From Drawing to Painting: An Anatomical Approach – With Robert Liberace May 11-15 9:30am – 4pm

KONICA MINOLTA DIGITAL CAMERASONY DSCStudy figure drawings throwinball copyThis class focuses on the development of a figure painting from drawing to  color using one long pose with a particular emphasis on anatomy. Participants will use traditional charcoals and oil paints which will lead to a complete figure painting that exploits the lustrous effects of oils. The first day will focus on a comprehensive figure drawing in charcoal which will be used as a study. The next two days will be devoted to monochrome or limited palette painting which offers the artist an efficient means to study value and paint handling while creating painting which have their own unique beauty. The final two days will be devoted to developing color through glazes and paint modeling.

Tuition: $595 + Model share

Study figure drawings throwinball copy

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

Structural Anatomy of the Figure with Stephen Perkins – March 6th-8th 2015

100_0873The human figure is the most powerful visual image known to mankind. It is the main subject of our artworks, our movies and novels. Its forms and proportions are used in designing buildings and cars. Man is the measure of all things as they say. Landscape is our home, still life are our possessions but the human figure is who we are. We relate to this image as to no other. We admire them, worship them, fall in love with them. For an artist, there is no physical form more moving or capable of expression then this one. Nothing comes close.

For an artist, for artists over the centuries, the human figure has been the image that has been used to tell stories, evoke emotion and speak of the mysteries of life. To do this, an artist must convince the viewer that the paint, graphite, charcoal or marble that they are looking at is a human being. Without that, there is no expression. To see the beauty in the figure is not difficult, but to understand it in a deep way that allows one to express that beauty is.

There is immense complexity in the figure and all people seem somewhat different and unique as they are. That said, there is a way to learn this most magnificent form. All human beings are identical in the patterning of their forms. We are all assigned the same parts down to small details. The forms have a kind of prototypical design that all hands or ears or elbows follow. If that can be learned, if you know the forms in the ear or the nose, they you will know all ears or noses. The difference comes in the proportions and in that way each person is unique.

This class will focus on this “secret figure” as it has been called in the past. It is the accumulated understanding of the figure that artists have passed down from generation to generation. The class will work in charcoal, from a life model. Starting with the main elements of the figure, the 3 great masses of head, rib cage and pelvis, we will look at how gestures, balance and contrapposto are created. The large volumes of the figure, their plane structure and relationships will be stressed. With a general method of proceeding from large to small, the class will work on the entire figure while also pausing to examine parts in detail. The rhythmic harmonies of form will be stressed. This life giving element is the organic harmony of all living form. Life is based on rhythm and this is a physical manifestation of that force.

Michelangelo famously said that Tintoretto’s figures looked like “bags of walnuts” as his figures seemed infested with bumps of no particular pattern, size or relationship. To know the character of a kneecap, that it is a particular shape and relates to other forms in a specific way is a large part of the key to drawing the human figure beautifully. We will focus on this understanding in this 3 day workshop.

Tuition: $425 + Model share

Creating Strong Light Effects and Good Color Notes in Portrait and Still Life with Mary Minifie February 9th-13th 2015

PeoniesThis five day workshop will explore the ways to build strong, glowing light effects from the very beginning of the painting process. Often a painting loses its sense of light and color by the time all of the drawing has been realized. Light effects are created by lost and found edges: areas of high contrast set in opposition to areas of similar values and less defined edges. The effect of light is also created by the variation in color intensities and temperature, i.e. warm and cool relationships. We will talk about visual order and squinting to help see these principles, regardless of the subject. The five morning sessions will be with a portrait model and the five afternoon sessions will involve a still life set up.The poses will be the same each day, so students can aim to complete two paintings by the end of the workshop, one portrait and one still life.

Tuition: $525 + Model share


Southern Atelier Fundraiser Soiree

When: Saturday, February 7th, 2015, 4-7 PM
Location: 1741 Stanford Lane, Sarasota, FL 34231
Featuring Food, Drink and Entertainment
Special Guest Painting Demonstration By Mary Minifie
Minimum donation $25 per person


Figures with Background Workshop with Lynn Sanguedolce January 16th-18th 2015

The Potting ShedAs suggested by the title of Cecilia Beaux’s autobiography, Background With Figures, this workshop focuses on painting a figure in context.  Whether painting portraits or genre pieces, by developing an understanding of pictorial composition and discovering how the elements surrounding a subject help to tell their story, the artist can create a more engaging piece. The instructor will explore how selection and arrangement of shapes, as well as being able to see and paint broadly, aid in pictorial expression and add visual interest.  Demos, lecture, PowerPoint presentation and individual critique are all involved in this comprehensive workshop.

Tuition: $425 + model share

Drawing for Educators with Charles Miano and Mandy Hallenius December 13th-14th 2014

with Charles Miano & Mandy HalleniusSat – Sun 12/13-12/14 2014  •   9:30-12:30 & 1:00-4:00  •   In this weekend workshop designed specifically 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.

Click here to register.

All levels        $300  

Red Chalk Drawing Workshop with Charles Miano November 21-23

red chalk drawing-modelwebRed Chalk Drawing Workshop with Charles Miano

November 21-23, 2014, 9:30AM- 4PM

Southern Atelier’s Charles Miano will explain the nuances of red chalk drawing as it applies to direct observation of the figure and portrait. Blocking -in shapes, tone masses, edges as well as modeling form will be explained and demonstrated throughout the workshop. Life, naturalness and expressive spontaneity will also be stressed. Artists will learn technical aspects of the medium including necessary paper preparation. In addition, Miano will expound upon the historical importance of red chalk and how its use can be applied in a contemporary framework.

Tuition: $395 + model share


Painting in the Russian Tradition with Iliya Mirochnik, October 17-19, 2014

IMG_1413The Russian Figurative Tradition of the late 19th century developed as a
stylistic mergence of a traditional academic approach with the broken color and
direct paint application found in the work of the French Impressionists. This
workshop will focus on the method of direct painting as applied to the figure
where participants will learn to find a fluid way to transition from drawing to
painting, as they begin to merge the decorative and compositional elements of
the canvas with a thorough knowledge of the figure. The 2-part goal will lead
students to work on developing the big color and value statement of the
painting, avoiding details in order to establish a strong and expressive
composition, while at the same time working on capturing the movement,
proportions and plasticity of the figure. Participants will be working in a
large size to achieve a breadth of execution that will allow the work to be
viewed from a distance.

Tuition: $425 + model share

Beginners Oil Painting Workshop with Sue Foster, September 26-28, 2014

FosterStillLife2Beginners Oil Painting Workshop with Sue Foster

September 26-28, 2014 9:30 AM – 4 PM
Fee: $295

In this fun, friendly workshop we will enjoy exploring all of the equipment needed for oil painting, how to use and care for that equipment and how to get the look you are desiring in your paintings. Various types of brushes and brushwork, paint handling, types of canvas, different mediums and when to use them, and how to light and make objects appear to have depth, will all be covered in a light, stress-free environment. Some simple color charts will be done, and yes, most importantly, there will be coffee and cookies.

If you already own painting supplies, please bring them with you, and we will see what , if anything, you may need to get. Don’t buy new equipment until I look at it. I will have supplies for you to use until then, as we all know how costly the initial layout is for new painters! The things I’m listing here are for new painters only, to get them off on the right foot, and are the minimum required.

Do not bring any solvents of any kind, as the Atelier will not allow any other than Gamsol, which I will provide as needed

Materials List:

Wooden palette or Grey Matters paper palette ( no white paper) 12X 16

small palette cups or jars for medium

4 Centurion Oil Primed Linen Panels 8 x10 or a pad of the linen sheets of the same brand, that size or larger


Sizes 2, 4, 6, 8 good quality bristol brushes such as Silver Brush’s Grand Prix  line, Rosemary and Co., or Robert Simons,  one each of flats and filberts in the listed sizes

A painting knife    1 inch blade, tear-drop shaped

Paints in Artist Grade only: Gamblin, Rembrandt or Winsor Newton

Lemon Yellow or Cad Lemon
Cadmium Yellow light
Cadmium Red Light or Winsor red
Alizarin Crimson Permanent or Rose Madder
Cobalt Blue
Ultramarine Blue Deep
Transparent Red Oxide by Rembrandt or Transparent Earth Red by Gamblin (other brands are too light)
Yellow Ochre
Large tube of Titanium white, Artist grade
Paper Towels


(Coffee, tea, and snacks will be provided)