Painting with Christian White
© Christian White 2016
Christian White: local landscapes, drawing and painting from life.
© Christian White 2016
Thursday's, 10 a.m. - 1 p.m.
Christian White was born in Rome, Italy in 1953, while his father, sculptor Robert White, was on a Prix de Rome fellowship at The American Academy in Rome. He grew up in a family of artists studying drawing, painting and sculpture from a very young age. He began taking life drawing at Stony Brook University at age 10. He studied welding, stained glass and mosaics in Holland at age 13. He began studying painting in 1966 with Paul Russotto before attending Liceo Artistico in Rome, Italy in 1968-69. Christian has a BFA in Painting from the Rhode Island School of Design.
Major early influences include his maternal grandfather, Dutch painter Joep Nicolas, family friend Fairfield Porter, Paul Georges, and Robert Kulicke. In Rome, Christian developed relationships with Jack Zajac, Gregory Gillespie, Gilbert Franklin and many other artists. He moved to Harrison Street in lower Manhattan in 1977 after graduating from RISD. He had his first solo exhibition in 1975 at The Harbor Gallery in Cold Spring Harbor, NY. His first solo show in Manhattan was at The Steven Adams Gallery in the East Village in 1986, followed by shows at Ingber Gallery, The Garrison Art Center and The Great American Salvage Company. He has had yearly one-man shows at Gallery North, in Setauket, Long Island, since 1983.
Christian White’s work has been reviewed many times in the New York Times, notably by Hellen Harrison, as well as in many other newspapers and magazines articles. His work is included in many public and private collections.
This class is an opportunity to learn painting technique and principles of pictorial art by working alongside an experienced painter with a long career and some public recognition. Mr. White believes both in a structured education, involving imparting sound technical and practical instruction, and the experience of watching a professional at work, as the basis of a path to achieving one's own career goals as an artist.
Students from age 12 through professional adults are welcome, provided they have an open mind and a willingness to learn
All painting (or graphic) mediums are welcome, although the default medium will be oil paint for beginning students, with an emphasis on developing drawing skills. Mr. White has plenty of experience working in oil, watercolor, gouache, and acrylics, and can contribute technical guidance in any of them. Classes will involve group and instructor critiques, a free exchange of ideas and professional advice.
This is not a class based on a single subject or genre; we will work on still life and various other subjects, depending on the students' interests, however, Mr White does not encourage copying photographs in general. Instructor demonstrations will be a major component of the class.
Students who have experience are asked to bring some examples of their work to the first class, which will involve individual analysis and critique, with the aim of planning a personal direction forward.
MATERIALS LIST FOR CHRISTIAN WHITE’S PAINTING WORKSHOP
1. I always ask all students to come primarily with a good sketchbook and drawing materials to work on IDEAS and take notes. If you are experienced and have materials that you are comfortable with and used to, by all means bring that. If you work in a water medium, I will assume you have those materials, and I would bring what you have. If you really are a beginner, a sketchbook, good dark pencils or charcoal, a kneaded eraser, and almost any color medium (even crayons) would be fine. If you have specific ideas or projects in mind, I am happy to work on them with you (maybe email me ahead of time)
My email address: firstname.lastname@example.org
The rest of this list is general advice for oil painting in the classroom
2. A PALETTE. I prefer a hard palette that you can push paint around on. If you have a new wooden palette you will need to give it a coat of shellac or something before using it so that it will not suck the oil out of your paint. plexiglass is also OK, doesn't need priming.
3. BRUSHES. I prefer Robert Simmons Signet Series EGBERTS (a longer version of FILBERTS), in sizes ranging from #2 to #8 (you might need to go to Amazon for these; Blick's brush department is going downhill). FILBERTS are OK if you can’t find Egberts. I would also recommend getting a good, natural Chinese bristle one-inch house painting brush, obtainable in a hardware or paint store if you shop around a bit (The ESCODA #12 at Blick is excellent). If you like, a #4 or #6 round sable can be useful. The tiny, cheap little sable brushes most people use are pretty useless.
4. PAINT. I recommend: Senneliers, Holbein, Gamblin, and Grumbacher Pre-Tested, roughly in that order. If you are rich, OLD HOLLAND paints are extremely high quality and intense in color, but pricey. If you really want to save money, you can just limit your colors to a few cheap pigments, like: black, white, grey, naples yellow, indian red, ultramarine blue, etc.
A RECOMMENDED SHORT LIST OF PIGMENTS:
Zinc White, or Titanium-Zinc White
Naples Yellow, (I like Maimeri Naples Yellow Dark but you may not find that)
Cadmium Yellow, Medium and/or Light.
Cadmium Red, Deep.
Ultramarine Blue Deep
Optional: Cerulean, Alizarin, Viridian, Raw Sienna, Cadmium Orange.