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)

One-Day Alla Prima Portrait Workshop with Katherine Stone ~ September 18th, 2015 9:30am – 4:00pm


Maddie eyes closedAlla Prima is a challenging and stimulating approach to painting that will get you to step outside of your comfort zone and put your drawing and colorist skills to the test.  Like all modes of making art, there are tricks and strategies for getting beautiful flesh tones, a good likeness, and interesting paint quality.  Katherine Stone will give students a logical and straightforward system for mixing flesh tones and advice on capturing a likeness.

Workshop fee: $150 plus a $10 model share fee per session ($20 for the whole day, this can be paid on the day)

Special Instructive Session

and Meet & Greet – 5:00pm

Join us after the workshop for an exclusive
meet & greet followed by a special instructive session 
where Katherine will discuss her painting techniques.
$25 to attend (free to workshop participants).
To register and for more information contact: 
            (941) 753-7755
                                                                     For more information on Katherine and her work visit her blog at:                                   

Poetry of Light ~ Exploring Colour in Oils With Charles Miano – May 29th – 31st, 2015 – 9:30am – 3:30pm

outdoorstilllife (1 of 1)-2In this three day workshop students will explore the lyrical expression of  colour painting in oils. Block studies, round form studies, still-life and portrait studies are all essential ways of fully understanding the light key and grasping the intrinsic atmosphere of visual perception. Working under outdoor and indoor naturally lit conditions will allow artists to comprehend the full range in the prismatic scale and ultimately create colour studies of significant balance and harmony.

Students will learn to understand masses of colour as a property of light impacted on the retina of the eye. As tone is an element of colour, artists also learn to relate and identify the hue, intensity and the all important temperature of colours. Open palette painting also allows artists to learn to bridge colour notes and create pictorial colour vibration. Demonstrations are frequent as well as discussions and critiques as artists investigate the truth about prismatic light and colour in the natural world.

“Colour studies must be made until the colour that best expresses visual truth is evident…Paint the proper light key and nearly all things can be beautiful… Give your viewers something more than decoration. Give them something that will raise their level of vision. Let them see a new beauty through your eyes.” – Henry Hensche

Tuition: $385


The DaVinci Initiative – Drawing for Educators, June 12 -14 2015

davinci April

With Elizabeth Jenness-Burge & Charles Miano
9:30am – 4:00pm

Although appropriate for anyone wanting to increase their technical drawing skills, this weekend workshop is geared for art teachers. Participants will be introduced to a 19th century drawing curriculum known as The Charles Bargue Drawing Course. Throughout the workshop, participants will learn how to control proportion, organize values, and increase their sensitivity when drawing realistically. K-12 lesson plans will be provided so that participants can immediately integrate these skill-based drawing concepts into their current curricula.

Class fee $300

Art Workshop for Young People ~ With Elizabeth Jenness-Burge, July 20-24, 2015, 10:00am – 3:00pm

kidsclass4Join us for this week long art workshop for young people where skill and creativity come alive. Highlighting an enjoyable learning experience in the spirit and practice of the Old Masters.

The goal of this workshop is to provide skill-based learning to create a deeper understanding of the visual imagery that is all around us. At the Atelier we believe that anyone has the ability to create art,  by learning basic skills such as those implemented by Da Vinci and Michelangelo.

Each lesson will encourage a child’s creativity while asking them to analyze what they see and apply it in a variety of different exercises.

The workshop will focus on emphasizing form primarily using charcoal to establish and build upon a foundation of traditional drawing.



Topics will include:

The tools and their uses

Basic shapes from flat to form

Form in perspective

Form in light and shadow

Form in design

We will apply ourselves to drawing from flat as well as drawing from life.

The lessons will provide a great start for the beginning student, as well as enhance the drawing skills of the more advanced student.

Cost: $245 – includes all materials

Oil Painting Workshop: Still Life and Floral with Robert Johnson April 13th-17th

IMG_0166 (1)This workshop concentrates on capturing the natural beauty of floras as well as 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.

Tuition: $595