Juan Martinez
Bio
Juan Carlos Martinez is an award-winning artist whose work has been featured in various publications and shows including International Artist, American Artist: Drawing, and the Art Renewal Center. He is atelier-trained, working in what is now considered the classical realist manner. Juan studied in Toronto, Canada, and Florence, Italy, under the tutelage of master painter, Michael John Angel. Prior to that period he had been, among other things, an intellectual property lawyer, but gave up that life to pursue his avocation of being a professional classical painter. Today, in addition to maintaining an award-winning portfolio and working on portrait commissions, Juan is usually busy writing and teaching. He has acquired an international reputation both as an artist and art educator. His work hangs in private and institutional collections in Canada and the United States, including commissions for the office of the President of Humber College, the Crane School of Music Alumni Association, and the private collection of Fred and Sherry Ross. Juan is a chief instructor at Toronto’s Academy of Realist Art (ARA) and is the author of a popular 6-part instructional series in International Artist Magazine, entitled “The Academy Way”. He also teaches workshops throughout the year at ARA and elsewhere, including at Andreeva Gallery and Portrait Academy in Santa Fe, NM. Juan is represented by Andreeva Gallery.
Classes taught by Juan Martinez
Alla Prima Oil Portrait Sketch Workshop
Juan Martinez, Alla Prima Oil Portrait Sketch workshop
As the name “alla prima” suggests (it means “at the first” or “at once” in Italian) the workshop will concentrate on rapidly developing a good likeness and a pleasing composition in oil from a live model. Participants will be using an integrated visual and knowledge-based approach. That is, Juan will facilitate an exploration of how we can use our faculties of observation coupled with a greater understanding of classical form and proportion to arrive at the essence of the subject more rapidly; ever the goal in a sketch-length period. The participants will do a series of paintings ranging from smaller to larger, and from shorter, 2 ½ hr sittings, to the longest of 5 or 6 hrs. The aim will be to understand what we see, not just copy it, and to depict it as rapidly as possible using elegant, economical brushwork, the hallmark of good alla prima painting. In their various studies, participants will be introduced to a number of starting methods and all work will be done from living models. No photographs are allowed, but the use of reference generally, and the inevitable use of photography in day-to-day practice, will be discussed during informal question and answer periods provided throughout the workshop. Juan will do a demo painting in the morning of the first day and introduce the schedule and methods. After that, each day will be divided into periods of varying lengths to accommodate the different sizes of paintings the participants will be doing, and the different posing times for the sitters. Participating artists will also work from various vantage points and on different sitters. Critique, instruction and encouragement are provided individually at each artist’s easel, and to the group, regularly throughout the workshop.
Portrait Drawing: Capturing Likeness and Creating Form in Tones
This workshop explores and develops the most important part of portraiture; the likeness. Working in either graphite pencil or carbon pencil, students will learn a “tonal” drawing method which best captures the three-dimensional presence of a subject and which most closely approximates painting. Juan will demonstrate all aspects of the methods and materials including how to properly sharpen a drawing point and which papers are most suited to the mediums. The drawing process begins with the dimensions and proportions of the head and features, which are carefully established using line and contour, measurement and comparison. Then, when the person – the likeness –begins to appear, the tones are rendered slowly and faithfully so that a three-dimensional image finally emerges.
Students will work on one or two fully rendered drawings during the week as well as on a few exercises which will be used during the completion of the main pieces. Juan will demonstrate his methods and approach each morning and students will work in the afternoon sessions. All drawing is from a live model. Critique, instruction and encouragement are provided individually to each artist as well as to the group, regularly, throughout the workshop.
The Human Figure: Classical Subject, Classical Method
This workshop explores the ever changing, engaging landscape of the human form. Working in graphite pencil or carbon pencil, Students will use a “tonal” drawing method which best captures the three-dimensional presence of a subject and which most closely approximates what is achieved in painting. Juan will demonstrate all aspects of the methods and materials including how to properly sharpen a drawing point and which papers are most suited to the mediums. The drawing process begins with locating and where the main structural and visual landmarks are in the figure. Then, the pose and its contours are carefully examined, using measurement and comparison, and finally, the rendering process begins. All the while, the emphasis will be on creating convincing three-dimensional form.
Students will work on one fully rendered drawing during the week as well as on a few exercises to practice or elaborate some aspects of the form. Juan will demonstrate his methods and approach each morning and students will work in the afternoon sessions. All drawing is from a live model. Juan will also provide criticism, instruction and encouragement, both individually for each artist, and to the group, regularly throughout the workshop.
Still Life Painting in Oil: A Primer in Color, Texture and Composition
Still life is the best arena to learn about color, texture, and rendering in paint. “Rendering” in this case means making things look the way they truly do in nature. That is, ensuring that cloth looks like cloth, metal objects look metallic, paper like paper, and so on. So, in this workshop participants will work on one painting during the week, trying to bring it to a fully rendered finish. The classic layering technique taught in this workshop will allow participants to learn how to put a “high finish” on their paintings, somewhat in the manner of the Dutch masters. Important concepts, such as glazing and toning, will be introduced throughout the class, as well. Juan will do short demonstrations, usually in the mornings but also, as necessary, throughout the day. Most aspects of color and many other technical questions about paint and materials will be discussed. Juan will provide criticism, instruction and encouragement both individually for each artist, and to the group, regularly throughout the workshop.