I invite you to embark on an ongoing photographic odyssey - one of exotic locales, colorful characters, strange customs and untold adventures. Not to be overshadowed, New York City, a microcosm of the world, pulsates with art, fashion and culture, with surprises and contradictions all its own. Long Island beckons too, from North Fork vineyards to South Shore beaches. I hope my paintings and photos inspire and inform. Click on images to link to Flickr and on OLDER POSTS for additional content.
World Update
Model Twirl
Fashion Photoshoot Weekends in Chinatown and DUMBO , at ICP, International Center of Photography, with teacher Stephen Hurst
What is an "Ala Prima" painter?
Definition: A style of painting where, instead of building colours up with layers, the painting is done in one session while the paint is still wet. From the Italian word which literally means at once.
Alla Prima painting techniques are frequently used by the Old Masters; such as Van Gogh and even John Singer Sargent. These Masters used Ala Prima painting techniques for making studies and sketches mainly from life and for completing a work over an underpainting done quickly. However, many Ala Prima paintings are considered completed works of art expressing the essence of the moment and the “feeling” of the scene.
NOTE On “Alla and Ala” used both ways: Taking their cue from the impressionists, modern plein air artists generally paint "ala prima" laying down a scene with quick broad, colorful brush strokes — foregoing the typical ‘building up’ of the painting. Sessions on location last from a few hours to the better part of a day, depending on the light and weather. It is a generally accepted practice that once back in the studio, the artist will add a few final touches to complete their plein air painting. (Both “Ala and Alla” are used in the same usage.)
Welcome Friends from all over the Globe!
Winter Sunset
I painted this copy in my landscape class tonite at the school of visual arts. Lucy , our teacher , says I am an "ala prima" painter. I started with a raw sienna acrylic undercolor, then did a sketch in burnt umber oils. I painted the darks in first, and used pure cadmium reds and yellows for the sky. The smow was a mix of ultramarine blue and flake white, which is beautiful and has a bit of yellowish tinge. Finally, I added a few red highights to capture the reflection of the sky on the snow and stream. Lucy said it works for her.