• sue seagar

    I am sitting in NZ with Susan Caulton, I have seen some of fher work and long to understand what you have taught
    Do you have on line teaching or video’s that could impart what you have taught susan.
    Susan say to ask you if you are still offering your on line painting course that she subscribes to.

    She said to tell you that she is moving to her house with her own little studio, and she can not wait.to get painting again.

    Regards Sue Seagar
    y Gmail is suseagar@gmail.com

    June 19, 2011
    • Jerry Fresia

      Hi Sue. I took down the on-line course once my book on the practice and philosophy of Impressionism came out (see my web site). It is a much better treatment. I am also working on making little videos available. Slow going but my intention is to produce a series of short videos and will make them available on-line. Thanks for asking.

      July 21, 2011
  • Superbly illuminating data here, thnaks!

    June 24, 2011
  • Jay Zarkovacki

    Ah! Profound as always. I’m very excited to see you’ve begun your blog.

    I constantly find myself tripping over my attention to simply “playing the notes” like a technician, while realizing that loving what I’m doing and rendering the experience is by far the hardest and most important part of impressionism. Truly your book holds all keys to becoming free as an artist but I continue to struggle with letting go and enjoying myself. I’m hoping that this “letting go” is a skill that I’ll finally acquire. Do you ever struggle still with letting go, Jerry, or have you learned to simply enjoy painting the sensation without stumbling over your old ways?

    July 20, 2011
    • Jerry Fresia

      Thanks Jay. To answer your question, yes. “Letting go,” not seeing literally or seeing “past the facts,” are the kind of things that represent a challenge each and every time I paint. For me it is not something that is willed, necessarily. I have to be relaxed and remind myself that the painting, as such, is not the point of the activity – that is, not the reason that I am painting. Growth is. This may be one reason that Monet, at the end of his life, remarked that painting is terribly difficult. It is (for those of us who wish to pursue what I call the “Impressionist experience”) never about getting a likeness or making the house look just like that house, rather the challenge is always to step outside our little bubbles or normal existence. And when that happens, at least for me, I am transported to a different place. Suddenly what I see and what I do is pleasurable in a way that is hard to describe. “A high,” of sorts. I have no worries. And, fortunately, when this merry little state of being occurs, the painting seems to have a life that it couldn’t have had otherwise. I harp on this endlessly but my experience is that most students will simply dismiss it all as they obsess on making the successful, finished picture. Now, for what it is worth, this point of view isn’t simply my own little idiosyncratic madness, it is what such diverse artists as Picasso, Pollack, and Henri repeat over and over.

      July 21, 2011

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