Classical Still Life

Still Life

2018

Oil on Masonite

24 x 18 in

I've just completed a still life commission for a local interior design firm. It was such a great experience working with them. They gave me this beautiful frame to fill in, even before I started the painting. I felt a little pressure in making the painting as good looking as the frame is. As soon as I got the panel cut to size, I finished the painting with the frame attached to it. This was normal for 19-century painters to do, they could see how the finished painting would appear within the frame. I can say it helped a lot when determining if I was done or not. 

I hope everyone enjoyed this one, thank you for stopping by!

Master Copy

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Master Copy From Anthony Van Dyck

11 x 14 in

Oil on Canvas Panel

I've been experimenting with the Flemish technique, again. I am fascinated by the way Peter Paul Rubens and Anthony Van Dyck painted. There are many more other painters I look up to from the past but these two are on the top of my list. My past posts I was dabbling here and there with this technique (click here to view the one I am referring to) , I thought I made some advances but fell short once I started applying it to other paintings. These shortcomings I find very educational as they are not failures, I see them as learning of what not to do for the next painting. The two paintings I am referring to is "The Gypsy Life" and "Eve"  These two paintings were not up to my expectations. I don't dislike the paintings but to the level I want them to be, as of yet they're not there. I learned a lot from them and that is very important to point out. Since completing them I have ventured to different paintings and especially a different direction with my body of work. The new direction of work I am doing now I am wanting to mix with the Flemish technique. That being said I had to go back to the drawing board and figure this technique out. I am not saying I solved it and now I am a master at it, but I do think I am one step closer in understanding it.

Thanks for stopping by and always for your continuous support!

Another Portrait Painting on Ebay

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After Ribera

2017

Oil on Canvas Board

10 x 8 inches

Painting on Ebay

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Portrait of Marten Pepijn after Anthony Van Dyke

2017 

Oil on Masonite

12 x 9 in

I just posted this painting on Ebay which I forgot to do last time I posted.

Also...I have a workshop coming up from April 7 - 9 go to www.jonathanaller.com for more information and to sign up.

Thanks!

Portrait Painting Workshop

Hi everyone, I'm very excited to announce my first ever workshop! This workshop is solely dedicated to teaching the techniques of the masters in portrait painting. 

This will be held in Minneapolis, Minnesota from April 7, 8, and 9, 2017.

 If you are interested in attending and want more information please click here: 

http://jonathanaller.com/jonallerpaintings/Workshop.html

Cheers!

Portrait of Marten Pepijn after Anthony Van Dyke

"Portrait of Marten Pepijn after Anthony Van Dyke"

2017

Oil on Masonite 

12 x 9 inches

As you guys might know I am huge fan of Anthony Van Dyke, this painting is after one of his masterpieces. The difference with this painting from the past ones is the surface and preparation. I was able to get two large sheets of Masonite board ($4.00 each sheet) cut to size at Home Depot for free. I have about 40 panels ranging from 8 x 10 to 9 x 12 inches, this is considerably a cheaper route especially knowing I only spent $9.50 after taxes for all those panels. I gessoed and sanded each panel to the level of smoothness I want. It does take a little time to get it set up right but well worth it.  After the gesso has dried I rub raw umber with mineral spirits all around the panel until there is a even medium tone. Once the raw umber as dried I start painting with thin paints progressively getting thicker with each stage. Painting on such a smooth surface compared to the cotton canvases I am used to was an adjustment. I got a lot out of this painting, and excited to continue painting on these panels moving forward.

Process Pics:

 

Thank you for stopping by!

Fuyu Persimmons

Click here to purchase

"Fuyu Persimmons"

2016

Oil on Canvas Panel

8 x 10 inches

It was neat being back at the grocery store and searching what to paint rather than what to eat, I can't remember the last time I did that. I noticed the practice of putting together the whole picture from beginning to end was something I really missed. Finding the subject, then composing it (which can take a while), then either painting from life or taking a picture, document the process while painting it, and last but not least finish the painting in one session. Daily or Alla Prima painting is great practice no matter what style your painting in. I have and will always recommend everyone to at least try it, its the best way to practice and hone your skills as a painter.

Here is a step by step process:

Thank you for stopping by!

Absence

"Master Copy From Anthony Van Dyck"

2016

Oil on Canvas Panel

11 x 14 inches

I have to start out this post by apologizing, I have neglected blogging for so long. There has been to much time between my last post and now.  So much has happened between now and then, not sure where to start?  I am currently enrolled at MCAD pursuing my MFA in painting/drawing. Going back to school has been challenging after being away for so long. Challenging in a good way, my colleagues and professors push me to get better every day. I am constantly around so many artist who all have different practices and not one is alike, this diversity brings fresh perspectives. I started in late August and can not believe the first semester is almost complete. The duration of the MFA program is two years, excited to see how this experience will influence my work during this journey. 

Since I have given you snippet of what I've been doing I also want to mention that I will attempt to get back into doing daily paintings. I do not expect to produce one every day but attempt to one or two minimum per week. I wanted to get back into having my paintings accessible through ebay as well, which is why I am selling this painting. 

Thank you for taking the time to read my ramblings and hope you enjoyed the painting.

Ivan Kramskoi Study

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"Ivan Kramskoi Study"

10 x 8 in

Oil on Canvas Panel

I posted this one a couple years ago and completely forgot I had it. I found it in the closet and decided to part ways with it. If interested in buying this painting click here to bid on it.

Cheers!

Peonies

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Click here to bid

"Peonies"

8 x 10 in

Oil on Canvas Panel

I have posted this painting before but have not offered it for sale. If you are interested bid on it through my ebay page.

Cheers!

Single Peony

"Single Peony"

10 x 8 in

Oil on Canvas Panel

Bouquet Peonies

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"Bouquet Peonies"

8 x 10 in

Oil on Canvas Panel

"Torso"

"Torso"

8 x 10 in

Oil on Canvas Panel

I copied this torso from a Roberto Ferri painting, It is a snippet from one of his magnificent paintings.  With this painting I experimented with the flemish technique. I was inspired after going to the M.I.A. and seeing the Hapsburg exhibition. It was a beautiful exposition showcasing their collection of paintings, sculptures, and jewels. In the exhibition they had Rubens, Caravaggio, Titian, Velázquez and many more painters I can't remember.

I would recommend anyone that is in the twin cities to go see this exhibition. 

Cheers!

Fuchsia Peonies

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"Fuchsia Peonies"

8 x 10 in

Oil on Canvas Panel

I am well aware Peonies are out of season, These peonies I bought for my wife a while ago and loved how they looked. I took a picture and always said "I will paint that one day" well that day finally came.  The texture and movement within these flowers are spectacular, I tried so hard to portray that in my painting. Fuchsia Peonies are always fun to paint due to the purples, blues and reds that are hidden within each pedal. The movement from one petal to the other has a beautiful gestural quality to it. It is a challenging flower to paint but always rewarding in the end.

Thanks for stopping by, cheers!

Leaning Gourd

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"Leaning Gourd"

8 x 10 in

Oil on Canvas Panel

Since the holidays is around the corner I wanted to paint a festive theme. Some people might argue pumpkin is not very festive for this time of year, which is a valid point but I think the colors are fitting.  I want to thank everyone who stops by my blog and takes the time to look at my work. Thank you for doing so. I enjoy sharing my process and thoughts on painting. I know the journey of learning this difficult medium can be long and stressful, if I can share my knowledge to help some people with their journey then I feel I have accomplished something. I am so grateful for the artist I reached out to when I started out on my journey for helping me. I wanted to create a blog where I can do the same and share my knowledge as best as I can. We are all on the same boat trying to decipher this complex language of painting.  Thank you everyone and Happy Holidays!

I started with a thin application of raw umber for the drawing stage. Once the drawing is complete I paint the background and wooden board. I keep colors general in this stage and really thin. 

I start painting in darker value forms to the wooden board. Once that is complete I paint in lighter value forms.

Once the wooden board is complete I start painting in the pumpkin. I first lay in a thin application of the general values, somewhat a big form modeling stage. I go back and forth with the brush without lifting it, I keep the pressure pretty light to control the values. Once that stage is working well I move onto the smaller middle to darker value forms. I apply the paints a little thicker to cover the thinner application but being careful of not getting to thick. I am also conscious on the pressure I am applying to the brush. At this stage I start dabbing the brush for the areas that need finer rendering and when the edges need to get softer I go back and forth with the brush with a very light touch. I like to go back and forth with dabbing and keeping the brush on the canvas. Usually in the later stages I tend to lightly render the areas by dabbing on the brush and then going back and forth with out lifting the brush. This approach allows me to control the values and the level of rendering, it also gives me options with the type of textures I am trying to get. 

I then paint in the middle to lighter forms in the pumpkin. I apply the same rendering approach as mentioned above. Once the pumpkin is complete I start painting the gourd. I first paint the big form modeling by painting in the general values wrapping around the form. At this stage I am not worried about the smaller forms or "details". I am just worried how the value and chroma wraps around the form. 

Once the big form modeling is working well I then paint the smaller middle to darker values forms. I then do the same with the smaller middle to lighter value forms. 

I hope everyone has a wonderful holiday! Cheers!

Green Heirloom Tomato

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"Green Heirloom Tomato"

5 x 7 in

Oil on Canvas Panel

I have not painted these little gems in a while. The color of this heirloom caught my eye right away. They have such intense pure colors. What I enjoy most is the subtle values between the colors from one area to the other, painting that is challenging and rewarding once it's achieved. Painting light wrapping around this form is challenging but very educational to try. After painting this tomato my wife added it to our dinner which was as delicious as it looked. 

I started with the drawing stage by just using a bit of raw umber on the brush. Thinking of it as one would draw with a pencil. The pressure you apply to the brush it effects the value and intensity your marking will be. Once the drawing stage is complete I add local colors to the whole painting. This allows me to see how the painting will look in the completed stage with the colors I am thinking of. The next stage I then start to fill in the middle to darker values to all the objects in the painting, from the wooden board to the heirloom tomato. Then I add the lighter value forms to tie everything together. With this technique, especially being in alla prima, one has to has to be careful with the amount of paint being applied from the initial stages. Remember fat over lean, you want to start thin and get progressively thicker towards the finishing. I am also conscious of how many pressure I apply to the brush, as stated before I think of it as drawing with a pen or pencil. The lighter the pressure the lighter the value will be, the harder the value the darker the value will be. This also allows you to control smoother transitions. 

Thank you for stopping by and viewing. Cheers!

Portrait Sketch

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"Edward"

8 x 10 in

Oil on Canvas Panel

I painted this portrait at my Thursday evening figure drawing class. The portrait was completed in 4 hours. I love teaching and when I am able to draw/paint next to my students it's just a dream come true. I remember being in class at Ringling College of Art and Design and my favorite figure drawing teacher, Fiore Custode, used to teach us and draw next to us. Really enjoy when I am able to do the same. 

I am teaching at the Bloomington Art Center on Thursday evenings from 6:30 - 9:00 p.m. If anyone is interested click here to get more information.

Cheers!

Still LIfe Paintings on my Etsy Store

Click here to purchase this painting at my Etsy store

"Cheese Board"

16 x 20 in

Oil on Canvas

Click here to purchase this painting at my Etsy store

"Evening Tea"

14 x 18 in

Oil on Linen

I have created a section to sell my still life paintings at my Etsy store. The prices are a little different than my alla prima paintings, of course these take more time to complete with many levels of paint. 

Enjoy!

"Kat" Figure Study

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"Kat"

8 x 10 in

Oil on Canvas Panel

I have not painted from the figure in a while, so when the opportunity came up, I jumped on it. I have been doing most paintings from imagination lately.  It was nice to have a break from that, and paint from the figure. This painting was completed in 3 hours in a smaller size than my usual figure paintings. I enjoyed painting this figure in a smaller size since it allows you see the values as a whole. First, I drew the figure with a dry brush articulating each shape as simple as I can. Then I applied a middle base color for the shadows and the lights.  I attempted to paint in the middle tones and not get too light or too dark.  This allowed me to go in either direction when adding smaller and subtle forms without getting too muddy. Instead of starting with the darks after laying the middle values, I painted smaller forms into the lights. This allowed me to shape the form and address textures along the figure. I did the same with the shadows once the lights were complete. What I enjoyed most about this piece was playing with different skin textures on such a small scale. 

Thank you for stopping by, cheers!

"Cheese Board"

Click here to purchase this painting at my Etsy store

"Cheese Board"

16 x 20 in

Oil on Canvas 

This is a new still life painting I made for an Art Fair I participated a couple weeks ago. I will post more pictures soon of the whole event and the other paintings I showed there. It was nice painting a still life again in the classical method. Setting up the objects and painting them fast enough before they start rotting was a challenge. 

The setup.

Process pics of the grapes and cheese near completion.

The bread also near completion. 

Once the foreground was complete I filled in the background and brought the whole painting together. I was able to soften edges and make objects recede. I was using Ivory Black and knew that it's a slow drier, which is the reason I saved it till the last stage. Once the black was painted in, I then went back to the foreground and keyed up certain values and hues.

Once the painting was complete I was able to enjoy the still life by drinking some good wine with grapes, bread and cheese. Thank you for stopping by and viewing!