Jose Vera Gallery Opening. "City to a fault. Los Angeles and Environs"

Alex, me and Will Wray

Finally the day arrived fro the opening of "City to a Fault. Los Angeles painters" at Jose Vera Gallery in Eagle Rock, California. The artists involved were Oscar Arroyo, Jose De Juan, John Kilduff, Alex Schaefer and William Wray. The show was very well attended and the artwork was amazing. Alex brought one of his latest "burning bank" creations and so did I. Except mine was in the form of a cake with one of Alex's now famous banks printed of top. After all, our boy was turning 42 that very day and we wanted to surprise him. (see pic below). 

Alex conversing with Aaron Westerberg

Alex was displaying some large format plein air views of downtown L.A. His pieces showcased his usual talent to create very dimensional images with a great economy of brush strokes and little messing around. Placed alongside William Wray's loose masterpieces in bold colors and brushwork,  you had two radically different visions down a similar path. John Killduff's matter-rich urban landscapes were full of grit and gesture as well. Oscar's pieces were more contained and premeditated but he wasn't shy about subject matter or design either and given his youth, it can only get better from here.

Alex with a burnin' cake.

 All five artists attracted a fun crowd. Even Sean Cheetham and Aaron Westerberg among other famous and less famous artists stopped for a peek which was the best validation one could hope for besides a sold out show.

Sean Cheetham in front of one of Will Wray's pieces.

Sean Cheetham Workshop. Day 2

During the second day of the workshop. Sean entered into some detail about his supports and his approach to alla prima painting. His "pieces de resistance" use wood as a support. He uses MDO wood or some panels form a provider which already come framed in the back to avoid bending.

1) He then applies an acrylic sealant that he lets cure for at least a week.

2) He applies several layers of gesso allowing drying between them and some texture to occur. No sanding. Chemicals from acrylic materials easily get in the air and can be dangerous.

3) The last step pictured here is using a big trowel to smooth a last layer of molding paste which gives the surface very smooth but absorbent.

The process takes minutes in every layer but it takes two to three weeks to complete as the layers have to dry and cure completely.

He then uses graphite rubbed on a paper to transfer the drawing onto the board. The graphite in this stage is loose so he will wash it very lightly with acrylic paints. he will recreate the whole painting using acrylics almost as if they were watercolors in very very transparent layers but with accurate local colors.


We then moved on to the "interactive" part of his demonstration. Painting from a live model he demonstrated that even in a larger format, the same principles can be applied. He used a Fredrix support with Belgian linen onto which he applied a wash mostly consistent of Burnt Siena. He then established as tight a drawing with his brushes as one could hope for and moved onto the darker areas of the subject with a mix of burnt Siena, Alizarin and Olive green.Right after this stage, he mixed his fluorescent light Manganese Blue+ White mix (something ,by the way, that also Jeremy Lipking is fond of doing) and his "main" tone. From then on, he systematically built the face form the darker to the lighter areas with some balancing in between. The result was "sorollesque" and loose. Never or very rarely did he go over trodden territory. I won't post my attempt at the same subject because I made a mess of it.

Sean Cheetham Workshop. Day 1 (b)

For an excellent review on Sean's workshops click on this link and do not miss the graphic of his palette. This are some common weaknesses he points out:


*Starting to paint without a tight and accurate drawing. Impatience costs in time and it doesn't improve spontaneity.

* Starting with powerful darks maintains the luminosity of the shadows and allows the painter to not have to revisit them later and making them muddy.

*Transitions between light and shadow are more subtle than novice painters make them.

*An organized palette saves most of the guesswork as the painting progresses.

* Regular painting helps the artist remember and consolidate what he/she learns.


After Sean had placed all the dark areas with a rich mix of burnt siena and olive green, he made a large pool of mid-tone color and a smaller pool of fluorescent or cool light with manganese blue and white. He then carefully proceeded to add the mid tones. I think this might be one of the most critical parts as it forces to distinguish what is in light and what is receding. Depending of the degree to which each area is exposed to light, cooler or warmer tones will be used. Into consideration as well is the reflection of the background, clothes, etc. ..


Finally, Sean tackled the most luminous areas never for a second jumping to highlights or touches of "effect" which are so frequent in other painters which shall remain unnamed. For a more realistic effect, he used some of the more worn out brushes to blend the paint a bit afterwards loosening the almost graphic effect of the result. This sobriety and uncompromising approach is what makes Sean's paintings so appealing and contemporary as well as the subject matter which shuns the precious and picturesque. You just can't beat reality.

Sean Cheetham Workshop . Day 1 (a)

I decided to take this workshop an hour before it was about to begin. Kind of in the "spur of the moment". Sean Cheetham is an artist I've admired for a while even though his style is quite different to mine. He paints in a realistic fashion with a very high emphasis on the drawing. His main influences are Michael Hussar and Antonio Lopez among living artists and anywhere from Holbein, Alma-Tadema, Waterhouse, Dagnan-Bouvert, etc... among old masters.

During the first day, he decided to paint a portrait of a sculptor friend in the manner that he usually approaches most of his "finished" work. He brought several non-glossy prints and a support which he had previously primed and already had the drawing of the subject. His palette is not unusual but there a couple of more "acid" colors that seem to go well with his subject matter and lighting of choice.

Cadmium red
Cadmium Green light
Burnt Siena
Scarlet lake
Yellow Ocher Pale
Indian yellow (transp.)
Titanium White
Manganese Blue (semi-transp.)
Cobalt Blue
Windsor Violet
Alizarin Crimson Permanent
Olive Green (dark, from W&N)
Burnt Umber
Ultramarine Blue

and a warm Grey from Rembrandt to neutralize.


He goes over the whole painting first with a light wash of acrylic. Very light so as not to create a layer of plastic between the oil and the support. He usually starts laying the darks first, very precisely and deliberately. He uses cheap University W&N nylon brushes of sizes 4 to 6 which tend not to last but fare well in the level of precision he requires. No big brushes here. He works with a tremendous amount of detail and focus. No rushing here. That's how you go quickly actually, by not making mistakes or adding random garbage.

Here is a picture of the painting after all the darks have been placed.

And here is a picture of the original print. Sean says he prefers to work directly from the monitor to judge color and is not against any technique to accomplish accuracy. Of course, he draws *really* well.



It is worth observing how organized he is in his palette construction. During the dark building process he mixes enough of a pool of dark. he also mixes the tone of the fluorescent lighting with manganese blue for posterior use. Like any good painter, his colors will remain almost miraculously clean throughout.