Workshop: August 24 – 27, 2017 fee: $795 CAN
Born in Melbourne in 1956 of Dutch parents, Herman Pekel was 17 when he held his first solo exhibition in Melbourne: it was a sell-out success.
Herman spent three years studying and painting in Amsterdam and London, where he encountered the works of Constable, Turner and Rembrandt. These impressed him and influenced his own work.
Like many artists, Herman Pekel experimented for a time with abstract expressionism, but he is now well known for his oils and watercolours Herman is an artist of energy and enthusiasm. He is able to see a painting in almost any subject matter and is capable of producing award-winning work in oil, watercolour or gouache. Environmental issues are a great concern to Herman and his love of the landscape reflects that in almost everything he paints. He produces paintings of strong design and powerful impact – every brush-stroke vibrant and visible. The scope of Herman’s work has ranged from dynamic industrial scenery to soft, draped interiors and broad Australian landscapes, indicating the creative fearless nature of this unique artist.
This is an informative and hands-on workshop designed for artists with some experience, based on the solid fundamental approach championed by the impressionists and realists. The first lesson in painting is, don’t ever start a painting until you know why you are doing it. Next is how you are going to do it. Think things through and you will backtrack and correct less often. There is much to be said about spontaneity as long as you plan for it! Before you start a painting, stop and look at your subject and decide some key issues. Ask yourself questions and study your answers. Most of the answers we understand, we just don’t know the proper questions.Where is my hardest edge? Where is my softest edge? Where is my lightest light? Where is my darkest dark? The answers to these questions will help you to organize your work into something that may not be so overwhelming right from the beginning. Once you have a few of these anchor points, you will no longer feel lost and can start to work with some confidence.
You no longer feel that your subject has been lost, and feel that you can begin with a clear path in mind. All work should begin with some sort of plan. Instructional methods are based on direct observation and the techniques to interpret those observations in paint, and will include instructions on procedures and materials. Personal critiques will be given.