William E. Elston

Contemporary Realism is part of a tradition that spans nearly two centuries. This lecture discusses why Realism is still a compelling philosophy for artists, and what its relationship to Modernity is.

The past three decades have seen a burgeoning interest in plein air painting, with groups both amateur and professional sprouting up all over the globe. This lecture presents a survey of plein air painting worldwide, and discusses the ideas behind its practice.

The past century saw a marked decline in the study of painting methods and materials, in favor of radical experimentation and fugitive novelty. At the same time, beginning in the early 20th Century, the systematic, scientific investigation of the physical construction of paintings was undertaken by the professions related to art conservation. At no time in the history of painting have artists known less about the interactions of the materials that they use, their physical properties and their persistence through time. Yet at the same time the most accurate information available is right at our fingertips. This lecture provides a practical introduction to the literature of art conservation for artists.

This lecture is a wide-ranging discussion of the tools available on the Internet for self-promotion, networking and research. It covers the various kinds of information available and the tools necessary to take advantage of the unprecedented array of opportunities that the wired world presents.

This lecture deals specifically with the construction and dissemination of canons, their use as a means to effect social and economic goals, and why we should be skeptical of canonical narratives of art history, especially as they pertain to the present.

This workshop lasts between 3 and 5 days, with an emphasis on traditional plein air practice. Work takes place in the field, with ongoing demonstration and individual critique.

Often the plein air painter must rely on studio work to bring paintings begun in the field to a successful conclusion. This workshop deals with the various techniques and technologies that make that possible.

Sight-Size is a method of working that was utilized by John Singer Sargent, Edmund Tarbell, William McGregor Paxton, and many other Nineteenth Century painters. It is also an excellent training method for improving perceptual acuity. The technique is fully explained, with lots of hands-on practice.

How do we see and represent the color of the natural world? This workshop provides the tools for doing just that, in a spontaneous, improvisational approach that does not sacrifice accuracy or realism.

What are the various styles of brushes for, and how does one use them in painting. This practical workshop deals with both the history of the paintbrush, and their method of employment.