PAINTING WORKSHOP --LEARNING COLOR MAY 18-22

[M.R. Dakin & J.E.A. Lumley]

PAINTING WORKSHOP -- LEARNING COLOR May 18 - 22, 1998

THE LUMLEY WORKSHOP AT LILACLAND
24 Harkness Road, Amherst, MA 01002

After a long winter it’s wonderful to welcome spring. And now I write
you to let you know of my painting workshop May 18 - 22, at Lilacland.
The workshop is about color – capturing vibrant color in your
paintings. Color is as important in art as drawing. In a landscape we
not only distinguish a person or an object in a garden by its shape but
also by differences in color. In the past viewers and painters alike
have often accepted generalized or "local" statements of color. Today a
more discriminating audience insists on accurate color values. They
want to distinguish between a floral group painted outdoors and one
painted in the studio. In landscape they want to tell if it is morning
or afternoon, if it is sunny or gray or misty.
Some say "color sense" is an inherited gift; you either have it
or you don’t. The truth is that a good sense of color is not a
mysterious gift but something that can be learned. This workshop is
dedicated to teaching you the use of color. Through a series of
challenging studies you will capture different color relationships under
varied conditions of light: morning and afternoon, sunny and gray.
Whether your ultimate interest is landscape, still life or
portrait – in oil, pastel, or watercolor – this workshop will increase
your ability to discern a greater variety of colors – allowing you to
create paintings of unusual delicacy and power.
The method of instruction I learned, and eventually taught, at the Cape
School of Art under Henry Hensche, developed in each student a sense of
color unequaled in any other teaching program. This training addressed
a basic truth that light changes the way we see, that specific or
"local" colors change in different light.
At the school we learned to mix pigments to best represent
local colors as they were seen in a single condition of light and
atmosphere. Each painting was guided by the quality of light that
struck that scene.
Today, this teaching continues. On Monday, May 18, we will
begin a five-day workshop on capturing the true color of what we see.
These principles of color are explained in more detail in the following
brochure.
I hope you will be able to attend, If you are, I believe you
too will become one of the many artists who feel that this way of seeing
and painting color adds a distinct vibrancy to a work. Those who view
your work will be amazed at how spectacularly your color has improved.
If you combine this tool with your own intelligence and perseverance you
can truly become a great artist.
Our last workshop was a wonderful experience. This – our
eighth – again promises to be equally fruitful and rewarding.
I’m looking forward to working with you.

Cordially,

Jim Lumley

PS – If you saw my show at the Springfield Museum this past fall or my
talk and demonstration at the Springfield Art League in February, you
saw that I try to practice what I teach. But more important for you is
what you will learn in the workshop about color, and the thrill you will
receive as friends and galleries become impressed by your enhanced work.

(brochure follows)
PAINTING WORKSHOP -- LEARNING COLOR May 18 - 22, 1998

My workshop will help bring color to your paintings -- that is, I will
show you how to capture color under different conditions of natural
light. The principle is not difficult to learn and will allow you to
bring a vibrant sense of color to your choice of subject matter.
Beginning painters will learn basic techniques for seeing and painting
color, while experienced painters will enhance their color vision.
The principles are based on Impressionist color techniques
discovered by Claude Monet, furthered by Paul Cezanne and William
Merritt Chase, and taught by Charles Hawthorne and Henry Hensche.

We will emphasize the following:
* How the color of objects changes under different conditions of
light
* How the basic principle of judging color relationships in light
applies
to still life, landscape and portraiture
* Seeing and judging the relationship of one color in nature to
another
* Keeping shapes solid by defining the large areas made by the light

* Deciding on the harmony of any particular effect of light
* Using color to show roundness in objects and recession in
foreground and background
planes

The workshop is five days starting Monday morning, May 18, and finishing
Friday afternoon, May 22. Class times are 9 to 5 each weekday. A
lecture and demonstration begins the week, and the balance of the time
is spent in one-on-one instruction. Everyone works at their own pace;
guidance on work-in-progress is between instructor and student.
Demonstrations on landscape, portrait and still life are given
throughout the week with a formal demonstration Friday morning (your
family and guests are invited). I will have a very interesting slide
show at some point during the week; the slides include many works by
Henry Hensche and selected students.

DATE: May 18-22. One week starting Monday May 18 through Friday May 18.

PRICE: $200. Location: THE LUMLEY STUDIO at LILACLAND, 24 Harkness
Road,
Amherst, Massachusetts 01002. PLEASE REGISTER EARLY – Register and send
$50 deposit as soon as possible. Call (413)253-5082 for more
information. FAX number is (413)253-2182. References of previous
attendees upon request; also housing list of bed-and-breakfasts, guest
houses and motels.

PRINCIPLES OF WORKSHOP A basic truth about painting is that light
changes the way we see, especially how the 'local' or specific color of
an object changes when seen in different conditions of light. Only one
explicit color, then, can represent an object in a particular light. In
other words, painting is describing how the colors within a scene --
landscape, portrait, still life -- appear under a constant and
unchanging light. For example, we no longer paint a red vase or green
grass in shades of red or green but show how those
colors are changed by the particular light in which they are seen. When
seen under full sun the red vase may take on a decidedly orangy hue; on
an overcast, gray day, the grass may become an earthy purple.
Regardless, then, of the local color, the color we use to represent it
in a painting is controlled by the quality of light that strikes it.
Light, then, controls what pigment color we use. In painting we
must choose the colors that best express a scene as we see it in a
single condition of light and atmosphere. This way of painting a scene
in a single moment of light and atmosphere adds a distinctive vibrancy
to our work.
What you will learn is not a style, but a language for learning
the basics behind all good painting. It is a grammar to use to express
freshness and meaning of your own world in all its radiant colors.
_______________________________________________________________________
REGISTER NOW PAINTING WORKSHOP May 18 - 22, 1998

Please send your name, address, and telephone number with a deposit of
$50 toward the full tuition cost of $200. Deposit is refundable if
canceled within two weeks prior to workshop. Make checks payable to
James Lumley. Please try to register early. Information packet on
materials required including location map and housing list sent to you
after registration. Send check and registration information to: James
Lumley, 24 Harkness Rd., Amherst, Massachusetts (MA) 01002

QUOTES FROM PREVIOUS ATTENDEES: "I learned to capture the color I saw."
Beaufort, South Carolina. "This method keeps teaching with every new
painting." Massachusetts. "Jim Lumley showed me how to paint
out-of-doors without fear." Amherst. "I've discovered more about direct
painting that helps me work alone." Atlanta. "The excitement of
capturing the morning and afternoon effect of light has opened my eyes
to a new way of seeing." Atlanta. "What I learned strengthened the power
of my finished work." Beaufort, SC. "I've attended many workshops by
others and only in this one have I learned real painting." Springfield.
"I was ready to give up until challenged by this new way of seeing and
painting." Springfield.

JIM LUMLEY In addition to drawing and design courses at the University
of Massachusetts, Jim studied painting with Ellen Johnson, June
Stevenson, Cristin Couture, Rey Melici, David Farrell, Stephen Perkins
and Joanette and Cedric Egeli. His primary teacher for ten years was
Henry Hensche at the Cape School of Art. He is represented by galleries
and art consultants all along the east coast. His work is in many
private and corporate collections. He is currently writing a book on
painting technique.

INSTRUCTOR'S STATEMENT: My own work, as well as the principles I teach
in my workshop is inspired by the Impressionists, especially Claude
Monet’s studies of light and color. Monet showed us the beauty of an
early morning dawn, the warmth of an evening sunset, the somber
relationship of fields and woods on a stormy day. He shocked us into
seeing the variety of color in nature. We no longer admire a landscape
painted in a narrow range of color; we know colors are changed by the
light striking a scene.
I follows this tradition. As a painter I try to capture the
beauty of the natural world by using color to show how the light falls
on a scene at a specific time of day and under specific weather
conditions. Varying kinds of light, then, change the color of what I
see.
All my paintings are made from direct observation. Like Monet, I
feel the best representation of nature can be gained only by standing in
front of nature. Only under a condition of natural light can I truly
see the beauty of a scene.

*****************************************************

At the heart of this workshop is the idea that you're not
really painting objects, but the light falling on those objects. What
you will learn in this workshop is how to see and use color to paint
this effect of light. I will show you how color reveals the overall
character of the particular light -- full sunlight, light on a gray day,
northlight in a studio, among many conditions -- falling on your scene.
You will begin by judging the relationships of the large areas of color
as they come against each other. Through exercises you will refine your
ability to see and paint these differences.
The techniques of using color applies to any medium --
watercolor, acrylic, pastel or oil -- for the workshop we will use oil
paint as we can change color quickly. For any medium the workshop will
bring a new understanding of capturing the true colors of what you see.
This approach to painting benefits the beginner as well as the advanced
painter. Everyone will add to his or her understanding of how to use
color in a superior way.

LANDSCAPE -- STILL LIFE -- PORTRAIT

THE LUMLEY WORKSHOP
-- Lilacland --
24 Harkness Road
Amherst, MA 01002
(413)253-5082

PAINTING WORKSHOP: LANDSCAPE -- STILL LIFE -- PORTRAIT
Beginners & Advanced