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with Richard Robinson
Join New Zealand artist Richard Robinson in exploring step by step the painting techniques and processes of one of the greatest painters the world has ever known – John Singer Sargent. Enjoy!
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Richard is a talented full time artist, who loves painting and teaching.
Hi I’m Richard. I’ve been painting my whole life and back in 2001 I traded my graphic design career for the humble life of a full time artist. I love painting, and as it turns out, I love teaching too.
Nowadays I balance my life between parenting, painting, surfing, travelling and teaching. My work is regularly featured in international art magazines, in galleries in New Zealand and America, on TV and in my Mum’s house.
I give outdoor painting workshops in interesting spots around this beautiful planet of ours and love encouraging people to paint. Two of my favourite artists are John Singer Sargent and Joaquín Sorolla.
My painting website: www.nzpainter.com
I’d love to be your new teacher.
Richard is a master artist with an exceptional skill in identifying and communicating key factors to making successful paintings. I have found his video workshops an excellent resource for improving my own work.
Above lake garda at san vigilio 1913 by Sargent
Atlantic storm 1876 by Sargent
Boat with a Golden Sail, San Vigilio
"A Boat with a Golden Sail" 15 x 15" Oil on Canvas by Richard Robinson, after John Singer Sargent.
Edinburgh NGS Singer Sargent Lady Agnew by Sargent
Girl Fishing 1913 by Sargent
Girl Fishing 1913
Group with parasols by Sargent
Head of a capri girl 1878 by Sargent
Boat with a Golden Sail
My Photoshop mockup using two of Sargent's paintings.
Paul Helleu sketching his wife 1889
Paul Helleu Sketching his Wife John Singer Sargent 1889
Plein Air Painting John Singer Sargent Photo
Portrait of Carolus Duran by John Singer Sargent
Oil on Canvas. Height: 46 in (116.8 cm); Width: 37.7 in (95.8 cm) Charles-Émile-Auguste Durand (1837–1917), known as Carolus-Duran, was a celebrated figure in the world of Parisian art and theater. Known for his elegant society portraits, he was also highly influential as a teacher. Sargent entered Duran’s studio in 1874 and became his star pupil. Duran’s approach was radical: he encouraged his students to draw and paint simultaneously, using a loaded brush. In this stylish portrait, which received an award when it was shown at the Paris Salon in 1879, Sargent pays homage to his teacher by embracing his fluid technique. The affectionate dedication to Duran, inscribed in French at the upper right, announces Sargent’s artistic pedigree but also caused some contemporary viewers to remark that the student had surpassed the master.
Rosina Capri 1878 by John Singer Sargent
San Vigilio 1913 by John Singer Sargent
San Vigilio a boat with golden sail 1913 by John Singer Sargent
"San Vigilio. A Boat With Golden Sail" 71.12 x 55.88cm oil on canvas by John Singer Sargent. 1913.
San Vigilio lake garda 1913
"San Vigilio, Lake Garda" 183.84 x 72.08cm oil on canvas by John Singer Sargent. 1913.
Sargent, John Singer (1856-1925) - Self Portrait 1907
Claude Monet Painting by the Edge of a Wood
Claude Monet Painting by the Edge of a Wood by John Singer Sargent Artist: John Singer Sargent Dimensions: 54 cm x 65 cm Created: 1885
Margaret Stuyvesant Rutherfurd White (Mrs. Henry White)
Margaret Stuyvesant Rutherfurd White (Mrs. Henry White) by John Singer Sargent 1883 oil on canvas overall: 225.1 × 143.8 cm (88 5/8 × 56 5/8 in.) framed: 248.9 × 167.6 × 11.4 cm (98 × 66 × 4 1/2 in.)
Sargent at the Easel
Simplon pass the lesson 1911
Watercolour by John Singer Sargent
Two wine glasses 1874 by John Singer Sargent
Madame x1884
sitesize
“A day in paradise” 18″ x 24″ Acrylic on Canvas by Adrienne DeSaulniers
Nice to see a slightly different take on this Adrienne. The first thing that strikes me is the strong spotlight effect you’ve made in the foreground – really nicely done. The translucency of the water is great there too – beautiful! I love all the detail there in the foreground but I’d like to add a few more hard edges in there to avoid it looking spongy. Let rocks be rocks. The water inside the port is a little too blue for its surroundings and as we move towards the small boat the water has stopped reflecting the building suddenly – too dark and blue. The depth of the shadows in the foreground is not concurrent with those in the buildings and sail, so our eye is drawn back again and again to the foreground, instead of the sail, which is supposedly the star of the show. Overall a very pleasing painting and a solid effort. Great!
“After Sargent” 14″ x 14″ Oil on Canvas by Candi Hogan
Lovely feeling of movement in this Candi with your expressive brushwork strutting its stuff – great! The colour is all good. One little drawing issue – just check the bottom of the boat where it sits on the water – run a ruler along Sargent’s one to get the angle right. It looks to me like you photographed your painting in full sunlight since every weave of the canvas has a strong highlight on it which is most evident in the darks. The lesson for you – always photograph oil paintings in the shade. Great work!
“Boat with a Golden Sail, San Vigilio” 13″ x 13″ Oil on Canvas by DENIS KING
Good work Denis. Your drawing and colours are pretty well spot on. Brushwork’s mainly confident, if a little less lyrical in the reflections. A touch too light in the blue shadows in the buildings tends to break the illusion of shadow. The darkest shadow area in the sail is detracting somewhat from the colour and light opportunity there. Small things. Great work!
“Boat with a Golden Sail” by George
Some beautiful work in here George – all in the top half of the painting, which is excellent. The water and the rocks could do with another look though. Have a good old squint at Sargent’s rocks (or mine) and compare them to yours while you’re squinting – back and forth. See the difference? It’s the shadows and halftones – yours have gotten themselves lost. The water in front of the rocks too is the victim of indecision and speed. Please do take another look at the video and fix this corner of the painting because you’ll have a great work of art on your hands when you do that. Good luck!
“Tranquil Harbour” 30 x 30cm Oil on Canvas by Sue Denny
You have a good feeling for brushwork and edges Sue – great to see. Your values are good too – though the foreground water could use a little more light and colour. Using more yellow in your lights and less white will give you warmer, less chalky looking lights. Using stronger blues in some of your shadows will also add to the overall feeling of strong light and warmth. Those two things alone, warmer lights and cooler darks, will turn this from a slightly overcast day into that golden evening sunlight.
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