Baker Blog Art En Tales

2012-01-30T09:41:00.000-08:00

LA County Firemen's Mural

Completed in Studio

From the Studios of Garin Baker

Carriage House Art Studios
January 30th 2012

Mural on studio floor completing seemed transitions

After long last I've finally completed painting the 25 ft. long Mural for the LA County Fire Department commissioned through the LA County Arts Commission. A long project that started a couple of years back in 2009 when I visited LA, doing my initial research with the Firemen and Paramedics of Fire Station 170.

Subsequently in 2010, I completed all the preliminary renderings in my studio in New York, which were all approved in early 2011.

(see my previous post http://garinbakerart.blogspot.co m/2011/08/la-county-fire-dept.html)

After construction delays, the new Fire Station 150 in Santa Clarita, CA will be completed very soon and the scheduling for the instillation of the Mural will take place to coincide with the last of the many finishing details.

The Final Mural as seen above with all the seems painted to match up perfectly upon instillation. Although in the back of my mind you never know for sure until the sections are pasted to the wall, how well it will all come together. Hopefully only minor touch ups will be required on site.

Below are some detailed areas.

Stay tuned for a future post showing the installation process and full view of the 10 ft. X 25 ft. Mural without perspective distortion, in it's new home celebrating and acknowledging the work of the LA County Fire Department.

2011-11-15T10:36:00.000-08:00

Our Weekend with Howard

From the Studios of Garin Baker

Carriage House Art Studios
November 15th 2011

Howard Pyle, Detail , Mermaid

Many thanks to James and Jeanette Gurney for inviting and planning the itinerary for this past weekend's Art Journey and Extravaganza! We started out meeting at a little gem of a Tie restaurant in Wilmington, DE so we could all greet and get our bearings. Artist s included, Armand Cabrera, Kevin Ferrara, Jean-Baptiste Monge, Lester Yocum and Noah Bradley.

Then it was off to Frank Schoonover's Studios where we were met by his grandson John who welcomed us with great stories of his grandfather's about NC Wyeth, Harvey Dunn, Norman Rockwell, JC Lyendecker, and countless amazing artists and illustrators who assembled under the tutelage and mentoring of Howard Pyle at his Brandywine School spawning what is known to this day as "The Golden Age of American Illustration".

Frank Schoonover

James Gurney with sketch of John R. Schoonover.

Later that evening we all attended the private viewing and opening of the 100th anniversary exhibition of the Works of Howard Pyle "American Master Rediscovered" at the Delaware Art Museum.

Howard Pyle.

detail,

Detail

So many amazing works, large and small exemplifying the brilliance and mastery of this American Iconic Genius.

This is truly were it began, down through the ages exciting the minds, talents and visionary artists, created an unique art form that lives today in the compositions, lighting and ways of seeing of many of our contemporary artists, filmmakers and concept designers. An amazing Exhibition, Not to Miss and Experience!

Also the bountiful and beautiful region of Delaware and Eastern Pennsylvania and it landscapes and cities that inspired Pyle and his students. And since it's so close by, the Brandywine River Museam and the Studios of NC Wyeth, amazingly preserved in the state in which he worked.

A priority for all artist and those in the know, Don't delay!

Thank you again James and Jeanette for you invitation and Jim for your wonderful lecture the following day.

With my appreciation I have included this priceless image of you both demonstrating your wonderful spirit and my sincerest camaraderie, friendship and admiration.

When 's the next Journey and Extravaganza?......,

dropping everything. I'm in!!

2011-10-18T08:12:00.000-07:00

Max Ginsburg's New Retrospective Book

Carriage House Art Studios
October 18th 2011

Bus Stop, By Max Ginsburg, cover image

It gives me the greatest of pleasure to help publicize this wonderful new book published and offered by Max Ginsburg entitled "Retrospective". I am also proud to, along with some of his past students, invited to add our thoughts and words of praise for one of the most important contemporary representational artist of the last 50 years who has courageously held to his principals and with his work communicates a powerful, unique vision of humanity, not to mention the amazing array of countless beautifully printed reproductions he lovingly presents.

My printed comments excerpted from the book; (p. 36)

I first met Max Ginsburg as a Freshman at the High School of Art and Design in New York City. What I, and many other students, discovered was to alter the course of our lives. Arriving at the high school we encountered two art teachers, Max Ginsburg and Irwin Greenberg. They were traditionally and classically trained representational artists, some would say "Social Realists,"who found themselves teaching high school on 2nd Avenue and 57th street to a bunch of jagged edged kids. Maybe it was our good fortune that the art market of the time was crammed with Soho galleries filled with modern art. For me it held no mystery, and satisfied less and less the young audiences on the move hungering for something "real!" Max and Greeny, as we would call them would arrive two-and-a-half hours early before the regular school day began. The janitor would unlock the school building so Max and Greeny could climb the stairs to their fourth floor where their classroom was. A long commute was ahead for bleary-eyed students ranging in age from fourteen to seventeen. Starting out while the darkness of night still blanketed the City, from far off points like Coney Island or Kingbridge Road in the Bronx, the MTA would bring us to a place call A&D.

All that would melt away as we entered the "Old Hat Club"." An unsuspecting student would be coaxed into posing, costumed or just as they were. Simple honest poses and subtle reminders to stay awake were the order of the day, while ten to fifteen students , along with Max and Greeny, would paint from life. Both would take turns in a relaxed manner walking around helping students. Stories, numbered jokes and warm discussions ensured as the lessons of life unfolded and painting and student's growth accumulated. I remember things Max would say about color harmony, cool and warms and the perception of simple shapes, "for the forrest reveals all it's trees when painting large masses and building form." Greeny shared with me a deep and profound lesson. With a smile he asked, "Are you struggling?" My answer was obvious. He replied, "For then today is a good day", for it is through struggle that one's craft and one's life develop real growth and soul. These and many more lessons are the basic truths not found in textbooks. Day by day these great mentors and their students worked away till the bell for the first period class rang out. Nothing was planned or even conceived but through this, a new world would come to a group of students and teachers that would profoundly change the course of art history, spawning a new generation of artists whose parallel vision would culminate and add to the reemergence of Representational Art.

Irwin Greenberg has since past, and our fondness for his gentile human spirit, masterful watercolors and dedication will never diminish. Max and I have remained close all my adult life and he and his wife Miryam have always and generously offered warm meaningful advice, a timely honest assessment and the deepest of support to me, and my family and my work.

To the core of my soul I offer the following as an understatement: Max Ginsburg over the course of his life monitored and stewarded countless, talented and dedicated students beginning in the "Old Hat Club" at the High School of Art and Design, Visual Arts and the Art Students League. For many of these students now mature artists, their works and achievements began in the halls and classrooms inspired by the dedicated spirit of human beings like Max Ginsburg. His work as an artist and a teacher is a testament, a passing of the torch, towards the greatest of human achievements. His paintings speak to a language of human dignity and struggle. A Masterful Realist, stroke by stroke, through his work and his life he offers the most relevant truth, honesty and real beauty to this world.

"Crossroads", Max Ginsburg

Over the next few days I will be posting images of a workshop Max is teaching here at my Carriage House Art Studios during the dates of October 21st - October 23rd.

I am so please and excited to welcome artists and students from around the US who have taken advantage of this opportunity to spend time learning from Max and for me personally culminates with a fulfilled aspiration that I have had for many years to continue in the spirit of these great artists, mentoring, passing the torch and lighting a way.

Garin Baker.

2011-10-04T07:21:00.000-07:00

Painting Brandywine

From the Studios of Garin Baker

Carriage House Art Studios
October 4th 2011

Painting on the Wyeth Farm, Brandywine, PA

Back in my studios and so thrilled to have spent all last week painting the amazingly preserved countryside of Bandywine and Chads Ford, Pennsylvania. Fun was had by many talented artists as we spent an entire week plein air painting in and around the stomping grounds of Howard Pyle, NC and Andrew Wyeth. The inspirational landscapes are like no other across the US. Rolling hills, perfectly designed by nature spotted with the most amazing stone houses and picturesque farms. Truly a plein air painters paradise.

The culminating show and sale was juried by Frolic Wymouth, bradywine painter and close friend of Andrew Wyeth. I was fortunate to win first place and best in show and my winning painting which was done in 2 hrs during in a torrential rain storm is shown at the end of this post.

Paul Casale & Eleinne Basa painting at King Range Property

I spent most of the week painting with Paul Casale and Eleinne Basa and Mark Ferina from California.

We also took a couple of side trips to visit the homes and studios of NC Wyeth and Howard Pyle.

Studios of NC Wyeth

Wyeth's studio has been preserved as he left it and is full of amazing inspiration and also quite informative for me seeing how in his later years he created a open space with rolling staircase for his mural works, Truly a treat for all those interested in the great story of one of America's most iconic artist, painter and illustrator. Not to miss, as well as the Brandywine River Museum. Full of jaw dropping paintings and Illustrations done during the hight of the Golden Age. We were fortunate to visit during a full showing of Howard Pyle's work. Nice!

Mead Schaeffer detail, Hoeward Pyle

Pyle Pyle

Paul and I stayed and where hosted at an incredibly beautiful 250 acre farm and horse ranch full of rich history and the most beutifully constructed home and out buildings. A wonderful family who opened up their property in the most gracious way, inviting all the artists and supporters for truly memorable barbecue and party one evening. Here just one shot of their porch with riding barn in the distance and the greeters of every visiter with barks and playful fun.

Here's another shot of Paul painting along side at Jaimie Wyeth's family farm. We finally caught a sunny day and my painting below done at King Ranch selected as Best in Show.

"Afternoon Clearing At King Ranch", Oil on Linen, 14"x 22", By Garin Baker

Best in Show, Brandywine Paint Out 2011.

Wouldn't have missed it and can't wait till next time!

2011-09-12T13:40:00.000-07:00

NY Rangers Gearing Up

From the Studios of Garin Baker

"Rangers vs Flyers" Oil on Linen, 44' X 84" 2010

Carriage House Art Studios
September 12th 2011

Detail, "Rangers vs Flyers" Oil on Linen, 44' X 84" 2010

As a youngster I remember vividly climbing down the fire escapes of the old Madison Square Garden # lll, located on 50th St. and Eighth Avenue. My Dad had taken me to see the NY Rangers play the Montreal Canadians for the last game of the 1968-69 season. The "Garden", we all know today is located on 34th St. and is presently under renovation and I can't wait to see what's in store. Being a life long Ranger fan I have been to countless games and I'm always amazed by the spectacular energy and intimate atmosphere The Garden provides... compared to so many other arenas. A couple of years ago I wanted to create a large oil painting of the Ranger Team bench. With all it's intensity in the midst of play as though you could see the game in everyone's face as they anticipated the action. I attended several games in 2008-9 season waiting for just the right moment, photographing and sketching. I even got thrown out of a seat or two trying to find the best vantage point. One day late in 2009 I was in Philadelphia. The Flyers are a huge rival team known as the "Broad St Bullies" and the Rangers were in town. I asked a young artist and colleague whom I was visiting if he wanted to go. He could care less about my ice hockey passion,... so I stub hubed a great seat for myself, just where I wanted to be and off I went. Surrounded by Philly fans who kept asking why my attention was focused on the Ranger bench, I had to play it off as to not get drenched with beer and went about my mission. The Rangers where loosing badly and the frustration in the team grew. But the score was the least of my concern as I have watched the Rangers get beat many times. Then all of a sudden as usually happens with Sean Avrey looking to spark his team mates, the moment for a striking painting had arrived.

The players...

The Coaches...

The Fans...

The Full Painting...

"Rangers vs Flyers'

Oil on Linen, 44" x 84", 2010 c.

The original is on view for The Grand Opening, September 17th, 6-9pm

Highland Art Gallery

27 Olcott Square (Rt. 202)

Bernardsville, NJ 07924

2011-09-11T07:24:00.000-07:00

Remembering 9/11

"September 12th",

Oil on Linen, 34" x 48"

From the Studios of Garin Baker
Carriage House Art Studios
September 11th 2011

2011-08-15T07:33:00.000-07:00

Paintings Currently On Exhibit.

"Club Fight", 34" x 84"

From the Studios of Garin Baker
Carriage House Art Studios
August 15th 2011

"Club Fight" Oil on Linen, 34" x 82" by Garin Baker, 2010

With a Grand Opening planned for September, Highland Art Gallery, now in it's new location in Bernardsville, NJ, will be exhibiting two large sports paintings I completed in 2010-2011.

The first one pictured above and detailed below is a scene I started back in 2009 when a long time dear friend invited me to a boxing match of a young fighter and golden gloves champ her boyfriend manages and trains.

The Broadway Boxing Club is located in the basement of steak house restaurant on 42nd St. in NYC. Transformed from an old discotheque, still with the mirrored ball hanging in the center of the composition is this tight arena space. Down a dark staircase, where crowds come from across the five boroughs of NYC to root on their neighborhood favorites.

Stock brokers, celebrities and a regular folk are served up a good steak diner and drinks as they watch the evening's card, (a series of boxing matches in successive order, fly weights to heavy weights).

I was captivated by this treasure trove of subject matter, exciting all my senses, compelled to paint for the next few weeks back in my studio from compositional sketches and literally countless digital images, working out and combining like a puzzle all the amazing elements into this multi figured composition, attempting to capture the energy and flavor of this amazing and interesting place with all its characters.

In 2010 it was awarded Best in Show from the National Art Museum Of Sports and the original was exhibit there for almost all of last year and now back on the east coast and can be seen at Highland art Gallery along with a group of smaller works and the other sports painting I completed in 2011 entitled,

"Rangers Vs Flyers" that I will feature in my next post.

Stay tuned. Thanks so much for taking the time to enjoy!

2011-08-08T09:48:00.000-07:00

Max Ginsburg, "3 Days Revealing Realism" Workshop Dates Released

Announcements from the Studios of Garin Baker
Carriage House Art Studios
August 8th 2011

Detail, "Bus Stop", By Max Ginsburg

It gives me great pleasure to announce the dates for The Max Ginsbug's "3 days, Revealing Realism" Workshop here at my Carriage House Art Studios. Fast on the heals of the successful and raved about workshop here back in July by James Gurney, I am so thrilled to have invited Max Ginsburg , who has graciously envisioned a packed filled weekend starting October 21st - October 23rd of 2011, including demonstrations and instruction for maximum of 15 participants in the considered focused study of the human form for 6-8 hrs each day. Shared meals and accommodations are also offered for 3 beautiful days in the glorious Hudson Valley during the peak of the fall color season. Carriage House Art Studios is located just 1 hour north of NYC along the Hudson River.

Please click the the flyer below for information on Pricing and how to Register!

Registration is on a first come first serve basis, limited to 15 participants. $ 650.00 Payment is required in full in order to secure your spot and seems to be the fairest way to guarantee placement. A few modest rooms are available on site, in addition to an offered listing of recommended area B&B and inexpensive hotels. All meals will be included and served on site as well as in general a focused yet relaxing, amazing and wonderful creative experience.

For additional information and registering please e-mail Garin Baker at gb@carriageart.com or go to: Carriage House Art Studios Atelier Site and find out more about this workshop as well as all the other offerings. You can also call me at my studio # (845) 562-7802. I'd be happy to answer any questions about your interest.

"Cross Roads" By Max Ginsburg.

Also incredibly grateful to share news about a most beautifully appointed, with the most amazing reproductions, the New Book "Max Ginsburg Retrospective", which will soon to be available at major retailers. Undoubtedly copies will be signed personally by Mr Ginsburg during this Workshop.

I was thrilled to be asked and add my comments in the 'Tribute from former students" section, paraphrasing and briefly quoting, "I first met Max Ginsburg at the High School of Art & Design. What I, and many other students, discovered was to alter the course of our lives. In a relaxed manner, Max would walk around instructing with warm stories and lessons about color harmony, cools, warms, and the perceptions of simple shapes to see complex elements. As an Artist, Teacher and Mentor, Max is a testament, passing the torch, towards the greatest of human achievements. His paintings speak to a language of human dignity and struggle. A Masterful Realist, stroke by stroke, through his work and his life he offers the most relevant truth, honesty and real beauty to this world".

Garin Baker.

http://www.maxginsburg.com/

2011-08-04T08:06:00.000-07:00

LA County Fire Dept. Mural In Progress, #1

From the Studios of Garin Baker
Carriage House Art Studios
August 4th 2011

Detail, LA County Fire Department Mural, 10 ft high X 25 ft Long, Artist, Garin Baker,

With all the sketches and preliminary renderings approved, I've been working in my studio on this large scale Mural, 10 ft. high by 25 ft. long, which will eventually be installed in a new Fire Station in Santa Clarita, California in 2012. This project started back in 2009 when I was first contacted as a finalist by the LA County Arts Commission. Invited to travel and spend a week with the firefighters and in general learn as much as I could about their heroism and daily activities. Seeing first hand the amazing bravery and sacrifice having been commissioned to do several painting after the events of 9/11. The painting below, completed in 2002, entitled "September 12th", was used on the NYC Police and Fireman's Memorial web site, and several reproductions hang in fire stations and police precincts thru out NYC.

"September 12" oil on linen, 36" x 58" Garin Baker

So with exhilaration and excitement I went about returning to my studio to create renderings and sketches expressing the story of the cross trained LA firefighters, paramedics and rescue workers, who in relationship to "incidents", that they call huge fires, which can at times destroy thousands of acres, homes and people's lives in Southern California.

Blue print architectural layout of wall space available for mural.

Given the parameters of the project, which is funded by a percent for art program administered through the Arts Commission and tied to the construction of several newly needed fire stations in Southern California, I wanted to create a heroic scene expressing and showing the rolling California landscape, dotted with perfect suburban homes on the left and to the middle and right of the composition, using the road as a fire break, the amazing firefighters and other heros who protect it from ranging winds that swirl down the canyons, sparking huge destructive fires, "sometimes" a natural occurrence. This was described and witnessed by many a firefighters I spoke with during my visit. The imagery and scene I invented from many different pieces of sketches and photo reference is shown in the approved renderings below.

Preliminary rough compositional study

Scaled Rendering black & white charcoal on canson paper completed in studio, 38" x 89", 2010, Garin Baker.

Working on Large 12 ft. rolled canvas, I prime and hang in my studio using a rolling system to work from right to left. My mural palette below is filled with alkyd enamels in coffee cups set in a large plywood surface that has been a useful simple tool and method I have used on many a project and shows the years of spill over and mixing surface I use with large chip brushes to block in my murals. The paint stays wet so I can work in a similar fashion as I do when working from life and on smaller easel works.

Mural Palette.

NY Studio/mural wall with LA Co Mural in progress July 2011.

Detail area 2, LA County Firefighters Mural in progress, Garin Baker, 2011

Over the next few weeks and months leading up to it's completion, I will post more progress images as well as our trip and full report and images, in early 2012 to Los Angeles, for the install and unavailing.

"Goin back to Cali.... really think so.

2011-07-27T07:01:00.000-07:00

Amazing Painting by Belyukin.

From the Studios of Garin Baker
Carriage House Art Studios
July 27th 2011

I was recently hanging out with James Gurney who knows way to much for one individual but gratefully he turned me on to a wonderful blog site entitled "Inspirational Works of Art". (http://inspirationalartworks.blogspot.com/)
where I came across this amazing painting.

"White Russia in Exile", by Dmitri Belyukin, 1994

Now you might think this is a early 20th century political propagandist painting and although it has tons of references to a sympathetic view of exiled Russians who were deposed after the Bolshevik Revolution of 1917 but it was completed in 1994 by Deitri Belyukin.

What I found so amazing beyond the powerful subject was the composition and handling of such a complex scene of figures in an atmospheric setting. The inventive way the artist has used, without discernible obvious perspective solutions, the layered aspects of building groupings of figures moving into the distance that allow you eye to travel through the image experiencing the poses and characters in his human narrative. Looking closer as the figures recede into the mist during their morning commute, I am amazed how he uses a harmony of color and handling to capture this complex configuration. Not an easy task and aware to my core and knowing how difficult it is to compose something this layered and interesting. This artist in my opinion demonstrates the highest of abilities and skills that many including myself admire about contemporary realism. This work has captivated me and raised my excitement towards doing work that is as well realized.

This inspirational blog site is chock full of works of all kinds and times and I urge anyone who's on their own personal quest never to be satisfied to search out works that shake you off you comfortable creative perch nudging you to go beyond what's popular in all our attempts at being "successful" and paint what excites you finding your own personal and compelling voice.

2011-07-26T07:05:00.000-07:00

Notes on Drawings #3

From the Studios of Garin Baker
Carriage House Art Studios
July 26th 2011

15 min pose "Sara" Vine charcoal on newsprint, Garin Baker, 2011

This technique is great fun and starts with applying vine charcoal over the entire surface of the newsprint paper. I like the rough marks the edges of the charcoal makes on the paper but some like to smooth it out with a gentile cloth rub.

3 min poses

Starting with the lighter lines beneath, when looking closely before the outside contour lines are drawn is the "gesture drawing" that I described in Notes on Drawings #2. In addition the lighter area is pulled out using a clean kneaded eraser. It's only then that the darker contour lines are discovered and applied when feeling the form and perceiving the edges, from the interior proportions outward using thick and thin variations reacting to the strength and turns of the form in the shadows side or against the light edges.

Repetition and an unsatisfied diligence is key towards developing over time and I recommend a figure drawing class or workshop at a minimum of 3 hrs a week as a priority.......... especially when our busy lives get in the way.

Underlying Gesture drawings. 1 min.

Again, a good gesture is key, that all else is built upon. If it's not right all the rendering in the world won't improve it.

2 mim poses

2 min

5 min 7 min

Standing pose, 20 min

This 20 min pose captures the gentile juxtaposition of the upper torso anchored with the weight on the leg in back with the front leg relaxed. This subtle pose capturing a real sense of volume and weight is worth pursuing in your studies.

I hope that these "Notes on Drawings" have been helpful and although academic in nature and basic in delivery are some of the issues I've been offering in my drawing workshop over the past few weeks.

And over time I have seen real growth among several students willing to do the exercises and stumbling as we all do to find our own answers which inevitably present a list of new question.

No matter how frustrating and discouraging the task at hand..... keep drawing from life.

The benchmark for which all else will improve!

2011-07-23T09:03:00.000-07:00

Notes on Drawings #2

From the Studios of Garin Baker
Carriage House Art Studios
July 22nd 2011

"Temptress" B&W charcoal on Canson Paper, Garin Baker, 2008

The above 45 minute drawing in it's finished form shows none of the preliminary thought process and initial stages that are so important towards understanding proportions and getting the elements of the figure to fall into place and I thought I would in the following shorter pose image below highlight some of the unseen and preliminary thought processes from which all else is developed.

Drawing as a "Process of Subtraction":

I know this sounds reversed and for those of you who are seasoned draftspersons the clear perception of the whole as a conceptual beginning is key but lost among many students who focus on the resolved, finished or distorted qualities on the surface which are almost always built atop an unseen conceptual start.

2 min/ left 10 seconds/ right

The 10 second drawing on the right is that start. Many call this the "envelope" of form. And is so important as a conceptual beginning towards understanding correct proportions and building the skills necessary towards developing solid figure drawings. Many students skip past or struggle to see how important this stage is and usually start with the head and attempt to construct a figure by adding a neck, shoulder, arms, torso, hips, legs and so on. This being called, "Drawing as a Process of Addition".

The 2 min drawing on the left is what's built on top on the first 10 seconds. depending on how much time you have will determine the lightness or darkness applied to your conceptual beginning realizing that we're playing chess here not checkers and anticipating where the drawing is going and the level of completeness or finished quality desired based on time alloted.

Many students having seen the amazing figure drawings by Egon Schiele and his purposeful distortion adding a tormented emotional quality to the work, miss the fact that he spent years diligently working to understand the human figure and how to manipulate it for effect.

Egon Schiele, "Self portrait with arms twisting above head".

Books on Egon Schiele:

Drawings & Watercolors

http://www.amazon.com/Egon-Schiele-Watercolors-Jane-Kallir/dp/0500511160/ref=sr_1_1?ie=UTF8&qid=1311435988&sr=8-1

Egon Schiele 1890-1918 (Paperback)

http://www.amazon.com/Egon-Schiele-1890-1918-Reinhard-Steiner/dp/3822863270/ref=sr_1_2?ie=UTF8&qid=1311436150&sr=8-2

Egon Shiele (Paperback)

http://www.amazon.com/Egon-Schiele-Erwin-Mitsch/dp/0714828629/ref=sr_1_4?ie=UTF8&qid=1311436349&sr=8-4

Good draftsmanship is not an accident formed by chance, it's accidents created through understanding, diligence and consistent practice.

Drawing and perceptions will continue, so check back for

"Notes on Drawing" #3.

2011-07-22T10:02:00.000-07:00

Notes on Drawings #1

From the Studios of Garin Baker
Carriage House Art Studios
July 22nd 2011

"Ray" B&W Charcoal on Canson Paper, Garin Baker, 2011

Over the last few weeks I've been doing a figure drawing class with a group of young art students. Most quite talented and focused. So I wanted to examine the basic underlying perceptions that many overlook when examining and appreciating the completed drawings of so many accomplished artist.

Figure by Pierre-Paul Prud'hon.

We all are amazed by drawings that capture a compelling quality and marvel at the finished look and resolved quality not appreciating the underlying nature a simple figure drawing was conceived with.

Correct Proportions, and how the importance of simple gesture notations and the underlying beginning stages are.

Many accomplished artist who draw from life regularly are poor examples for students since their skills have been honed to a point where they can edit past many of these beginning stages. Students see their work and believe if they can begin rendering a portion of the figure it will come out looking like what they see and feel.

Please forgive my directness, but nothing can be further from the truth. I have for many years witnessed thousands of these beautifully rendered shoulders and noses only to allow my eyes to travel across the rest of the drawing to see the most out of whack proportions and relationships of body parts. Many of us don't spend the required and repetitious hours needed doing direct, simple gesture drawings. Seeing the whole figure as one movement and the immediate perception of the full pose from head to toe, and all the extremities as one holistic shape.

This is crucial and can not be stressed enough. And until this perception becomes second nature to any young artists, representational drawing will be seen as a process of addition rather than subtraction.

My series on drawing and perceptions will continue, so check back for more examples and additional "Notes on Drawing" #2.

Suggested readings:

Drawing Lessons from the Great Masters: 45th Anniversary Edition
http://www.amazon.com/Drawing-Lessons-Great-Masters-Anniversary/dp/0823014010/ref=sr_1_1?s=books&ie=UTF8&qid=1311354338&sr=1-1
Classical Drawing Atelier: A Contemporary Guide to Traditional Studio Practice
http://www.amazon.com/Classical-Drawing-Atelier-Contemporary-Traditional/dp/0823006573/ref=sr_1_1?ie=UTF8&qid=1311356113&sr=8-1
Steven Assael: Selected Drawings
http://www.amazon.com/Steven-Assael-Selected-Drawings/dp/0967692717/ref=sr_1_2?s=books&ie=UTF8&qid=1311353073&sr=1-2
The Artist's Complete Guide to Figure Drawing: A Contemporary Perspective On the Classical Tradition
http://www.amazon.com/Artists-Complete-Guide-Figure-Drawing/dp/0823003035/ref=pd_bxgy_b_img_b

2011-07-14T07:57:00.000-07:00

Head Study Workshops
By Garin Baker
Announcements!
Carriage House Art Studios
July 14th 2011

"Portrait of Amy" Oil on Linen, 12"x16", Garin Baker, 2011

I'm beginning a series of "Head Study Workshops" at two Arts and Educational Centers begining this month and on into the Fall in The lower Hudson Valley of NY State.

"Tony", Oil on Linen, 9"x12, Garin Baker, 2011

The First is being offered by The Wallkill River School located in Montgomery, NY run by Shawn Dell Joyce and her amazing staff of dedicated arts and environmental advocates. She has cleverly merged a local arts movement with the area's farming community. Creating an artist illustrated cook book featuring local artists, chiefs, growers and local farm markets. Annually organizes plein air paint out events on the area's diminishing farm lands. And continually raising awareness, creating local jobs, spending locally, eating locally and as a long term goal, building stronger, self sustaining communities. All in addition to the regular arts classes and cooperative gallery space she manages at her Wallkill River School. Wow!

And to top it all off, Shawn and her Wallkill River School have just recently received a grant from the NEA for her continued work on local tourism and economic development.

To support this wonderful organization and register for my Head Study Workshop

contact: The Walkill River School, phone # (845)457-2787
e-mail: wallkillriverschool@hvc.rr.com

"Male Head Study", Oil on Linen, 14"x18", Garin Baker, 2004

The Second of my continuing Head Study Workshop is being offered this Fall by Mill Street Loft of Poughkeepsie, NY. The have recently partnered with Scenic Hudson renovating an amazing Old Red Barn space in Beacon, NY. Scenic Hudson does amazing work, purchasing old vacant industrial lands along the banks of the Hudson River, restoring and preserving the beautiful vistas and offering it to the public for recreational use. Great news for us Hudson River Plein Air Painters! They have also created a new Arts and Educational space in an Old Red Barn that Mill Street loft now uses to create an array of new arts, cultural, gallery and educational opportunities. Located directly across from the Metro North, Beacon Train Station and steps from Dia Beacon, this brand new cultural venue is now a shinning light for the Arts in The Lower Hudson Valley.

To support this wonderful organization and register for my Head Study Workshop

contact: Mill Street Loft, Laurie Clark, Special Projects, (845)471-7477 ext 18 ,

e-mail: lclark@millstreetloft.org

or Register on on line @ http://millstreetloft.org/store/index.php?manufacturers_id=82&osCsid=5a6496df2c10c2c65c7fb4ef09a7a514

More Head Study examples by Garin Baker.

Enjoy!

"Portrait of Bryan" Oil on Linen, 18"x 30", Garin Baker, 2011

"Sara" Study, Oil on Linen, 14"x 18", Garin Baker, 2011

"Shaheem" Oil on Linen, 14"x 18", Garin Baker, 2011

Detail, "Portrait of Larry", Oil on Linen, 12"x 16", Garin Baker, 2011

"Portrait of Michael" Oil on Linen, 12"x 16", Garin Baker, 2003

2011-07-12T09:02:00.000-07:00

"Artist In His Studio"
By John Singer Sargent, 1903
Oil on canvas 28.5 x 28.25
From the Studios of Garin Baker
Carriage House Art Studios
July 12th 2011

Detail, "Artist in his Studio", John Singer Sargent, 1903

This little gem is by one of our all time favorites, We all know the name, I'm sure! What has always inspired me about this painting is its pure simplicity. At last night open studio workshop where we have weekly models posing at Carriage House Art studios, I try and set up a simple pose for 3 hrs with one direct light source attempting, as an exercise to capture in light, form and color a brief figure study and moment. What amazes me sometimes is the complexity we all try to add while the distractions and multiple confusions work their way into our paintings. If we were to only see the simple masses of dark and light as well as the clear delineation of a cool or warm light vs and cool or warm shadow we would be able to follow through on immediate clear perceptions made in the first few seconds when the model assumes the pose.

When looking at the entire painting by Sargent we can see this very clearly.

One clear light source coming from an open unseen window to the left blankets the middle plain of the painting. Cool in cast with variations of warm shadows. Ok, lets not get confused. When Squinting our eyes (a great and wonderful tool which helps us to see the masses of darks vs lights) the shadows come together as large shapes as opposed to the light masses and shapes in the middle plain. What we all loose sight of in our own works is the "confusion of the grays" or middle tones and how they distract us from the overall impact and graphic nature of a fine work of art that can be read from across the room. All those middle tones and colors bouncing around taking our attention and leading us astray.

This painting by Sargent is for me a great lesson about what makes a great work of art.

With every stroke of paint, (not one waisted) he pulls together a compelling composition bringing us into the simple room and studio of an old seasoned artist, void of any accoutrements, powerful and purposeful with depth of meaning and form. This work has also inspired me to see my life with all it's complexities and problems as truly something simple to aspire to. "The work" of it all, and the passion to create in the studio, shedding all of life's "issues", for the moment........

Make more of them!

2011-07-08T09:11:00.000-07:00

Max Ginsburgh Retrospective
Realism with an uncompromising voice.
News release from the Studios of Garin Baker.
Carriage House Art Studios
July 8th 2011

Foreclosure oil 40" x 65"

I first met Max Ginsburgh as a high school student at the High School of Art & Design in NYC back in the mid 1970's. He and Irwin Greenberg were traditional realist painters that found themselves teaching a bunch of raggedy haired kids from across the five boroughs of New york City. Maybe the art world and galleries, at the time had little use for these brilliantly talented individuals but we as young artists couldn't get enough of their uncompromising skills, humorous stories subtilely teaching life's great lessons and amazingly generous warm sensibilities. No exaggeration intended, but in my opinion, along with others like Dinnerstein, Silverman, Shanks, Schmid, spawned much of the strength of the young contemporary representational movement we are experiencing today.

Crossroads 26" x 40" oil 2008

As Peter Trippi writes in the July/August article in Fine Art Connoisseur magazine,

"Its always a pleasure to celebrate an artist's achievements while he or she still moves among us, and this is especially true for those realist who spend much of the 20th century ignored or decided because they opted not to ride the modernist wave. Such celebrations grow in impact when they take the form of a museum retrospective which is exactly what's on deck for this year for the painter Max Ginsburgh (b. 1931). Stretching in date to 1956, more than 50 of Ginsburgh's works will be on view at New York City's Salmagundi Club (July 18th- August 5th) and more than 80 at the Butler Institute of American Art in Youngstown, Ohio (Sept, 15th-November 11th). Fortunately those unable to experience this rare display can enjoy the accompanying 192 page book, which illustrates 150 Ginsburgh works in total."

Peace March oil 48 x 70

I am thrilled to be helping Max, Richard Weinstein, (his long time studio class monitor) and the staff at the Salmagundi Club, installing his show in NYC in July.

Additionally thrilled to be collaborating with Max Ginsburg in offering a 3-5 day Workshop here at Carriage House Art Studios Atelier this coming October, (dates and pricing to be announced).

For further information and to receive an early registration commitment contact Carriage House Art Studios/ Garin Baker/ 845-562-7802 or reach me by e-mail at: gb@carriageart.com

2011-07-07T05:46:00.000-07:00

Mural Renderings
From the Studios of Garin Baker.
Carriage House Art Studios
New Windsor, NY .
July, 2011

ARTBA Rendering #1 40" x 54", Charcoal on Canson Paper, Garin Baker 2006

The following rendering measuring 40" x 54" was done for the American Road & Transportation Association's corporate lobby Mural project. I was giving the opportunity to see first hand the building of the Wilson Bridge in Washington, DC. Truly a Modern Marvel of modern engineering and construction.
"Artba" is a huge lobbying organization representing the road and bridge building construction industry. They are responsible for he largest Federal and State transportation construction projects bringing together huge engineering, heavy machinery and tradesmen corporations form across the country. After being guided by supervisors very concerned with my safety, I spent a few days climbing and traversing this huge construction site, taking photographs and doing quick compositional sketches. I returned to my New Windsor, NY studio to create this large presentation rendering. This drawing was my first attempt at what I thought would be an amazing heroic mural for their new lobby located in Washington, DC. But it was not to be. The CEO explained to me quite diplomatically, although he thought the drawing was amazing and so thrilled I was selected to create their new mural, the Board of Directors wanted to feature road builders and thought featuring bridge builders would send the wrong message to their vast client base.
So it was back to the Drawing board. Although they paid to have it printed 9 ft. across for an interior space in their new headquarters, softening the blow.

2nd Approved rendering!

RTBA Rendering #2 40" x 54", Charcoal on Canson Paper, Garin Baker 2006

What struck me when they took me to the second location was the morning sun blasting it's way onto the road construction project called the "mixing bowl" about 5-10 miles outside DC. All the Workers busy starting their day being given directions and tasks to be completed by their supervisors. Usually we all make the typical commentary of one guy working and a group standing around as we drive by wondering what's causing all the traffic impeding our lives but in one shape or form the roads get built and our modern transportation system exists. Maybe a strong case at the moment for upgrading and improving, non the less.

Completed Mural, painted in studio and installed on site 2006.

Measuring, 18 ft at it's highest point by 35 ft. long.

Detail # 1.

Detail # 2.

All in all a great project to be fortunate enough to work on and complete. An amazing example of putting an artist in a world that is not their own and letting him loose on a subject matter. My favorite thing!

All work was done through Artist Circle Fine Arts, a Washington, DC based Art Consultant company run by Jack Devine who commissioned the work and was marvelous to work with.

2011-07-06T05:58:00.000-07:00

Murals At Rockefeller Center

by Josep Maria Sert

Like the surrounding complex, the art at 30 Rockefeller Plaza has a rich history. A committee set up by John D. Rockefeller and his son, John D. Rockefeller Jr., decided that the artworks there should have a unifying theme, New Frontiers, encompassing aspects of a modern society: science, labor, education, travel, communication, humanitarianism, finance and spirituality. Because 30 Rockefeller Plaza, near the Channel Gardens, where the Christmas tree stands every year, was considered the center’s flagship, it was to be the most elaborately decorated.

By 1933 the committee was making lists of the most talented names to consider. Initially artists like Picasso and Matisse were candidates. But they were unavailable and would have been too expensive. Sert was on the list too, along with the British painter Frank Brangwyn, who ended up creating murals for the lobby’s south corridor.

Diego Rivera was also brought on board, but his work was removed and destroyed when he refused to alter a panel glorifying Lenin. In its place, Sert created “American Progress,” one of several murals he contributed.

More than 16 feet high and 41 feet long, “American Progress” was installed in 1937 behind the information desk. An allegory for the building of contemporary America, the scene includes statues of the muses of poetry, music and dance, their arms reaching toward the men of action with laborers in the center and Abraham Lincoln, wearing a top hat, resting his hand on the shoulder of Ralph Waldo Emerson.

NY Times

By CAROL VOGEL

Published: July 26, 2009

Additional ceiling and wall Murals adorn the entire lobby space.

In order to really feel the presence and and power of these works by Sert, a visit to Rockefeller Center in NYC would be the highlight of your day, I'm sure.

Every time I see these works the question sticks in my head as I'm leaving.

Why don't we seem to create works of this power and prominence today?

Don't we have a story to tell about the times in which we live, compelling and amazing as what was created years ago?

2011-07-04T03:10:00.000-07:00

Final Day Three
The "Painting in Colored Light" Workshop
with James Gurney.
Carriage House Art Studios
New Windsor, NY. July 2011

The day started off with an amazing morning pose. Rich in color and light.
Our beautiful model Sarah was draped and all participants began a full day of painting from life.

Although The weather had taking a turn towards rain everyone's spirits could not be dampened.

Lincoln always looking for a friend who couldn't resist providing a treat from their plate.

James and Jeanette Gurney, so wonderful and amazing.

After diner everyone began to pack their gear but without hesitation and in need of more....

A brief trip just a few minutes from the Studio and down the hill to the Hudson River for some last minute Plein Air painting.

Clara and I would like to thank each and everyone of the participants, James and Jeanette Gurney and all who came by to visit, adding to our amazing 3 day Painting in Colored Light Workshop event.

We are so glad to have met all of you and wish you safe travels home and look forward to the next one which we are planning for very soon. So please stay in touch!

From all of us here at Carriage House art Studios, our warmest wishes to all of you!

P.S. Thank you Michael, and hope you don't mind if I take a quote from you wonderful e-mail,

"Let me start by saying that I had an amazing time at the workshop, and enjoyed meeting everyone and sharing so much creative energy. I also wanted to thank Garin and James again for hosting. It was one of the best artistic experiences I have ever had."

2011-07-03T04:01:00.000-07:00

Day Two.
The "Painting in Colored Light" Workshop
with James Gurney.
Carriage House Art Studios
New Windsor, NY. July 2011

Quite a busy day began at 9 AM with participants jockeying for position. The morning was spent drawing and painting Ray our male model.
Images provided by our dear friend and colleague Susan Voss.

After lunch we had the wonderful Lee who was posing for the first time and did an amazing job!, costumed by Jeanette, James's wife. The dramatic and interesting effects of colored Light are clearly a challenge, stretching everyones abilities offering a real chance for growth and focus.

In the afternoon Francesco Mastalia, renowned international Photographer took these amazing images capturing the afternoon session. After a barbeque feast, relaxations on the lawn with great discussion, sketch booking, laughs, coffee and deserts.

The evening ended in the Carriage House looking at art books and James signing posters. prints and books of his amazing works for all who asked. His generosity offering so much of himself personally into the late evening hours was amazing, Thank you so much to everyone for a Great Day!

And still more to come!!

2011-07-02T04:00:00.000-07:00

Day One.
The "Painting in Colored Light" Workshop
with James Gurney.
Carriage House Art Studios
New Windsor, NY. July 2011

With Day one under our belts I thought I would show pictures of the progression of the day.

Starting with the early morning arrivals at 8:30 AM.

A bit of gas in the tank.

And without our amazing ladies, everything would grind to a halt....

Thank you, Clara, Susan and Jeanette, so very much!!

Into the Studio for a welcoming introduction and talk.

Morning Demo By Mr. James Gurney

Wow! lots of info to take in... It's noon already..

Lunch time,.. yippee!

Digesting it all on the lawn with more stories and amazing exchanges.

OK..OK.. Let's get back to work!

It's 5 Pm already and still much more is ahead.

Pizza and a few beers were ordered by all and then back into the studio for a live model from 7-10 PM.

Many who still have the stamina work into the evening

A professional Concept Artist and dear friend Eric Wilkerson stops by to show a recently completed piece.

As the evening winds down, an invigorating, exhausting, full day comes to an end.

Sleep and get ready for Tomorrow!! 8:30 AM to make sure you get a good spot!

2011-06-30T03:44:00.000-07:00

The Studio,
As it looks today.
New Windsor, NY /June 2011

Over the last several years since completing this portion of the renovations we have hosted many events including open studios, weekly figure drawing and painting sessions, videos and small budget movie productions, dance rehearsals, super bowl parties and our famous annual "Pasquale's Pizza Party. Where we use the old 1790 dutch oven in the main house, a real favorite of families, artists and guests.
Hope you enjoy the images below, and stay tuned for postings this weekend when we'll be hosting "The Painting in Colored light" Workshop with James Gurney at our Carriage House Art Studios.

Exterior view

Lower Gallery Area

Lower Gallery Area #2

Upstairs books and media area, Chill Spot.

Barn Painting Studio with north light.

Weekly Open Studio sessions in progress.

Max Ginsburg stopped by for a bit of life painting. Nice!

Hope you enjoyed the adventure and if your in the area and want to learn more about what's going on at

Carriage House Art Studios give us a call.

Contact me on line at: http://www.carriageartatelier.com/

or you can easily reach me by e-mail @ gb@carriageart.com

2011-06-29T04:59:00.000-07:00

Planning and Preparing,
The James Gurney, "Painting in Colored Light Workshop"
New Windsor, NY 20011

It seems not so long ago I started renovating my little 1790 Carriage House and attached Post and Beam Barn for my Art studios, office, gallery and public gathering space.
Below are some pictures of the renovations that I started back in 1998 and took almost 5 years to complete. As most of those who know, with an old house and property your never really done with renovating, you just start in one section and keep moving around, one project after another.
Honestly, I love the creative process of transforming a space, old or new into something functional and inviting.
And especially grateful to offer it to Jim for his upcoming Workshop on July 1st thru July 3rd. Enjoy the first few pictures of the renovations in progress, not so long ago. Tomorrow, I will post images of the studio as it looks today as well as over the coming days, images of the "Painting In Colored Light" Workshop in progress with James Gurney at the helm.
Follow the progress offering ideas collaborations and suggestions,... Stay Tuned!!

As I found It 1990.

1998, Gutting began. I couldn't save much but the all the original timber frame and amazing german raised pointed stone work....Awesome!

The Foundation, problems...Problems, rotted and non existent.

The Slate Roof... Need I say more. We took it all off rebuilt the roof and put the slate back up..

Yes Sir!

Patrick, Amazing Craftsman.. Rare breed these days!!!

Mourice, Jamaican Roof dancer, Amazing Guy!

Roof Rebuilt, Copper flashing and all .... 2.5 year mark. Oh boy!

Hip Roof for Northern Sky Light...Oh Yeah!

Slate going back up!!

Finally,. Open Space to work with.

My beautiful future ex wife had had enough!!

Digging down to make room for plumbing.

After 4 years in between deadlines and going broke off and on.. you know the story,... were almost there.

Stay tuned for the next post including present day pictures of the my fully renovated and working Carriage House Art Studios. As well as over the coming weekend images of the Workshop with Jim Gurney!

2011-06-24T11:09:00.000-07:00

The Russians.

cont.

Detail, Ilya Repin. "Ivan the Terrible and His Son", 1885. Oil on canvas.

This Amazing painting by Ilya Repin tells the dramatic and historical story of Ivan the Terrible. After bludgeoning his son to death he cradles his head in horror symbolically expressing in a powerful simple way the timeless story of The First Tzar and Supreme Russian Leader, now old and completely mad. Ultimately through his life, the quest for total rule and complete domination, destroyed everything in it's path.

This incredible and powerful portrayal along with many of Repin's work I first came across as a college student years ago. I was directed by an instructor of mine at the time to a Russian book store in NYC located near 21st and Broadway( no longer there). I spent days combing through books on Russian Art. Maybe I had an affinity to their works since my Grandfather emigrated to the US from Russia around 1902 and I was told stories by my father of our Russian heritage. But as an Artist what strikes me so profoundly to this day, is their abilities to master the technique of most european traditional and impressionist artists we're so familiar with and bring such depth and soul to their works expressing a narrative that speaks to the hearts and minds of the subjects depicted. The "Truth of Purpose" blended with such soul in a way that is continually compelling to me and still so powerful to this day.

Ilya Repin. "Ivan the Terrible and His Son Ivan on November 16, 1581". 1885. Oil on canvas.

The Tretyakov Gallery, Moscow, Russia.

2011-06-20T05:19:00.000-07:00

The Russians.
con't.
"Not just a pretty face".

Portrait of Unknown Woman (1883)
Ivan Nikolaevich Kramskoy

Here we have an amazing example of a kramskoy portrait, and clicking on the image will reveal the mastery of technique and purpose bringing all his skills to bear on a the likeness of this unknown young woman in 1883. A tumultuous time in history with extreme class differences. For me It's not just a beautifully done portrait of a woman warming her hands as she rides by in her carriage, although on the surface of things, quite evident. The cold winter street scape behind her done in lightly contrasted colors to her dark ultramarine blue velvety outfit and elegant hat, exemplifying prominence and stature. Obviously a woman of some considerable wealth and position. The viewer is us, possibly on the street walking as she rides by. We catch her glance as if in a moment. Her expression is of gentile superiority reminding us of our place below her glance. What is truly profound in this portrait by Kramskoy, even through creating a beautifully flattering portrait, he possibly felt compelled to say more than just satisfy a commercial necessity we all know full well as working artists. But with this simple painting he makes a timeless statement expressing all the disparity of class and position. Across the spectrum of viewers it might be what one reads into a great work of art or clues to the thoughts and purpose of the visionary. Take you pick, either way, for me, she's not just a pretty face.

2011-06-17T06:23:00.000-07:00

The Russians

Ivan Nikolaevick Kramskoy, "Peasant Holding a Bridle" 1883

I participated in a plein air "Paint the Town" Event last week in Cranford, NY. A wonderful amazing talented group of artist from across the US ascended on this small commuter town in central, New Jersey to paint in the open air, exhibit and sell their works. The event was sponsored by the Jersey Central Art Studios and all about the success of this years event can be found on their website.
What remained in my mind and today and what seems a lingering unanswered question is a statement made, somewhat sarcastically and purposefully by an amazing painter from Maryland named Tim Bell. Tim's work is full of color and light, an artist with the courage and grit to paint with a fresh and bold approach.
OK,... here's the statement. "I hate Realism". Please don't misconstrue what Tim was saying. He had a point in mind which triggered a lengthy discussion.
What is the state of contemporary representational painting and which artists and works seem to be the heralded as the "Realism" of our times? Lets just stop for a second and define "Realism" back in my early days at Pratt Inst. I minored in art history and I'm not a scholar by any stretch of my imagination, but I thought "Realism" was a reaction by many artists during the later part of the 1800's to break from the idealized form and standards established by the French Academy and paint real life scenes of everyday folk, rich or poor, peasant or ruling class. It was an honest attempt, in my opinion to express works that truly documented the times in which they lived. Some work was quite preachy and dogmatic but some works honestly expressed something quite profound and meaningful beyond just beautiful Paintings. The works of Sargent's and Sorolla obviously come to mind among many others so I thought I would, over the next few post example some of my favorite "Realist Painters" from Russia!
Who in my opinion, took all the skills and knowledge of traditional and impressionist paintings available and created works of real artistic soul expressing the "Beauty & Truth" of their times.

2011-06-16T06:40:00.000-07:00

The Trestle Mural Project.

The following is an example of Murals "how to" that I have completed.
Specifically, "Archways" the Trestle Mural Project, Newburgh, NY 22 ft high X 220 ft long.

Completed in 2007 by myself and a team of 7-10 artist in a 5-6 month time frame not including presentation approvals and fundraising which added another 3 years to the project

done by a Not for Profit organization named Trestle Inc.

Be that as it may I'm prefacing everything I'm about to reveal with the most important fact. Every exterior mural project is Unique!

Site conditions, Climate, Wall surface, building or retaining wall, stucco, concrete or brick. Hight from the ground, ability to use lift equipment or scaffolding. I could go on and on.

But to keep it simple let's use the Trestle Mural Project as an example.
Which I consider a huge failure as a permanent exterior Mural which basically should have a life span of about 25- 30 years if all the prep work was done correctly, which it was not on this project by a long shot!
A moisture ridden retaining wall which needed a thick parged coating of a moisture barrier material applied consistently before we started priming & painting the mural.
It was only after we started painting the mural did we realize the City of Newburgh hired a contractor who owed back taxes to do the job and as he worked from left to right he skimped and cheated all who loved the project and now see it presently, can only imagine a beautiful work of art that should have lasted.

I'm sorry to inform all who are interested that the Murals present condition is irreparable and large sections need to be removed.

Anyway here's how we did it.

The presentation of the design for approval and fundraising purposes.

The Fundraising: Corporate sponsorships, private donation for commemorative bricks laid on site and a NYS Coastal waters Grant, Oh yes, wall prep provided by the City Of Newburgh $?.

Mural Painting work begins on site, Scaffolding is erected, The art shed is strategically placed and all the artist working get paid and have health insurance. Yippee!

Our palettes are constructed on site using 4 x 8 sheet of plywood cut in half. Then cutting 12 wholes around the top perimeter in order to allow for chinese soup take out dishes with lids to be dropped into so that they don't fall through.

The paint I used on this project was a Benjamin Moore product called Impervo, Oil Based Alkyd Enamels. Very durable with light fast colors with a polyurethane binder, gloss finish. in a wide range of mixable colors.This paint is used commonly by exterior sign painters also sometimes applied to US Navy ships and industrial machinery.

The colors I choose range from black to white and cools to warms similar to an impressionist plein air painters palette from light to dark and warm to cool. Also I like using the primary colors or as close as I can get them since I can basically mix anything else freehand simulating the illusions of light with color. No pre mixed colors for me bro! Cheep Home depot Turpentine as thinner and big fat chip brushes. We go through allot of them.

Long flat Bristle brushes for the figures and some finish work but I stress to the apprentices and other artist working if I see you in any one spot noodling details too long your climbing high up on the scaffolding to clean brushes one at a time.

Fast and loose is how I paint catching the lights, shadows and right details with one stroke. Sargent and Sorolla baby! I used to render when I was younger, Don't seem to have the patience anymore. Too many walls and paintings I want to do,I guess.

Amazing site along the banks of the Hudson River about 60 miles north of New York City Is where the fun all happened.

We started with the faux stone work accomplished in a fast and amazingly easy technique.

A turpentine wash of what ever color you pick on you palette mixed with it complimentary color varying the degrees of warm and cool temperature is applied to an area a wide as you can reach from left to right from top to bottom letting the paint run down creating basically an abstraction of mess and drips. Just a bit of time for the turpentine to evaporate and just the pigment is left for you to work into making sure not to over brush it. Then cut in with a gray to white mortar lines varying you brush thickness. Think organic shapes working you negative space to create interesting stone and rock shapes. Lay in some deep cool shadows on the bottom of the stones as they appear and some high lights and variate some middle tones on top... play play play. keep it loose, and keep moving.

Wonderful Nancy Stonecypher muralist and faux finisher picked up the technique in no time flat Awesome!

Natalia Zadnovskia expressionist and theatre designer artist from Russia via Brooklyn, mastered the technique and could compete a 20 ft square section every day. Amazing to watch her.

At night we used a digital projector and lap top with our previously completed compositionally approved designs and projected the archway areas onto the wall, measured and scaled so as to not deviate from the overall schematic. One of my past students at School of Visual Arts In NYC whom is a colleague and amazing painter in his own right David Penna checks and lets us know all systems are go.

Then with a very thinned out turpentine tone we drew out the projected image onto the wall. No need to draw to much since were just trying to get accurate placement and defining where the large lights and shadows are located. Figures where drawn out by me since I was primarily responsible for their accuracy and needed to draw them out with just the right indications since everyone depicted in the Mural is from Newburgh and it was important that they would recognize themselves.

Young paid apprentice Artist Bryan Gugllielmi proved invaluable on this project and I could not have completed it without him.

He was my primary blocker in and lead me from left to right blocking in large masses of freehand mixed colors as I followed tightening and resolving

the form and accuracy. He's been painting from life in my studio since he was sixteen when his mother brought him by saying he was getting into trouble

at school and needed some direction. Bryan is now a muralist with Mural Arts in Philadelphia as well as working on his own paintings after completing his degree

a few years ago at the Pennsylvania Academy of Fine Arts.

We moved from left to right finishing one Archway design at a time. After a bit of a learning curve we caught our stride and were able to complete subsequent archways in about 3-4 weeks.

Here's the completed Archway #1 entitled, "Washington's Headquarters and some details to follow.

Here' s an interesting shot with Archway 2 complete with freight train rumbling overhead.

As the project gained steam and we were inundated with crowds that came to watch.

The project evolved into a performance art event on a daily basis. Bus loads of tourist and class trips arrived and I found out we were added to their route.

Here's Bryan and I getting a breather as we finish up the last Archway #5. The best part of this project was to works side by side with such young talented artists creating something that would mean so much to so many and change the dynamic of a the way people see themselves and their sense of place.

Towards the end our palettes were all signed and were kept a souvenirs by Trestle Inc.

Completed Archway #2

Completed Archway #3

Completed Archway #4

Completed Archway #5

Entire Mural (Site Image) measuring 22 ft high X 220 ft long

An Amazing and wonderful project that I had the privilege to create.

Even now almost 4 years later, tragically and sadly with a good portion of it deteriorated and lots of people looking to blame and point fingers, and although quite painful to see it in it present condition,

I still have positive feelings about and learned so much.

Specifically,

#1. Don't let anyone else do you prep work!!

#2. Be careful when some one says we'll do it for nothing, you'll most assuredly get what you pay for.

#3 Newburgh, although a great small city, still has far, far to go. When the powers that be realize that the poverty industry presently gripping it's citizens eventually have had enough!,....watch out. There are wonderful people there and oh so much potential.

Sorry this long post but it was three years of my life and if I still have you attention and you would like to see a 4-5 minute slide show of the entire project from start to finish click here.

Thanks for taking the time to enjoy!

2011-06-05T01:26:00.000-07:00

Millbrook, NY
Plein Air Paint Out & Auction
Yesterday The Barrett Art Center of Poughkeepsie, NY invited 50 or so local artists to their annual Millbrook Plain Air Paint out and Auction. A wonderful Fundraising event for many arts and cultural venues from coast to coast. Artists span out along the beautiful picturesque farm lands and village hamlet roads to paint all day, then slap a decent frame on their works and hang for public viewing and auction.
In brief....
The paintings were done under the most beautiful of weather conditions.

The wine was marvelous,

The hors d'oeuvres were awesome.

The music was melodic

The completed paintings were as always brought in by artists with spirit and creativity hanging there hopes and aspirations for all to see and have at it.

The Staff and volunteers of the Barrett Art Center were gracious and inviting.
The crowd was brisk and robust.
The Auctioneer was working his but off!
The bidding was lackluster and week..... Many, many bargains were had.

Good Day for all..... the Art business is alive and........... well, lets leave it at that.

2011-06-02T15:35:00.000-07:00

The Point

Winding down another season of Striper fishing on the Hudson River.

What I referring to is a little spot named "Plum Point State Park" along the banks of the Majestic Hudson River about 60 miles due north of New York City, where I was born and raised. Well,... that's another story.

Detail, "Anticipation" 2011 c.

Several years ago I was plein air painting along the River a couple of miles from my partially renovated 1790 stone house and art studio in progress, post and beam barn. I noticed a group of guys fishing and wondered, what could they possibly be catching but some pcb ladened old tires and sewage. When I approached and asked this group of men ranging from the very young to the very old, from all races and what seemed diverse economic backgrounds, they looked with amusement at the curious white man with paint box and wet canvas and said "Stripers buddy!"

That rang in my head since as a young boy my dad used to wake me up a 4 AM on the weekends during the summer and fall, throw me and his fishing equipment in his old pontiac station wagon and drive from our apartment in Manhattan to shore points from Sandy Hook, NJ to Montauk, LI. We would spend the better part of the day, him fishing and me trying not to let him know my
line was tangled... again.
As I grew older and my artistic pursuits became my life's passion, I would bring my paint box along and he would ask with a snarly tone, "are you gonna paint or fish?" and I would reply as any smart assed 16 year old would, "if you catch something,... I'll fish". What escaped me at the time was the simple human narrative, 1 person's attempt to escape life's daily entanglements in search for some small spiritual meaning of it all and the contemplative aspect of "fishing" which it's aptly called, instead of "catching".

As I would learn from these men at the "The Point" the Stripers would travel up the hudson to spawn every spring from early May till June and experienced and novice fishermen alike would ascend to catch the "big one. Which at times could get close to 50 lbs.

I've been warmly welcomed by this group of Fishermen and over the last three seasons and I can honestly say they have brought much wisdom and joy to my life.... and my art. I have met the most wonderful new friends. From computer executives to ex cons, retired IBM workers to correction officers, business owners and blue color workers, all are generous beyond words, sharing their honesty, heartfelt life stories as well as advise on the best fishing tackle, and how to tie an effective hook.

They leave their busy lives in the parking lot and walk down to the water shedding their stress adding true camaraderie and simplicity to their lives. I am honored to tell this human story through my work bringing vision to what I believe are the most relevant and profound stories about humanity and the environment in which we find ourselves. The bounty of the Hudson River with all its beauty and how it nurtures the soul from all who enjoy it now and have through the millennium. It twists and turns, remaining and offering through our contemplations, inevitably finding ourselves.

"Anticipation" Hudson River Striper Fisherman, oil on linen, 26" x 58", Garin Baker, 2011 c.

"The Point" oil on linen, 40" x 60", Garin Baker, 2010 c.

Photos from The Point, 2011