Antonio Mancini

Antonio Mancini (Italian b. 1852, Academic Painter) was born in Rome, Italy in 1852. At twelve, he was accepted into the Institute of Fine Arts "Istituto di Belle Arti" in Naples, where he studied under historical painter Domenico Morelli. Morelli was widely know for his use of energetic brushwork and application of chiaroscuro
(chiaroscuro: the treatment of dramatic light and shadow in a painting or drawing, an effect of contrasted light and shadow on a subject with a single light source.) Antonio developed rapidly under Morelli, and would soon exhibit two paintings at the Paris Salon at the youthful age of eighteen. In 1873 Mancini graduate from the academy and soon rented a studio in Napels with his friend Vincenzo Gemito.

Most of Mancini's work revolved around paintings of dancers, musicians, circus and street performers, as well as homeless children. His portrait "Saltimbanco" illustrates a young street performer whose life had been spent entertaining crowds. His painting, "The Poor Schoolboy", exhibited in the Paris Salon of 1876, is in the Musee d'Orsay in Paris. It's realist subject matter and dark palette are typical of his early work. Paintings by Mancini can also be seen in various Italian museums such as Museo Civico-Galleria d'Arte Moderna in Turin and Galleria Nazionale d'Arte Moderna e Contemporanea in Rome.

His first trip to Paris was in 1877 where he was introduced to a number of the French Impressionists including Degas, Manet, as well as portrait painter John Singer Sargent. He later became close friends with Sargent, who called Mancini "the greatest living painter." Sargent became an avid supporter of Mancini's work and often spoke highly of him to gallery owners and collectors. Mancini had a wonderful sense of theatrics about his paintings and "After the duel" is a dramatic example of this sensibility.

Mancini was very much inspired by the Impressionists and thereafter loosened his own brush strokes. His paintings began to take on a brightened palette with a very bold impasto technique (impasto: a technique used in painting, where paint is laid on an area of the surface very thickly so that the brush or palette-knife strokes are visible. Paint can also be mixed right on the canvas.) The word "impasto" is Italian in origin; meaning "dough" or "mixture"; the verb "impastare" translates variously as "to knead", or "to paste". on canvas.

Mancini employed an unusual grid technique which can be still seen in his work today. This approach was a technique where in which the artist would apply a series of criss-crossing strings or wire to a frame or canvas stretcher. During a sitting, the artist employed 2 of these gridded frames. One frame would then be placed in front of the model while the other was placed directly in front of the artist's canvas thus providing an accurate visual context for deciphering proportions and compositions.
Many of Mancini's paintings display this technique and it is clear that these grids were placed directly on the canvas and then painted upon. Mancini would then remove the grid from
the painting and what
remained was a ghostly indication of these small square sections. Walter Richard Sickert, a mutual friend of both Sargent and Mancini, explained Mancini’s sometimes very unusual method in 1927:

"His paintings were done through a wire grille, whose squares correspond with a grille before the sitter. The marks of the grille remain. The sitter being, as it were, pinned down, retained of his mobility alone the facial expression. But, trembling and snorting within that restriction, there is an extraordinary vivacity, there is power and a dashing impasto."


This method can best be seen in his panting of "de Lafenis". Not only did he employ this unusual technique but he also employed such materials as shards of glass, and foil. This gave the paint more illumination; again, "de Lafenis" is a strong example.


In 1881, Mancini suffered a crippling mental illness. He settled in Rome in 1883 for twenty years and then later relocated to Frascati where he lived until 1918. During this period, Mancini was often very poor and relied upon the help of close friends and art buyers to survive. He struggled financially until a Dutch collector named Hendrik Willem Mesdag became his benefactor and signing him to a artistic contract. After World War I, his living situation improved and his work took on a new found sense of serenity. Antonio Mancini died in Rome in 1930.
The Philadelphia Art Museum currently owns fifteen oil paintings and three pastels by Antonio Mancini. The first American exhibition of Antonio Mancini's work was at the Philadelphia Museum of Art.

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Billy Seccombe
www.billyseccombe.om
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Bibliography Sources:

www.wikipedia.org
www.artcyclopedia.com
www.jssgallery.org
www.nytimes.com
www.philamuseum.org

DuCret School of Art Materials List

Below is the latest supply list I have put together for the portrait painting class I will be teaching at the DuCret School of Art for the Summer '09 schedule. I would encourage you to follow me at Twitter at http://twitter.com/wseccombe and become a follower. Thank you.

Billy Seccombe
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Ramon Casas I Carbo

Briefly, I'd like to mention Ramon Casas I Carbo. Four samples of his work are pictured above. Carbo was a 19th century figurative painter from Barcelona, Spain. Matthew Innis introduced me to his work and does a much better job at providing detailed information on his life as well as additional Carbo works. The link to his blog is listed above. Follow me on Twitter at http://twitter.com/wseccombe or subscribe to this blog by clicking the "follow" link in the right hand column. Thank you.

Billy Seccombe
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"John on Sunday"

This is the very latest portrait I painted as part of the Salmagundi Club's artist demonstration series on Sunday June 21st. "John on Sunday" as it is titled, was painted over a 3 hour time period. My very talented musician cousin John Gaenzler was the model. There were roughly 30 people in attendance for the presentation on Sunday.

As always, I would encourage you to follow me on Twitter at http://twitter.com/wseccombe and become a follower. Thank you.


Billy Seccombe
www.billyseccombe.om
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Download IPhone Wallpaper

Above are the current downloadable IPhone wallpaper designs created by 716 Fineart, a gallery is Racine,WI exhibiting my work www.716fineart.org. Drag an image to your desktop, or save the image to your desktop with a right click. You can use it as a wallpaper on your iPhone or iPod Touch. [NOTE: It also looks great on some other phones.] Follow me on Twitter at http://twitter.com/wseccombe.


Billy Seccombe
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Sharon Sprung Painting Demo

I want to include a great exceprt from a Sharon Sprung demo that I found on artistsnetwork.com. Here is the direct link: www.artistsnetwork.com/article/sprung/. I have pasted a portion of the article below as I have found this pretty useful.  Follow me on Twitter at http://twitter.com/wseccombe.

Billy Seccombe
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Sharon Sprung Paints a Portrait

February 20, 2008
by Louise B. Hafesh

Sharon Sprung, the cover artist for The Artist's Magazine's April 2008 issue, paints the figure from life but positions that figure in abstract fields. A double life is what Sprung admits to when it comes to her art. Her portraits are beautiful as fields of color sometimes heightened with ornament, yet they provoke the viewer into feeling each subject’s soul and guts. Sprung wrestles with the dichotomy between realism and abstraction.

“There’s a beautiful freedom in the mergence of the two that allows me to speak visually to more people,” she says over coffee in a cafe near her teaching gig at the Art Students League in New York City. “I’ve grown to dislike the hard edges and flat planes of the photorealist. I strive to give my paintings the life and energy of modern work, yet suggest the depth and craft inherited from the great tradition of realist painters.”

A gifted and generous teacher, whose classes at the Art Students League and the National Academy School typically have long waiting lists, Sprung gets high praise for her ingenious approach to the class demo, which involves her completing a portrait in sequence during a typical semester.

“Rather than cut into valuable student studio time, on the first day of a new course, I ask for a volunteer who will commit to pose during the regular model’s long breaks,” she explains. ”In that way, the class gets to see me develop a painting from start to finish—including tackling any challenges along the way.”

Nine-Image Painting Demonstration (shown below)
By Ruth Callaghan, student at the Art Students League
First day: Sprung toned the linen canvas (12x14) with a light, bluish tint. Then, working with a small filbert brush with black paint and a small amount of turpenoid, she sketched a center line and the general shapes. She focused on the planes and the structure of the skull.
Second day: She defined the drawing with more black, dividing shapes into smaller shapes and always comparing the drawing to the model.
Third day: She prepared her palette: Payne’s gray, titanium white, yellow ochre, raw sienna, ruby red, permanent bright red, alizarin crimson, cobalt blue, Prussian blue, vermilion, scarlet sienna, burnt sienna, raw umber, burnt umber. ivory black, brilliant yellow light, phthalo green and phthalo turquoise.
Fourth day: Sprung told her students, while she was working on this portrait, to “make each brushstroke mean something.” She also said, “It’s OK to make a lot of strokes because one is bound to be correct.” Sprung stressed the importance of refining the drawing; she then started the underpainting in blue.
Fifth day: Using a medium-large brush (No. 6 or 8) and loose arm movements, Sprung used a crisscross movement to cover the canvas in shapes of color. She used violet, black and yellow as she worked on the background. For the shirt, she used Prussian blue grayed with alizarin crimson and white.
Sprung painted what she called “patches or shapes” in both the light and the dark areas. For the hair, the darkest shape, she broke the mass into shapes of color, as well. She used pure color with a heavier stroke; it looked as if she were pushing the paint into the canvas. Her mixture for the hair was black and burnt umber.
Sprung told her students never to use ivory black by itself, as it tends to crack. Therefore always mix ivory black with another color. Sprung repeated, “Change colors when the planes (on the face or anywhere else) change.”
Sprung used the following for the flesh color: raw sienna, cobalt blue, burnt sienna and white. Working with large puddles of color, she made the warm areas warm by adding yellow; for the cooler areas, she added white.

Nelson Shanks Demo 10/6

The following series of photos were taken at a recent Nelson Shanks demo at the Art Students League of NY which I attended on 10/6 as part of my studies with Shanks. The picture quality isn't great but they should be sufficient enough to outline the steps taken.


Billy Seccombe
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The first image includes Nelson's palette. On a previous entry to my blog I had outlined the colors and particular brands of paint used so I won't get into that now. You will notice that the only two mediums used here were Turpentine and Stand Oil. The Stand Oil was cut with Turpentine which appear in two small tins to the right.
Secondly, he began on a medium gray toned canvas where he sketched out large forms much in the way that a sculptor would approach a block of marble. He looked for large geometric forms and an inner harmony among all the shapes in the composition. Many of the strokes continued beyond the figure which he then used to draw relationships to all of the parts as a whole. This is the main approach to Shank's teaching and he continually reinforces this principle throughout the class. This concept is also taught by Dan Thompson at the New York Academy of Art.
After the initial search lines were established he began to break down the figure into highlight and shadow forms not to get caught up in small details.
At this point, highlights were filled in with a warm yellow-orange flesh tone. There is no pre-mixing of flesh tones but rather mixing as he needs it to give more of an immediate impression upon the colors observed.
As the painting developed he continued to add various mid tones and other colors such as pinks into the nose and lip areas and followed that with the addition of the shadow colors in the hair and along the neck. His shadows were achieved by scumbling purple into the brown underpainting. Shanks is constantly moving his arm in rather large gestural motions as he sculpts out the form. This lends itself well to capturing a sense of energy and movement in his work. He is always stands at an arms length distance from the canvas even when painting the smallest of details.

At this stage we took a short intermission and we had a chance to take an up-close look at what would be considered a half-way point.


Shanks continued to refine the values and colors established in the first session of painting.

The final image took roughly 2 hours from beginning to end. His portraits have a rather rich quality to them. His paintings tend to be very saturated and small areas may consist of a variety of colors. I would also mention that at the final stage he uses a large 4" brush and gentle glides the bristles across the surface in different directions to smooth out some of the planes. This gives the whole painting a very softened and unified feeling.

-William Seccombe
www.williamseccombe.com

PBS's David Dunlop on Monet's Water Lilies

I have been recently watching a show on PBS's Create TV which features a plein air landscape painter by the name of David Dunlop. The most recent episode took place at the setting of Monet's gardens in France. Dunlop spoke to a few ideas which as a painter you hear quite often but really may not fully embrace until you see a great example. He referred to Monet's Water Lilies when he said that "the vocabulary of brush strokes makes a painting more interesting." Quite often it seems to me that the only approach to achieving a level of success in a painting has been through the tireless rendering of a subject and it is in Monet that we find a confidence to paint with an implied gestural looseness. He went on to talk about soft, blurred edges and how as a viewer, the mind wants to complete the image. In this way, the painting takes on a more interactive quality instead of a dictated form of hyper realism. Essentially, the softer edges create greater volume and harder edges conversely, less volume. And finally, in speaking about Impressionism, I think it is only fitting that I end with a paraphrased quote from Corot to Monet "Trust Your First Impression." In other words, that in the initially moments of a painting does the artist truely capture the energy, feeling, and gesture of a subject and it is these first impressions which we as artists should strive to maintain trhoughout the painting process.


Billy Seccombe
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The Blue Monster

In perusing the internet on websites that discuss artist marketing I came across this beauty from a blog by Clint Watson. The blog was rather useful and spoke about the concept of marketing more than a step-by-step approach. I thought he ended his article beautifully by saying:

"Successful artists want to change the world. They are Outside Zebras that avoid the Herd, they live on the edge, they make purple cows that become Blue Monsters via smart conversations with their clan."

-Clint Watson
The idea is a loaded statement and you'll have to read the article to deconstruct it but the gist of what he is saying is moving. http://clintwatson.net/blog/7604.   Essentially, if I were to spend a minute or two to dissect the meaning of this quote I would say that successful artists want to change the world, to be influential in a manner that challenges conventional thought, to make the world a better place through his/her art.  They are different in their own way as to suggest individuality but do not break to far from convention so as to preserve the sanctity of the group, the movement, or a school of thought.  They are ground breaking in their approach or their look.  Their work is not convention in that they do the unexpected.  This is key.  You must provide a unique product so as to differentiate yourself…..you must have a look.    These artists thus become a force unto themselves via the circles of artists and discourses that they travel among.


Billy Seccombe
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6 Ideas for Better Painting Compositions

This blog posting from M. Stephen Doherty ( Editor-in-Chief of American Artist) is magnificent.  It speaks to stronger compositions.


Billy Seccombe
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6 Ideas for Better Painting Compositions
Over the past 25 years, I've heard my friend Jack Beal address art students on the critical importance of pictorial composition—the ways in which artists can develop their paintings to create a convincing illusion of space and to direct viewers' attention toward the elements of primary or secondary importance. Some of his advice is commonly offered by other art teachers, but many of his recommendations are not generally understood or consistently applied. Here is some of the advice Beal and other knowledgeable teachers offer their students.

1. Avoid putting the center of interest in the middle of the painting. It's very hard to engage viewers in a complete painting if they are focused on what's happening in the middle, or the "dead center," as it is appropriately called. It's better to move the horizon line up or down in a landscape, to make the focal point into one of the four quadrants of the rectangle, or to use one of the time-tested principles such as the golden mean to determine the best placement of the center of interest.
   
2. Use a diagonal shape to bring the viewer into the painting from the bottom. Think of the bottom edge of a painting as a ledge the viewers have to cross to enter the space. If you show them where they can easily step over that ledge, they are more apt to feel invited into the picture. The diagonal can be established by a large, dark clump of bushes in the foreground; a road or pathway to walk along; a knife lying on the edge of a table pointed to the rest of a still life arrangement; or a shaft of light coming from over the viewer's shoulder into the space.
   
   Once you have persuaded the viewers to enter the painting, it is helpful to lead them through the space and out again. Don't take them down a road that ends in the middle of the painting or suggest they follow a piece of cloth that disappears behind a box within your still life arrangement. Use a well-defined diagonal shape to lead viewers out of the painting.
   
3. Recognize that fences, roads, railroad tracks, and other pathways are like arrows pointing viewers' eyes in a specific direction. Make sure that if you point them toward one area of the painting you don't leave them there.
   
4. Don't shy away from leaving some areas of the painting open and airy. Many people who work from photographs fail to adjust for the fact that the camera has a limited depth of field and will only document what happens within a narrow space. When they paint from those photographs, they wind up filling their paintings with all the leaves and flowers shown in their close-up shots or with just the foreground elements of a landscape. Since everything in the background of their photographs is a blur, they don't know how to develop those sections of their paintings. That's why it helps to take a lot of photographs of a potential painting subject—details, overall shots, various exposure settings, etc.—so that you have enough information to paint a complete view of the subject.
   
5. Consider repeating colors, shapes, and patterns to help create interest throughout the painting. This is one of the "rules" of composition that often gets repeated, and it certainly has merit. If you only have one red object in your still life, it will overwhelm the rest of the picture. If you only have one orange shape in your landscape, it will likely become the focal point of the image. The best thing to do is to repeat colors, shapes, and patterns. You don't need the exact same mixture of red or the same textural pattern. Just make sure to maintain some level of repetition and variety.
   
6. Try to look at the paintings objectively: Turn your paintings upside down or look at them in a mirror. Put them away for a few days. We all become so completely engaged in our drawings and paintings that we can't judge them objectively. It helps to turn the image upside down, put it away for a while, or look at it in a mirror so you begin to see it differently and can therefore recognize how to improve it.

M. Stephen Doherty
Editor-in-Chief

Salmagundi Demo

I will be holding a portrait painting demonstration at the Salmagundi Club on Sunday June 21st from 1-3 pm.  There will also be a $20/ person brunch prior to the presentation.  Please visit www.salmagundi.org or register by calling (212)-255-7740.

Billy Seccombe
www.billyseccombe.om
https://twitter.com/wseccombe

Delia Brown

I came across this painting in an article of "W" Magazine and it was a feature on figurative painter Delia Brown. I must say that I enjoy her semi-erotic paintings paired with an academic realism. These figurative subjects are often complimented by patterning and sometimes various prop-like elements. However, I must say Delia is a bit edgier than my work. She is certainly someone that I am looking and will continue to look to for inspiration.


Billy Seccombe
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What to do with all that unused wet paint on your palette?

A quick note to those of you wondering what to do with all of your unused paint on your palette after a day of painting. You may be wondering what to do to avoid that unwanted skin which begins to form on your globs of paint after being left out overnight. I have tried everything from adding extra drops of linseed oil to covering it with a damp towel. Both approaches do little to actually preserve the paint's integrity. Instead, try getting yourself a small plastic or rubber container such as a Tupperware bin or a plastic chinese take-out container which is more my speed.

You can scrape off any good remaining paint at the end of your painting session and with your palette knife place it into your container. Place the container in your freezer and your paint should last a good length of time and sometimes upwards of a couple of weeks however I wouldn't wait that long to revive it. You can also simple place your palette (if it is smaller enough) in your freezer as well. Happy painting.


Billy Seccombe
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Phillip Pearlstein

Recently, I was compared to the great Phillip Pearlstein by my friend Tim Coolbaugh. I had the chance to see some of his work before I ever knew who he was and I must say that the work was impressive. I especially liked the the random props which he incorporated in his work to provide strong compositional elements such as wrought iron, inflatable chairs, and neon lights. I was not overly impressed by his painting technique but the over all presentation of his work was certainly effective. Additionally, it's interesting to know that Phillip Pearlstein was a close friend of the late Andy Warhol and had travelled with Andy from Pennsylvania in the 1950's to become an artist in New York. Taking all of these things into account I will greatfully accept that comparison. Thank you Tim.


Billy Seccombe
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Figure Drawing by Time Dose

Above is a figure drawing from my good friend Tim Dose which he did while studying in Russia last year. He stresses that I must include the hand of his teacher in this entry but I can assure you that 99% of it is Tim's hand alone. To make him happy as he is a humble guy I will put his instructor's name (Vladimir Mogilevtsev) in here as well. Onto the work. I find this piece to be an excellent example of just how to approach the figure both in drawing and painting alike. As a good drawing is intrical to a successful painting it is easy to imagine how this study might appear as a finish. At first blush the piece seems to take on a highly polished approach with an almost saccharine-like sensibility to detail in the upper portion of the figure however at further examination it's clear to see that this feeling is attained simply through accurate observation and solid academic draftsmanship. In sculpting terms, his marks take on a refinement of small and accurate chiseling developed from larger forms. The study really starts to become interesting in his decision to leave certain parts of the piece unfinished. It is here where you begin to observe the carved and sculpture aspects to the work and discover it's true strengths. It is this dichotomy of a highly rendered torso to a nearly unfinished and suggestive lower-body which simotaneous directs the viewer as to where to look but also indicates a stage, a process, with an underlying structure, and Dose offers us a glimpse into these thoughts in his development of a strong academic drawing. I'd encourage you to visit my friend Tim's website www.timdose.com as it offers a great source of both solid draftsmanship and portraiture alike.


Billy Seccombe
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Plein Air Painting

This series of pictures was from a plein air painting trip that my good friend Tim Dose and I took over the weekend of April 25th. We found a great Monet-like garden near my house in Metuchen, NJ. The paintings took about 3 hours.


Billy Seccombe
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Salmagundi Club Spring Art Auction '09

I recently had the privilege of participating in the Salmagundi Club's Annual Spring Art Auction held over the past three weekends in March. I had two pieces in the show (one drawing pictured above) Westcott Street Model. While both pieces sold, the club was not immune to the current economic conditions that we are all facing. Artists could donate up to three pieces for the auction and 50 percent of the proceeds raised were given to the club. Sales were down for the event while bidders held onto their money and attendance was moderate.

Most artwork sold in the range of only a few hundred dollars which was a noticeable decrease of nearly 50 percent compared to the past few years. Although sales slumped it was still a great opportunity to meet art buyers and artists alike while drinking some good wine. One goal of the club as of late is to find ways of encouraging growth and new membership. Being a newly elected member of the Salmagundi Club's public relations committee we will be agressively persuing new members and moreover participation in the upcoming months through updating email listings, contacting various artistic organizations, and seeking cross-promotional opportunities.


Billy Seccombe
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Developing a Series

The letter below was forwarded to me by my former high school art teacher Kay Polito who is a talented naturalist painter.  Her work focuses primarily on nature and animals.   It stresses the importance of developing a series or body of work that focuses upon a specific goal. The lesson learned is invaluable.


Billy Seccombe
www.billyseccombe.om
https://twitter.com/wseccombe



May 16, 2006

Dear Kay,

Monty Python alumnus Terry Gilliam was recently bemoaning the
current sad state of British film comedy: "The worst thing that
can happen to anyone in the movie business," he says, "is
success. It takes away the desire to strive. At the same time
it makes one prone to repetition--which is the death of
creativity."

In my modest practice as art mentor (I do it for free), I
frequently get letters that say, "Please take a look at my work
and tell me in which direction I should go--and, by the way,
how do I get into galleries?" I often find myself replying,
"You need more consistency. Your work is all over the place.
You need to develop one style or another and go in that
direction." In other words, I'm advising, "Repeat yourself."

In the painting game, repetition is one of the disciplines
needed for self-realization. Variations on a theme, however
subtle, lead to development and refinement. I'm a believer in
the concept of "set." Making a set or series of any subject or
idea is the way to further invent and codify style. The
unification of set can be managed by subject matter--for
example, all you ever wanted to know about peonies, or pumas,
or Pontiacs. As well, format, size, medium, colour and time
development are just a few of the other set-makers that invite
creative repetition. The benefit of set is to draw an artist
along on a purposeful voyage of discovery. Often, when I look
at an artist's collection of works, particularly in early
career, it reminds me of a flotilla of unique rental boats tied
up at a pier. Any one of these boats could be rowed off in any
number of felicitous directions.

Fine art is not like the movie business, where huge amounts of
capital and a variety of skills are needed to keep pace with
accepted norms and financial risk. Fine art is generally a low
investment, individualist industry, where private sweat pays
dividends to a self-directed, exploring soul. This takes place
with a combination of courage, stick-to-it-ive-ness and
character. Not everyone can pull it off. These days there are a
lot of distractions. There may also be too much information out
there. The current rage for diversity and the perceived need
for exploring new materials have spread the virus of
dilettantism. Jack of all trades--master of none.

Best regards,

Robert

Understanding Values in Skin Tones and Painting Facial Features - Sharon Sprung DVD

Recently I purchased the instructional DVD by Sharon Sprung, "Understanding Values in Skin Tones & Painting Facial Features." The material Sprung goes over is very informative and rather helpful. She speaks about color mixing and her palette which is an arrangement of Vasari Paints. She also speaks to her brush selections and value relationships in building up the form. The video is about 2 hours long and broken up into sections. I have found it very informative and useful in helping me with my painting approach.

-William Seccombe