Michael Ome UnTiedt-THE COLORS OF NIGHT, Painting Nocturnes

https://michaeluntiedt.weebly.com/

I first developed interest in nocturnes in 2003 after viewing a touring exhibit of Frederick Remington’s nocturne paintings titled “Color of Night”. I was spellbound by this exhibit and returned time and time again to stand in front of the paintings for hours. On a number of occasions I was asked to leave the exhibit, as being hypnotized by the mysterious nature of the work, I would stand closer and closer to the paintings, trying to understand the palette and brushwork used to affect such marvelous work, so that I would set off “alarms” that security assured me was present to physically protect the artwork.

After exposure to this life altering exhibit, I began studying nocturne painting as exemplified by the western painters Frederick Remington and Frank Tenney Johnson, and the American pre impressionist James McNeil Whistler. I spent hours either directly in front of their paintings, or studying examples of this work in published form. I repeatedly experimented with color choices and palette in attempts to replicate the values and colors they used to create their nocturne work. Through trial and error I eventually developed an understanding of how best to convey my visions of nocturne paintings. For the past fifteen years I have done so, striving for a mastery of the mysteries of nocturne painting.

In my painting workshop, “The Colors of Night” I hope to convey these understandings to other artists interested in developing their visions of nocturne painting. I will rely upon lecture/demonstration about the chroma and values of nocturne painting, as well as other elements of good painting as exemplified by attendees work. I will further demonstrate how to use daytime references and how to convert them into night time subjects.

SCHEDULE

WE will begin at 9:00 AM on DAY 1. Here is a rough schedule for the day:

9:00 - 9:30 am.................Introductions

10:00-12:00 am................I will demonstrate nocturne painting, discussing lighting and color palette choices.

12:00 - 1:00 pm................Lunch.

1:00 - 4:00 pm................. Sketching references on location. You will draw or paint on location work to be used in the studio space on following days to create a more finished work. we will be working on understanding what makes a good daytime reference to be reinterpreted as a nocturne. I will work with you all individually in making these outdoor-reference "notes".

DAY 2

9:00 - 12:00 am.............. I will demonstrate how I reinterpret my daytime ference into a noghtime or nocturne painting. Discuss referencing work and what we look for in a daytime refernce that makes a good nocturne reference.

12:00 - 1:00 pm................Lunch.

1:00 - 4:00 pm.................complete outdoor referencing, refining references for a good nocturne painting. I will work with you all individually in making these outdoor-reference "notes".

DAY 3

9:00 - 12:00 am..............Individual work on painting a studio nocturne piece using daytime references. II will demonstrate if and when necessary, focusing on problem solving. Individual instruction.

12:00 - 1:00 pm................Lunch.

1:00 - 4:00 pm.................Individual work on painting a studio nocturne piece using daytime references. I will demonstrate if and when necessary, focusing on problem solving. Individual instruction.

DAY 4

9:00 - 12:00 am..............Individual work on painting a studio nocturne piece using daytime references. I will demonstrate if and when necessary, focusing on problem solving. Individual instruction.

12:00 - 1:00 pm................Lunch.

1:00 - 2:30 pm.................Individual work on painting a studio nocturne piece using daytime references. I will demonstrate if and when necessary, focusing on problem solving. Individual instruction.

2:30 - 4:00 pm.................Group critique of workshop paintings

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