alan Soffer

From: Cristina Monier — Jun 10, 2011

I really love what I see. Before I started painting I was a Conservator of Easel Painting for many years, so I am familiar with almost every traditional technique and I know how difficult encaustic painting is, congratulation, I would love to see more, do you have a web site?

American Artist Workshop magazine
by Michael Lipton

061011_robert-genn4

American Artist Workshop magazine

The Workshop magazine published by American Artist regularly features well illustrated articles interviewing some of the top workshop instructors available today. The issue you mentioned that featured Daniel Keys also included other popular teachers and instructors such as Frank Serrano, Bennett Vadnais, Kate Lehman, Richard McKinley, William A Schneider, Rob Silverman and Michael Klein. One of the reasons quality methodology is actively taught in the workshop environment is the high income professional artists can receive from doing these workshops, while still leaving time for their own studio work. Most of these instructors would feel stifled by full time teaching.



There are 2 comments for American Artist Workshop magazine by Michael Lipton

From: Laurel Alanna McBrine — Jun 10, 2011

Sadly, this magazine is no more. It was my favorite and the only one I ever subscribed to. I think they replaced it with “Masters” workshop magazines that tie in to their own events. I am glad I have all my back issues to peruse.

From: Marsha Hamby Savage — Jun 11, 2011

Yes, I too miss this wonderful magazine. Wish it were still in production!

Pass on the knowledge
by Adam Cope, Lanquais, Dordogne, France

061011_adam-cope

“Sunset, Longest Night, 21 December 2008”
oil painting by Adam Cope

As you say, it is this generosity that keeps tradition going. Yes, the workshops pass on the knowledge as does having the good luck to meet in person artists more developed than oneself. To see an artist painting and demonstrating is worth years of reading on the Internet. A good painting workshop should also be a place of exchange. People from all parts of the world come to France, to my Chateaux Painting Holidays and swap ideas and viewpoints which can be very fertilizing. The other great tradition of learning traditional skills is Life Drawing. It was here that I learnt to draw. The rituals and rigor of the life room is the high point of an academic training. Useful even for a landscape painter!

Thanks
by Daniel J. Keys, Firebaugh, CA, USA

061011_daniel-keys

“Wild flowers”
oil painting by Daniel Keys

I just wanted to send a note of thanks for the amazingly kind letter you wrote about me and my upcoming workshops. After personally reading your kind words, I immediately began to receive many positive emails in response to it, and saw an influx of website visits. You truly made my week. Thanks again, and please let me know if ever I can do anything for you in return. Your website is wonderful.

(RG note) Thanks, Daniel. I have a peculiar memory of Firebaugh. About 1960, I was returning to Los Angeles from visiting a girlfriend in Dos Palos (nearby) when I burned out the bearings in my ’51 Hudson Hornet. I got it to a local gas station where I cut a deal with an attendant to mail me $25 for the disabled car and to ship me two large paintings that were in the trunk. I left the car, took the bus to LA and never saw the money or the paintings. Do you mind looking around Firebaugh to see if my old car is still in town? And check the trunk. My car is dark blue-purple like the one in the Pixar movie “Cars.”



There is 1 comment for Thanks by Daniel J. Keys

From: Marie Tesch — Jun 10, 2011

Now that’s intriquing. I like to think that life is just tilted enough that Daniel, or one of his students, might find one of Bob’s paintings.

Getting background on instructors
by Eileen Brown

In browsing the Workshop Calendar on the Painter’s Keys site I found a workshop I’m interested in — Hannah Shook. But, where can I find reviews from folks who have taken a workshop from her? I need more info before signing up and spending the money.

(RG note) Thanks, Eileen. This is a question I’m often asked, and sometimes it’s very difficult to answer. First, find the artist’s website and see if you think the artist knows what he or she is doing. Second, comb the website for student testimonials. You aren’t going to find any negative ones. See if you can track down anyone referred to and phone or write them and get a conversation going. Common remarks like, “He talked and demoed so much I didn’t get any work done myself,” and “I actually got worse during his workshop but I think it helped,” are very telling. Further, it can be worthwhile to cruise the name or location in Google—often even ancient input gives anecdotal insight before you write the cheque.



There is 1 comment for Getting background on instructors by Eileen Brown

From: Jim Oberst — Jun 11, 2011

You will likely find commentary and previous students with a google search. My blog is visited regularly by people who googled an instructor’s name, and found my blog post about a workshop by that instructor that I attended.

Potential or ‘fuzzy’?
by Tatjana Mirkov-Popovicki, Port Moody, BC, Canada

061011_tatjana-popovicki

“Sunset on the Mountain”
acrylic painting by Tatjana Mirkov-Popovicki

The intent of the last letter wasn’t clear to me. I don’t think that the message was to attend workshops to become someone’s clone, right? I think the message was that one can achieve technical expertise by attending workshops, Mr. Keys being an extreme example. The fact that his works so closely resemble the master’s is what confused me. I aim to achieve technical excellence, but I don’t desire to so closely replicate someone’s work. This kind of a fuzzy message isn’t typical of your letters, but emphasizing Mr. Keys’s youth, it can be deduced that the respect is for the tremendous potential that this young artist has, based on his outstanding present ability. One can argue that people who are excellent in replicating may not end up being excellent in originality or artistic expression, which is something that you did not address in this letter, thus I call its message “fuzzy.” You did point out the young artist’s success from the commercial point of view, which is a very valid point indeed, but it doesn’t take into account other values such as mentioned in Rick’s comments. Another thing that I found confusing was implication that “rubbing shoulders” with masters will eventually make you a master or some other kind of a success, which wasn’t clear either — that rubs me the wrong way, but I am probably misunderstanding that one as I often do.



There are 8 comments for Potential or ‘fuzzy’? by Tatjana Mirkov-Popovicki

From: Stephanie — Jun 09, 2011

Thanks, Tatjana. I agree. Too much “workshopping” can confuse and put one off one’s own path of exploration.

From: Sharon Cory — Jun 10, 2011

I’m with you Tatjana. I too was mystified by a letter that seems to be another in a series of infomercials. The work shown is too trite to be interesting. Daniel may develop into a fine artist but he has no voice yet.

Love your painting though. I like what you’re doing with the swirly rhythms of the snow.

From: John — Jun 10, 2011

Has no voice??? – what a load of crap. This latest letter, “Workshop Wonder” was intended as an uplifting message to all readers, personally so secure, as to draw energy from an inspired, hard working, gifted painter, deserving the recognition of a master and well on his way to international success. Comments such as these, complaining of fuzzy messaging stink of jealousy. He’s “better” than you – get over it.

From: Ping — Jun 10, 2011

“John”, you smack of an angry person incapable of dialogues. Of course he is admirably better than most of us, you are stating the obvious. But what can we learn from him is the question? To clone or not to clone, to rub shoulders or not to – that is the question.

From: Tatjana — Jun 10, 2011

Oh dear, I should improve my writing skills, but I’m glad that few people got my point. Most of workshop students don’t have the capability to reach the level of Mr. Keys, and most of mentors do not teach students to paint exactly like them, and even when they do, there is still the next step to develop the uniqueness. So I rather not kid myself. “Go to your room” as soon as you acquire basic skills is Robert’s advise that I like better. Although I like taking some workshops to meet friends and have a good time together.

From: W. Coffey — Jun 10, 2011

This is all interesting. The other day an artist and myself were saying that the Canadian Artists works look so much alike in style and color. But as I am from New Mexico, many of us paint similar work using the landscape and reds and earth tones we see…which is what some of the great southwestern artists have painted and still paint. So in a way there isn’t much new under the sun!!! So I guess we all rub shoulders with one another in our enviroments and that makes us sort of clones of one another.Check any era over the history of art and you can see how artists did similar drawings and paintings…some better than others, but still one can see the times that they painted in…with or without the influence of workshops as we now have. And thank God for them, by the way.

From: Brenda Howell — Jun 10, 2011

I, too, agree with you Tatjana. Far from John’s descent into vulgarity and childishness, your comment is thoughtful, astute, and bold.

From: J. Bruce Wilcox — Jun 13, 2011

Dear Brenda,

John’s decent into vulgarity and childishness pushed your buttons, so it did exactly what it was supposed to. Your ASSUMPTION that John’s comments are vulgar and childish is YOUR assumption. And that’s all it is.

Thank you John. I love people who push other people’s buttons.

Now about the childishness of the above mentioned ‘toy’…

While I’ve seen a lot of them but don’t own any- it looks like a sex toy to me… and I hope you find my comment both vulgar and funny… but I doubt you’ll find it funny.

Comments

comments

 Featured Workshop: Hannah Shook
061011_robert-genn3
Hannah Shook Workshops

The Workshop Calendar provides up-to-date selected workshops and seminars arranged in chronological order. 

 

 

World of Art Featured artist Michael Richardson, UK

You may be interested to know that artists from every state in the USA, every province in Canada, and at least 115 countries worldwide have visited these pages since January 1, 2013.

That includes Johan Riis of Copenhagen, Denmark who wrote, “The practicing artist is the best source for learning the basis of practice.”

And also Don Charbonneau from Facebook who wrote, “Pretty hard to pick and choose workshops up here in the North of Ontario… once paid a guy seventeen dollars (for half hour music lesson) and he ended up showing me how to hold a pic.”

Archived Comments

Enjoy the past comments below for Workshop wonder

 

 

From: Kris Parins — Jun 07, 2011

As an artist and workshop instructor, I wince at the phrase “at the feet of a living master.” I have learned more from my workshop participants than I can ever hope to impart. When I was on the other side of the table, one of my best workshops was with Gloria Miller-Allen, because she had the humility to show us her early work. It was awful, and a perfect illustration of what can be accomplished with persistence: she is now a successful and admired artist. I wonder if I would have learned that valuable lesson from someone who thought of himself as a living master.

Teaching is more rewarding than I ever imagined it could be, and I agree with your description of “eager-to-learn students…frank crits…and a sense of well-being…” as necessary ingredients for a successful workshop. As the retired segment of the population continues to grow, so will the offerings of learning opportunities; the discerning student will quickly learn to navigate the course catalogs and find the kind of instruction that best suits her needs.

From: J.R. Baldini — Jun 07, 2011

Daniel is an amazing talent ! I met Daniel and Richard Schmid when I was at the 1st American Artist Masters Weekend in 2009. I have been following Daniel’s career on FB and he is going places !

Congrats, Daniel !

From: Anon — Jun 07, 2011

Amazing paintings, I thought they were by Richard Schmid.

From: Cynthia Kukla — Jun 07, 2011

As a seasoned artist like yourself, I find D Keys quotes to be trite and without significant insight. Sad that you champion him. Other articles you write are great.

From: Mary Helen Garvin — Jun 07, 2011

I’m a very amateur water colourist, but I learn from your letters all the time. Your current one on workshops would be much appreciated if you were to include Haliburton School of the Arts here in Ontario. It runs all summer with week-long or week-end workshops in painting using a variety of modalities which are taught by fine Canadian painters. Friends and I are attending one in July for watercolourists, to be taught by Ross Monk and Maurice Snelgrove, both of whom you have likely heard, or know. Perhaps you could tell your readers about the HSTA which is a part of the program of Fleming College.

From: Don Charbonneau — Jun 07, 2011

Pretty hard to pick and choose workshops up here in the North of Ontario…once paid a guy seventeen dollars (for half hour music lesson) and he ended up showing me how to hold a pic…best money I ever spent…there’s always something to learn if you can get yourself out of the way! – we are a bit isolated up here in Wawa …A.Y. Jackson found his way up here!

From: Martin Solomon — Jun 07, 2011

It’s amazing what a person can pick up in a relatively short time. Daniel Keys may be using the Schmid method but he has clearly mastered it. I expect great things from this fellow who has approached his art like gong to school and working hard. Who knows what the future will bring for him.

From: Rick Rotante — Jun 07, 2011

I am going to be in the minority again and this may all sound like sour grapes but here goes and I will make an effort to be sincere. Someone above said “I thought they were by Richard Schmid.” and therein lies the problem. The student has learned all the information but with little substance or personal insight. We already have a Richard Schmid, we don’t need another one. There are a few painters working today that are doing so on the coat tails of others like Mr. Keys. While I admire Mr. Keys work, it lacks the depth and insight of a personal statement when you compare the two artists. I know this view will cause others to contact me, so please do so on this site so others may join in, and don’t contact me personally. The former artist has years of insight and experience that is lacking in the latter artist. It’s also a sad commentary that the student should adhere so closely to his mentor. At other times when this happens, the student show some difference and individual inclinations and it show in the work. This is totally absent in his current work and fits to a “T” the work of Mr. Schmid.

While copying is a sincere form of flattery and a good way to learn, an artist needs to have an individual voice. What I see is Mr. Key’s ability to mimic his master while I don’t see individuality hidden within.

For some, this may be enough and I don’t want to throw water on Mr. Key’s achievements. To master Mr. Schmid’s technique and be able to do so this well is achievement enough. Also calling him worldly at 26 is premature to say the least. I hope in time he finds the voice that is lacking in this current work. As good as he has become, it’s a clever copy of an original.

From: Norman P Rhodes — Jun 08, 2011

Cynthia, give the guy a break–he’s only 26.

From: Purcell — Jun 08, 2011

Yeah, and probably laughing all the way to the bank!

From: Daphne Douglas — Jun 09, 2011

I enjoyed meeting you recently at Painter’s Lodge on Vancouver Island. What a great weekend, with such talented and inspirational painters to learn from! I was fascinated watching you create your painting on the dock and listening to your presentation. You mention choosing your workshop well…I feel I really did at Painters’, but it was just a hint of the depth of learning I have yet to do with my watercolours. Will try to save my pennies and find an in-depth workshop in the future. Thanks for for sharing your talent and knowledge!

From: Nigel Newton — Jun 09, 2011

Watching professional painters and hearing casual remarks gives personal insight into process. I find the questions people ask while a painter is working are valuable to me, for I would not be able to come up with those sorts of questions, because, while watching, I just float along with a nullified brain, marveling at it all. Yorkshire, UK

From: Marc Griggs — Jun 09, 2011

Somewhere in Robert’s writing he says that “nobody ever became a professional boxer by attending prizefights.” Interesting.

From: Janet Summers Greece — Jun 09, 2011

As an artist I feel blessed and endowed with the greatest of gifts “creativity”. To share my artistic knowledge is a way to extend the gift to others. Knowledge like books we have read should be passed on. Richard Poussette-Dart said “To teach is to learn” and “if we ever think we know all there is to know about our

creativity we are dead as artists.”

From: Janet Summers Greece — Jun 09, 2011

The best instructors are those who encourage you to find your own expressive language. Schmid’s paintings are excellent, but his followers that paint just like him need to find their own stlye and artistic language, that is the “REAL” creative process that defines a true artist.

From: Mariane — Jun 10, 2011

Well, the workshop I attended to that worked best for me was when the instructor kindof let us all go, then walked around… (we were working with a model), stopping here and there… looking at what I had done, he saw where I struggeled with my pose and with a few words and a stroke of charcoal or two he showed me how to percieve the problem better and c l i c k some hidden and long forgotten learning from art school that i had not understood at the time all of a sudden fell into place… opening up for freer works when at home in my studio… still gaining from those 5 days 4 years later…

From: Nina Allen Freeman — Jun 10, 2011

Rick, I have to agree with you. A good workshop teacher has to be thinking about this too and not try to create little clones of herself. As an instructor, I think a lot about how to teach the techniques and principles without encouraging my students to paint like I do. Every once in a while I am pulled up short and realize I am boxing in a student and have to back off. More often though, I have students leave my class because they want more structure. They actually want a teacher to tell them exactly what and how to paint, step by step, and that is not my way. They way I look at it, creativity is a powerful gift and some people are excited by it and want to use it and others are afraid of it.

From: Mark Kuhne — Jun 10, 2011
From: Rick Rotante — Jun 10, 2011

Nina – (I like your work- very individual and personal) You hit the nail on the head. My students want to paint like me and I tell them they never will or should even try. They need to look into themselves and speak from who they are and find what it is they want to relay with their art. I only give them the tools to achieve this goal.

From: Linda Schiffer — Jun 10, 2011

Your letter today just helped me make up my mind on an issue I’ve been back-braining for several months.

I am primarily a fiber artist – and do ‘paper’ arts for a hobby (mostly altered books). I’ve been considering whether to take formal ‘art’ classes to learn watercolors and maybe ‘real’ drawing/painting for some time.

Usually I just putter about with the art media in what I think of as ‘kindergarten’ mode (I never actually attended kindergarten so I tell my ‘artist’ friends that I’m overcompensating in my adult life:). And, of course, I make stuff – if I have no expectations for result, I generally like what I made and it gets used (either in whole or chopped up) in my ‘real’ work.

Sometimes I think I should ‘learn the secrets’ of using the media ‘correctly’ by way of being more efficient in my production. Certainly there is something to be said for learning the materials science issues more efficiently than by failure-mode experimentation. :)

Still, I think I might be better off just bumbling along as I am now, if your letter covers the issue. Thanks for firming up my thinking!

:) linda

From: Elaine Myers — Jun 10, 2011
From: Marsha Hamby Savage — Jun 11, 2011

I always enjoy reading these letters and comments. This time I do agree somewhat with Rick Rotante and Nina Freeman (and a few others). I can see learning how a master does his work and copying it to learn. Then I want to see that student stretch and go in their own direction. I have been teaching for about 12 or so years. Now I do not do structured classes, but mentoring. I even kind of hate that word, but it describes what I do best. I have also had a student drop from a class because I was not structured enough. I question the students to see what it is they wish to achieve … what direction they want to go with their art before I start pushing them in any direction.

I am currently in Denver CO area teaching a plein air workshop. The students see me paint, then they paint. Questions are asked and students get to struggle with answers to their own questions. Sure, I will show them basics and answer those questions, but when it comes to something they need “creatively”, then I stand quietly while they contemplate the direction they need to go. I think struggle, making one’s own mistakes, and occasional nudges from the teacher are important. I do not turn out clones of my work. I have had many tell me they learn more from within themselves when I allow them to talk and muddle a little through the process.

I do like Mr. Keys work, but await seeing where he takes his “own” voice!

From: Ala — Jun 11, 2011

At 26 Keys has only begun…those of you calling him a clone would probably feel great pride were you at his stage now. Art is always a developing talent, I expect Keys will move ahead to mastery of his own creation. But I expect many just have to find fault to be able to accept his accomplishments.

From: Anonymous — Jun 13, 2011

I guess we are all in awe what a 26 year old artist achieved as a follower. But some of us think that’s all, while others would like to nudge him to move further to develop as a leader. In any case, he did more than great so far!

From: Paula Heiser — Sep 01, 2011

Carolyn Caldwell pastel workshop was listed on your previous newsletter and I took her workshop, but it was far from what was advertised. She taught beginner color theory instead of what was represented as working with artists to “win contests and get into better galleries”. She told me in email that we would work in plein air in the afternoons, but told another particpant that we would paint exclusively in studio – which we did. I traveled 10 hours to Deer Isle Maine to paint indoors!!!!! On beginner stuff!She refuses to refund money or even apologize for misleading me. I would never recommend taking her workshop since she does not live up to her promises, nor does he make her lessons fun or interesting.

From: CALDWELLCAROLYN — May 10, 2012

I’m truly sorry that Paula Heiser had such a disappointing experience in my workshop. While I will gladly give a refund if a student attends full time and commits to executing each exercise Paula attended less than half time and resisted my suggestions. The other participants loved the workshop and went on to win awards.

 

 

Share.

Robert and Sara Genn Twice-Weekly Letters

Subscribe and receive the Twice-Weekly letter on art. You’ll be joining a worldwide community of artists.
Subscription is free.