Past Events

Giving Challenge 2016

GC16 Facebook Cover

It’s right around the corner: Tuesday, September 20 at 12:00pm to Wednesday, September 21, at 12:00 pm.


Make Your Contribution Count!

Dear Friends of Southern Atelier,

This year, Southern Atelier proudly participates in the 2016 Giving Challenge sponsored by the Community Foundation of Sarasota County. Over the last few years, people who care in Southwest Florida have infused more than $8 million into our community through the Giving Challenge, an exciting day of online giving. We are asking you to join the challenge for the Southern Atelier and make an impact on our artistic community.

Southern Atelier’s mission is to provide a dynamic teaching program to train highly-skilled artists. In the past years, Southern Atelier has offered rigorous instruction to hundreds of student-artists in painting, drawing and sculpture. In addition to regular classes this year, seven workshops featured visiting artists. Our classical art history lectures have highlighted the historical significance of art. Our doors were open for the Sarasota Fine Arts Society’s Art Tour, and this summer we offered Summer Camp for high school and middle school students.

When you donate funds to Southern Atelier, you support classically trained artists who themselves make an impact both on the world and the local community. Your contribution means that the lessons of the past masters of art can be brought forward to new generations of artists and art lovers. Help the Southern Atelier achieve these goals and help artists create amazing contemporary, classical art by contributing funds for:

  • a certified art degree program and expanded course offerings
  • a summer program for youth that can pass along both the appreciation of art and the skills to create it
  • partnerships within the community for art exhibitions and lecture series
  • operational expenses to help keep the Atelier’s doors open
  • improvements to the studio space
  • purchase of new equipment such as a TV monitor, lighting and supplies
  • web site design and upkeep
  • scholarship endowment

From noon on Tuesday, September 20 until noon on Wednesday, September 21, please contribute to Southern Atelier by following the Giving Challenge link. It’s easy to do, and the Southern Atelier will benefit hugely by your donation. Every dollar counts, and the earlier the donations come in, the more the matching funds we can receive from the Sarasota Community Foundation’s legacy donors.

Every dollar you donate to Southern Atelier brings a matching amount from the Patterson Foundation!

That means a 2:1 match for each new online donor’s contribution and a 1:1 match for returning donor’s contribution (up to $100 per donor). Wow! Your generous donation could mean a lot to Southern Atelier!

Plus, $51,000 in prizes are offered to nonprofits that cultivate the highest totals of dollars.

How Do You Make Your Contribution?

Credit/debit card donations must be received during the 24-hour period online at So, mark your calendars now and on Sept. 20—21, go online and make your contribution.

Go to and type in Southern Atelier in the search bar in the top right of the page.Or, you can go directly to this link:

Follow the instruction to donate.

The Giving Challenge site will not be live to accept donations until September 20 at noon through September 21 at noon. 

Southern Atelier thanks you for your donation. Visit our web site to for details about classes and upcoming workshops in drawing and painting. Come in on Tuesday, September 20 for a “Draw Till You Drop” open studio day, from 9:30am—8pm. There will be something for everyone to draw and paint.  We’ll be having a great time!


The 2016 Giving Challenge is presented by the Community Foundation of Sarasota County with giving strengthened by The Patterson Foundation, as well as support from Manatee Community Foundation, John S. and James L. Knight Foundation, William G. and Marie Selby Foundation, and the Herald-Tribune Media Group. Partner funders do not receive fees of any kind from donations made during the Giving Challenge.



One Week Oil Color Seminar with Charles Miano ~ May 9-13, 2016

13023270_1105747036114657_593991094_n1 Week- Color Essentials Seminar

*Mixing Color
*Palette knife and brush techniques
*Painting the light effect: indoor and outdoor, natural and artificial
*Color theory fundamentals
*basic palettes
*Value systems
*Color schemes and Relationships
*Color study quick sketch
*Color design
*Color modeling

                                              Tuition: $425



Workshop Supply List

Drawing  Materials


pencils, eraser and a large pad of quality drawing paper (18×24) – also tracing paper or vellum

Painting   Materials

Oil Colors

(Colors are listed in the order they should appear on the palette,

from left to right, and primarily of Winsor & Newton brand)

Earth Colours:

Ivory Black

Raw Umber

Transparent Oxide Red

Venetian red (optional)

Prismatic Colours:

Quinacridone Magenta (optional)

Alizarin Crimson

Cadmium Scarlet (or bright red)

Indian Yellow

Cadmium Yellow

Cadmium Yellow Deep (Gamblin)

Viridian Hue (Winton)

Ultramarine Blue

Titanium White


Bristle brushes– variety of sizes, #2- #12.

Mongoose brushes- variety of sizes, #2- #12

Renaissance Sable- Cats Tongue, # 6 – #8

Palette and  Mediums

Large Palette

Non-glass container with lid

Walnut Oil, for cleaning brushes

*Note: turpentine, mineral spirits or any other toxic solvents prohibited in the studio*


Canvas: cotton or linen (oil-primed preferred), variety of sizes, 11îx14î – 9X12 – 12×16 – 16×20


Ancient Art Lecture Series “The Greeks and the Beginnings of Western Art” A special 90 minute lecture by Dr. David Miano – Wednesday, February 24, 2016. 6:30-8:00 pm.

Wednesday, February 24, 2016. 6:30-8:00 pm.

vaseThere is no better introduction to Western artistic conventions than with an exploration of the art of ancient Greece. Greek art was an expression of humanism, and it refined the naturalistic representations of the material world. It was not art for the sake of mere decoration or for the expression of the artist’s individual philosophy, but it was a medium for the ennoblement of the human being. Much of the style, and many of the techniques of the Greek artists, were adopted by the Romans, making their way into Europe, and finally into our modern culture. We thus can understand art today better by knowing the work of the Greeks. Dr. Miano will take us on a tour through Greek painting, sculpture, and architecture, highlighting the purpose and unique features of each, and introducing us to famous Greek artists and the artistic profession in that remarkable and ancient society.

This is the second in a series of lectures on ancient art – $25 to attend

Coming soon: Roman Art, and Ancient Chinese Art.
David Miano earned his Ph.D. at the University of California, San Diego. He is the author of  Shadow on the Steps: Time Measurement in Ancient Israel as well as several anthologies designed for classroom use, including Pen, Stylus, and Chisel: An Ancient Egypt Sourcebook, and Ideas in the Making: A Sourcebook for World Intellectual History to 1300. Dr. Miano has taught at the University of San Diego, the University of California, San Diego, and at San Diego Mesa College. In 2009 he received the Revelle College Outstanding Faculty Award in recognition of his excellence in teaching. Dr. Miano is the founder and executive director of Schola Antiquorum, a national, non-profit academic society dedicated to the study of ancient history, and has recently joined the faculty of the Academy of Classical Arts and Humanities in Sarasota, Florida.





Meet & Greet, Lecture with Edward Jonas ~ February 18, 6:30pm

Edward Jonas Lecture – Meet & Greet
Thursday, February 18, 2016
Time: 6:30pm
Location: Southern Atelier
7226 21st St. E. Sarasota, Florida 34243

jonas portraitOne belief has accompanied Florida artist Edward Jonas throughout his 40-year career, it is that while abstract art speaks to the artist realistic art speaks to the world.  His high regard for the classical approach in both artistic techniques and teachings has brought not only high demand for his work but made him an advocate for change in art education programs.  This belief lead Ed to be co-founder and current Chair of the Portrait Society of America, a non-profit, educational organization dedicated to promoting the practice and appreciation of fine art portraiture and figurative works.  This sixteen-year-old international society, which is headquartered in Tallahassee, is supported by over 3,100 members that represent every state in the union and over twenty foreign countries.  International Artist magazine published in Sydney Australia contains a reoccurring Portrait Society section where the best of American portrait art is brought to a worldwide audience.  Ed contributes to each issue through his writings and art.

His portrait subjects have included the Governor Buddy MacKay, U.S. Ambassador to Viet Nam Pete Peterson, the families of professional golfer Greg Norman, Fuzzy Zoeller and Jack Nicolas.  Most recently Ed has gained notice for his sculpture.  His monumental bronze of two football players titled Sportsmanship stands at the west side of Doak Campbell Stadium.  This past January saw the unveiling of his bronze of the founder of both Florida State University and the University of Florida, Frances Wayles Eppes, grandson of Thomas Jefferson.
Ed continues to make Florida his home and his studio time is now divided between assisting the Portrait Society in its educational mission and his portrait painting and sculpture commissions.
Ed received his Associates of Art degree on a scholarship at Brevard Community College and then went on to obtain a Bachelor of Fine Arts from Florida State University.
His first professional position came in 1975 when he was added to a core team of five museum professionals challenged with creating the Museum of Florida History.  After ten years Ed resigned his position as Senior Museum and Exhibits Designer to pursue his own work.

Ancient Art Lecture Series “Ateliers of the Pharaohs Understanding and Appreciating Egyptian Art” – A special 90 minute lecture by Dr. David Miano. January 27, 2016. 6:30 – 8:00 pm

2425027715_fa99865e8dWednesday, January 27, 2016. 6:30 – 8:00 pm.  
The formal, somewhat static, strangely abstract, and often blocky nature of much Egyptian imagery has, at times, led to unfavorable comparisons with later, and much more ‘naturalistic,’ Greek or Renaissance art. However, the art of the Egyptians served a vastly different purpose than that of these later cultures. If we are to understand and appreciate Egyptian art, we must view it from the standpoint of the ancient Egyptians themselves. Dr. Miano will assist us in doing just that, as he takes us on a journey back in time, providing us with the historical context for Egyptian art, highlighting its purpose and unique features, and introducing us to artists and the artistic profession in that mysterious and ancient land.
This is the first in a series of lectures on ancient art – $25 to attend
Coming soon: Greek Art, Roman Art, and Ancient Chinese Art.
David Miano earned his Ph.D. at the University of California, San Diego. He is the author of  Shadow on the Steps: Time Measurement in Ancient Israel as well as several anthologies designed for classroom use, including Pen, Stylus, and Chisel: An Ancient Egypt Sourcebook, and Ideas in the Making: A Sourcebook for World Intellectual History to 1300. Dr. Miano has taught at the University of San Diego, the University of California, San Diego, and at San Diego Mesa College. In 2009 he received the Revelle College Outstanding Faculty Award in recognition of his excellence in teaching. Dr. Miano is the founder and executive director of Schola Antiquorum, a national, non-profit academic society dedicated to the study of ancient history, and has recently joined the faculty of the Academy of Classical Arts and Humanities in Sarasota, Florida.


Lynn Sanguedolce “Light on the Figure ~ Indoors and Out” ~ January 22nd – 24th, 2016

 “In nature, light creates the color. In the picture, color creates the light.Hans Hofmann

Autumn Contemplation copyAs painters,we are able to experience a particularly rewarding journey by adopting the mindset that we are students of nature painting the world around us. However, in order to paint subjects effectively in a variety of light effects we are required to step beyond our comfort zone.  In the words of Robert Henri:“Real students go out of beaten paths, whether beaten by themselves or by others, and have adventure with the unknown.” In order to grow through our art, it becomes necessary to expand our skill sets and commit to practice.

This workshop is designed to introduce the student to some of the unique opportunities and exciting challenges available to those of us who choose to paint figurative subjects both in indoor light and outdoors. Through PowerPoint demonstrations, live demos, and critiques, the student will develop an understanding of how to simplify the process.  They will be able to learn about tools and materials,and gain valuable focused practice. 

As we develop ourselves as artists and become better equipped to paint whatever unexpected motif is before us, our work expresses greater truth and sincerity.  New and exciting creative possibilities are born along with a never-ending source of inspiring subjects to paint every day.

Workshop fee: $425 + model share


Oil Paints (Winsor Newton or Gamblin except where noted – no student grade paints please)

 Titanium White

Cadmium Yellow Light

Cadmium Yellow Medium

Cadmium Orange

Cadmium Scarlet

Cadmium Red

Alizarin Crimson

Transparent Oxide Red (Rembrandt)


Cobalt Blue

French Ultramarine Blue

Ivory Black

*Optional:Lead White– I recommend Natural Pigments Lead No. 1 available at

 Painting Mediums/Solvents

Gamsol Odorless Mineral Spirits

Walnut Oil


Your choice of (4) supports in standard sizes: no smaller than 8” x 10” and no larger than 12” x 16”. I recommend using portrait grade linen such as Claessens #13DP, on stretcher bars or panels. Panels are available through Wind River Arts ( ).

Brushes/Palette Knives

Signet Robert Simmons, Filberts #42Bristle brushes (sizes 2, 4, 6, 8, 10)

Rosemary & Co (sizes2, 4, 6), Flats, Series #279

Raphael Brushes (sizes 4, 6) Series #8792

Any very small pointed sable brush for detail (one or two)

One or two – small and medium size palette knives

Outdoor Easel: Portable French Easel or Field Painting Box/Pochade


  • Paper towels (Viva)
  • Palette:  Wood or properly prepared Masonite (Feel free to contact the instructor if you don’t know how to prepare a Masonite palette) No paper palettes please.
  • 2 solvent/medium cups
  • Sketchbook or Notebook
  • Trash bag
  • Bug Repellant
  • Umbrella
  • Hat
  • Bungee Cords
  • Sunblock
  • Tote or backpack

Edward Jonas “Sculpting For Painters” ~ February 19 – 21, 2016

1 1-2 lifesize SportsmanshipIn art schools, up until the middle of the 20th century, it was a fundamental practice to require all art students to master their drawing skills before advancing to painting and sculpture. And for the study of the human figure it was obligatory to work in both disciplines as it provided a clearer understanding of space, form and movement.

The instructor will explain as well as demonstrate how sculpting the head can not only bring a greater understanding of depth and form for the portrait painter but also it can be a valuable tool in designing multi-figure compositions.

Attendees will work on building a life size human head from a posing model.

The class will cover:

    • How to properly build sculpture armatures.
    • What to look for and how to see when sculpting.
    • Classical proportions.
    • Anatomical structures
    • Racial and gender variations and characteristics
    • Understanding features that can share a commonality in unique characteristics.
    • Thinking visually and then developing your ideas in wax sketches.
    • Mold making ideas and options.
    • The keys to gaining a likeness and expression in your work.

Workshop fee: $385 + model share 

Materials list:

Modeling Clay.  Plastilene also called plasticene or plastilina.

There are two types of sculpting clay, oil-based clay and water based clay sometimes called earthen clay. The instructor will be using an oil-based clay but students may follow their preference.

Armature for sculpture of life size human head.

These can be purchased pre-made  (Jack Richeson Art Materials, Sculpture House, or The Complete Sculptor ) or the instructor can send instructions on how to build your own.

Calipers and metric ruler.

Spatula, like a cake frosting type an/or putty knife.

Small wax sculpting tools, if you have them, popsicle sticks can be used just as well when trimmed down with an exacto-knife.

Plumb bob and string. optional.

Painting with Mary Minifie ~ Five day workshop choosing either Portrait or Still Life ~ March 21 – 25, 2016

The orange bowl MinifieWe will explore the aspects of painting a good painting whether the subject is
portrait or still life. Emphasis will be on initial composition and the process of continuing
to improve design during the painting. Center of interest , color harmony and light and
dark spotting are some of the things we will work with.
We will use natural light and study the elements that make for a classical realism,
i.e. , lost and found edges, true color notes, building from light effects, proportion and
other drawing skills.
We will discuss the things that make for a good “start” phase of the painting and
then what makes for the finishing phase. Both emphasize different aspects.
In this workshop students will choose either to work with a portrait model or a still
life, but not both. The elements are the same for both, but in the interest of producing a
finished painting there is time only for one subject.

Workshop fee: $525 plus model share

Supply List

2 stretched canvases, approx. 11×14” or 16×20”, white ground if possible, (Or canvas panels)

Oil paint, artist grade: these are suggested colors, no need to spend a fortune, bring what you have, Catherine by Minifiebut I highly suggest the first three.

Cadmium Lemon Yellow
Alizarin Crimson
Cadmium Scarlet or Red Light
Ultramarine Blue (Deep rather than Light)
Ivory Black
Permanent Green Light

Bristle brushes, filberts, preferably. Nos. 2,4,6,8,10
One or two long handle oil sable, or synthetic soft brushes that can come to a poin – not too tiny

Small sketch pad and charcoal or pencil

Gene Costanza “Five Days Ablaze!” ~ April 4 – 8 2016

Getting Older

It has been said that painting is a very special time when opportunity and preparation meet.  Workshops can be seen as a time to gather information and prepare oneself for when those times are at hand.   Fleeting moments and inspiration occur quickly……  Are you ready to sieze that moment? Have you trained  yourself to hold that idea until you can do it justice?
As much time as possible, given the vagaries of plein air painting (location, class size and weather) will be spent with individual students, with an emphasis on one-on-one time.  Gene will work to maximize your strengths  and minimize or identify your weaknesses to allow you to advance toward your goals. This workshop is for you and the goals you want to achieve in painting outdoors.
The class is open to all levels, however, students should be thoroughly familiar with their equipment and be able to set up their easels.
If you have never painted before, please contact Gene through the Southern Atelier or through his website.
Please obtain a copy of Carlson’s Guide to Landscape Painting and read chapter 3 if nothing else. Preferably make your way through it all. 
Workshop fee: $600
SUGGESTED SUPPLY LIST: Please do not bring student grade paint.
Gene uses these on his basic palette :
Graham alkyd titanium white
Rembrandt perm. red med.
Utrecht ultramarine blue
Utrecht cad. yellow lemon
Rembrandt cold grey
Regular Optionals:
Rembrandt cobalt blue light and/or
Rembrandt kings blue and/or
Vasari Bice
Vasari Shale
Vasari Ruby Violet
Thalo green
Vasari Shiprock
Vasari Rosebud
Holbein Perm. green light
The VASARI neutrals above, are values that are helpful. They are expensive but they are of the highest quality. You are not expected to have them all, I offer them as options and things you may want to be aware of over time.
I usually use Alkyd primed linen from Wind River Arts, number 350 (smooth) or 359 (courser ). I use smooth for smaller panels, but courser for work 20×24 or larger. I have a local shop mount my linen either on birch panel, or foam core, as needed. All have advantages and challenges. For a workshop have a supply of 8×10, 9×12 and at least two 12×16. I usually do not use oil primed linen as I find it slippery. Usually does not mean never. I also sometimes use just acrylic primed, cheapos, which seems to free one up to go for it in the field.
I have moved almost exclusively to Rosemary Brushes. I use the Long Ivory Flats. And series 2025.
LIQUIN mostly
Graham alkyd walnut oilGraham megalipEQUIPMENT:
Field easel of your choice. I often use a French Easel with portable palette (Wind River Arts) or the Open Box M (10×12 is what I have at present)
(Slik) tripod
(Holbein) turp can
(Viva) paper towels
palette cup if you so choose
various clamps to hold or fix things.
leatherman type tool
Rain and wind gear
panel carrier(s)
bear spray
bug spray
food (maybe except in bear country)
spare car key in painting bag

These are critical to the landscape painter, and simply must me read at least once.

OILS Trevor Chamberlain
Landscape painting Richard Schmid
The books and CD’s of Scott L. Christensen
Landscape Painting Birge Harrison
Landscape Painting Sir Alfred East

Books by David Curtis:
Painting with Impact
Painting on Locations
Capturing the moment in oils





Robert Johnson “Painting Still Life & Florals in Oil: A Painterly Approach” ~ April 18 – 22, 2016

johnson CarnationsThis workshop focuses intently on capturing the natural beauty of florals and other still life subjects in oil while working directly from life. The beauty and power of fresh undisturbed oil paint as well as the expressive and descriptive quality of the brushstroke is stressed. The instructor demonstrates and emphasizes the direct alla-prima approach to oil painting. All levels welcome.

Workshop fee $595


Required supplies for this class:
* Suggested Palette (Necessary):Naples Yellow Light(Rembrandt) Cadmium Lemon; Cadmium Red Light; Cadmium Yellow Pale; Permanent
* Alizarin; Yellow Ochre Pale; Cobalt Violet ; Indian Yellow (Windsor Newton) ; Ultramarine Blue; Transparent Oxide Red (Rembrandt) ; Cobalt Blue; Terra Rosa; Viridian (Holbein); White (Gamblin , Williamsburg or Utrecht White)- or any blend of Zinc White and Titanium White

* Optional colors to be kept in reserve for particular subject matter or effects or substituted for some of the necessary colors: Burnt Sienna Deep (substitute for Transparent Oxide Red); Cadmium Scarlet (substitute for Cadmium Red Light); Manganese Violet (Utrecht) (substitute for Cobalt Violet); Raw Sienna; Cerulean Blue or Manganese Blue; Cinnabar Green; Brilliant Rose (Old Holland); Permanent Rose or Rembrandt Rose; Cadmium Orange

* Painting Surface: Two or three panels or canvas with non-absorbent priming. No larger than 16″ x 20”

* Medium: Maroger, Gamblin Neo Megilp, sun thickened linseed oil, Galkyd

* Solvent: Gamsol or Turpenoid

* Brushes: A variety, which would include filbert bristles in the range from nos. 1 to 8. At least one small sable no. 0, 1, or 2. At least one soft flat (sable, badger or mongoose) no. 4 or above.

* Palette knife: Small triangular wedge shaped painting knife.

* Attitude: Humility, honesty and a capacity to be completely absorbed in seeing and painting without concern for the opinions of others.

* Optional Equipment: Painting scraper, eye shade (baseball cap or visor)