Classes & Workshops
I teach studio classes, plein air (outdoor) workshops here and overseas, and private lessons.
Teaching is important to me on many levels, and I’ve been teaching something (poetry, non-fiction writing, art history, painting) continuously for some 25 years.
“Painting is a matter of impulse, it is a matter of getting out to nature and having some joy in registering it…..You must feel the beauty of the thing before you start. Good painting is an excitement, an aesthetic emotion – reasonable painting destroys emotion. Painters don’t reason, they do.” –Hawthorne
I don’t pretend to be a straightforward teacher of traditional oil painting. I’m interested in sharing ideas, experimentation, spontaneity, feeling, and imagination. l want to inspire and encourage an emotional response, not just for painting but for all of life. The best way to learn to paint is to just keep doing it. Yet that also means cultivating your inner life and digging into the history of art, even as you discover your individual creative self – by making paintings, by just doing the work.
I believe in a direct, intuitive approach to art-making rooted as much in spontaneity as in the history and traditions of western art. However, my classes can seem erratic. I don’t have academic artistic training, so I teach what I know, which is more about how one goes about developing a personal practice than it is about acquiring the traditional skills of oil painting.
Artists are people on a public path of self-discovery. Technique is important, but so is having something to say. And we all have something to say – it’s just that too often we settle for someone else’s language. Actually, my teaching philosophy is simple: I want to help my students develop a personal voice as well as the essential formal techniques required to express it.
All of my classes include demonstrations and personal instruction as well as creative exercises designed to free up your brush and lay the foundation for intuitive, expressive painting that’s fun, full of feeling, and yours alone. I’m proud to say that many of my current and former students continue to pursue the craft, and many have gone on to sell their work and establish their own studios.
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“There isn’t enough language to express how much this workshop has affected my art technically and imaginatively…. you have opened up an entirely novel approach for me through your plein air excursions and demos. I will be taking your class next year and thereafter.”
– Anne Garton, “Beyond Plein Air” class & workshop, Truro MA
“I’ve sold every single painting I did that week.”
– Bill Reedy, White Mountains workshop (AMC Crawford Notch)
“Thank you for opening our eyes to a new (for us) way of seeing things. This was just the spark I needed to change direction in how I put paint on canvas!”
– Bill Edwards, Art of Seeing workshop, Ogunquit, ME
“I’ve sold almost every one of the paintings I did in your class. One of them was the first one I sold at my next show.”
– Paula Furlong, Contemporary Oil Painting masterclass, Hollis, NH
To reserve a spot or if you have questions, email me at CHRIS(AT)CHRISTOPHERVOLPE.COM or call (603) 770-3058.
A structured paint along perhaps best describes how this class operates as we explore contemporary landscape painting in oils. Students leave every class with a finished work.
Every other Wednesday evening, “The Poetic Landscape” explores how a different contemporary or historical painter has responded to the visible world in his or her unique (and I would say “poetic”) way.
Prior to each class, I provide links to a blog post, websites, images, videos, and even a podcast, in which I’ll offer my own take on what I think we can learn from a given artist. I try to unravel each painter’s philosophy and technical approach and in class we produce a work in a similar style. We don’t copy the painting; instead we aim to create an original work directly influenced by the artist in question. It’s a great way to try on a variety of styles and techniques to see what fits you best.
If you’d like to come, there are no requirements except an open mind and the basic gear (there’s a materials list at the bottom of this page). Just RSVP to these signup invitations, which you’ll receive before each every-other-week class.
How deeply or how casually you acquaint yourself with a given artist before we meet for class is up to you; you can show up knowing zero about what we’re doing that evening and pretty much be fine (though it really helps to at least look at a few examples of that artist’s work). The goal is get acquainted with what’s been done and what’s being done in contemporary landscape. It can’t help but enrich your tool kit, advance your skill and knowledge, and help you make strides in developing your own particular style and subject matter.
Shoot me an email to be included in the RSVP request for each class through an email sign-up that goes out a few days before.
The Contemporary Landscape
Creative Ventures Gallery, Milford, NH
Monday evenings, 6-8 pm, Mondays, January 7-28, 2019
In this introductory to intermediate oil painting class, we will go beyond imitation of nature to explore the expressive use of design and color applied with poetry and feeling in the creation of contemporary landscapes. Instruction in composition, values in black and white, color mixing, and paint application will provide the foundation for rendering natural and urban scenes with imagination and emotion.
Taking painting as a practice of interiority, we will seek to express not what the world looks like but how it feels to look at and live in it. Beginners welcome! The class will be taught through a combination of Keynote slide shows, hands-on learning, and one-on-one instruction. $80
Contemporary Landscape Painting: An Introduction
Thursday, January 3, 6:30 – 7:30 pm
Creative Ventures Gallery, Milford, NH
Attend a 30-minute slide show and discussion about contemporary landscape painting. Enjoy a lavishly illustrative introduction to beautiful and innovative work by contemporary painters who are updating and extending the rich tradition of landscape painting in America. Limited seating available.
Finding Your Work
Intermediate Class at Wild Salamander Creative Arts Center, Hollis, NH
Tuesday evenings, Jan. 11 – Feb. 15, 2019
Focus your creative energy and build a body of work by working in series. This workshop offers exercises, processes, and disciplines to inspire you to dig in and create art that feels like yours, art with originality, feeling, and a strong conceptual basis. Discover why art matters to you and what kind of artist you are or want to be. We’ll use generative creative exercises designed to bypass self-doubt and spark new possibilities by opening doors you didn’t know were there. Skill level is irrelevant. Medium is irrelevant. This is about self-reflection and the foundations of art. Our goal is to nurture a creative practice fulfilling in itself yet engaged with the past and present of art and life at large. $175 Register here. Or email me for more info.
Six-Week Intermediate Oil Class in Lowell
Join me in my Western Avenue studio for a six-week course in contemporary landscape and abstraction. We will cover a range of basic to semi-advanced principles of expressive composition, color mixing, paint application, tools, techniques, and theory, beginning with straight up representational landscape painting and progressing toward abstraction. Over the course of each 2.5 hour session, we will bring a new work to completion, so you’ll leave each class with new skills, a better understanding of the artistic process, and a finished painting. $190. Emphasis on individual instruction. Materials list at the bottom of this page. Email me with interest.
Truro, Cape Cod
Beyond Plein Air
July 15-19, 2019
Much instruction in plein air painting leaves out the best reason to paint at all: exploring the interaction of perception and personal truth. This workshop goes beyond imitating nature to use the objective world as a springboard for expressive design, color, and paint. Over three days painting outdoors followed by two days painting larger work (36” x 36,” or larger) in the studio, we will develop exercises, processes, and disciplines to open new avenues for original work infused with poetry, feeling, and a sense of play. This class functions well for a wide variety of skill levels, but some previous plein air painting experience may be helpful.
Our goal is to develop exercises, processes, and disciplines that will align your creative process with your subjective responses to nature and to life and ultimately, to infuse your work with poetry, feeling, and a sense of play. This class offers a chance to try some bold, adventurous painting and open new avenues for original work.
This class will fill and wait list. More info and to register here.
Star Island, Isles of Shoals
Painting the Shoals
August 2019, date TBD
Join me on what’s become an annual pilgrimage to a place locked in time, a rocky, scruffy, and lightly populated island of antique weather-beaten buildings on the ocean, an austere haven poised between civilization and oblivion.
Whether you are already (or not YET!) passionate about the Isles of Shoals, join this excursion on a chartered ferry (the “Uncle Oscar”) for on-site explorations, painting demonstrations and instruction.
For me, the isles inspire contemplation of our place in nature. My paintings here are always about the dissolution of matter into “spirit” in the form of light, air, stone. I go for rocky coasts, “the basins hollowed out of granite and flint,” as a travel writer put it in 1875, “and the utter wantonness in which the sea has pitched about the fragments it has wrested from the solid rock, the futility of words in which to express this confusion.” Nathanial Hawthorne wrote that, taking in the sea and stone here, “it seems as if some of the massive materials of the world remained superfluous after the Creator had finished, and were carelessly thrown down here, where the millionth part of them emerge from the sea, and in the course of thousands of years have become partially bestrewn with a little soil.” There are many spots of quiet, timeless beauty as well.
$100/Participants responsible for $34 roundtrip ferry ride. On-site day parking at the ferry dock is $5.
There is a restaurant at the Oceanic hotel (and, if you hit it just right, lobster rolls sell for $16) but please feel free to pack lunch and a drink. Meals in the hotel’s family-style dining hall are available for a fee payable at the front desk but must be reserved ahead of time. Bathrooms are available on the island. Our boat, the Uncle Oscar, departs from Rye harbor at 9:30 am. Our sunset return trip departs from the island at at 7:25 p.m., to be back in Rye at 8. All-day parking in the Rye Harbor marina lot is an additional $5 (cash only).
This class filled last year. Email me your interest asap.
Bennington College, Vermont
North Country Studio Workshops
Finding Your Work: Creating in Series
January 28 – February 1, 2020
This five-day workshop is designed to equip artists with tools to build a body of personally meaningful work marked by originality, feeling, and a unifying conceptual basis. Through interactive, generative, and creative exercises, artists will work in series in a creative practice fulfilling in itself yet engaged with the past and present of art and life at large. Though the instructor is using oils, artists are encouraged to work in the medium of their choice. Register through the North Country Studio Workshop at http://ncsw.org.
This one’s been on the table FOREVER:
2021(??) ITALY PLEIN AIR PAINTING TRIP
Tuscany, Cinque Terre (Italian Riviera), Venice
This *may* FINALLY happen in 2021! Who knows? I just leave this description here and keep changing the date.
Spend an extended week reveling in Italy, enjoying the sensual delights of Tuscany, Venice, and the Mediterranean coast. Capture your experiences in paintings created in the shade of centuries’ old olive groves, medieval villages, marbled waterways, and the incredibly beautiful terraced slopes of the Cinque Terre, a rugged coastal wine-growing area of the Italian Riviera.
Contact me if you’re interested in joining us! (I have a running list of some 10 names so far, and with Scotland and soon Nova Scotia under my belt, I feel very good about making this fantasy a wonderful reality.)
Additional workshops in New Hampshire, Massachusetts, Maine, Ireland, Greece, Sweden, Iceland, Spain, and the Amalfi Coast have been bandied about.
Email me with your interest!
Private instruction, either in your home or at my Lowell studio, is available. The standard rate is $100 per three-hour session. In these sessions (evening or daytime) I work individually with a painter of any experience level, total beginner to working artist, and develop a series of classes tailored to the individual student’s needs and goals.
Please contact me (chris(at)christophervolpe.com) if you’re interested in taking a class!
Materials & Equipment
- Bring at least one medium-sized (8×10 to 12×16) panel or canvas for each studio or plain-air session.
- Have a few itty bitty (5×7 or 6×8) panels or something handy for possible warm-ups and color sketches.
I use cheap canvas and canvas panels for plein air work and either “gallery wrapped” canvas or linen for larger paintings in the studio. I’ve been known to make my own linen panels by mounting Claussen’s #13 triple oil-primed Belgian linen to birch or maple plywood panels that I cut to size.
Brushes & Knives
- I primarily paint with a large chip brushes (cheap, disposable hardware store bristle brushes), filberts, and a painting knife, but I do keep many brushes on hand for special uses. When doing large work, I use house paint brushes. Bring your favorite brushes AND something large (#10) maybe a large filbert or a flat, either synthetic or bristle, AND something even larger, like a 2-3″ chip or house painting brush. Just make sure your bristles are stiff, not soft.
- You need a palette knife for mixing paint. I often use a combination of brush and knife in my work. Most of my students end up getting a palette knife like the one I use, with a long, rectangular blade that’s squared off at the end, as shown below. I often paint with my knife as well as mix with it, so if you’re interested in trying out my style, you’ll want to get this kind of knife.
My basic palette:
- Titanium White (*large tube*)
- Permanent Alizarin Crimson (red)
- Cadmium Yellow Light (for occasional use SPARINGLY!)
- Ultramarine Blue
- Burnt Umber (though we often make our own browns)
- Yellow Ochre
- Burnt Sienna (or Transparent Iron Oxide Red)
- Prussian (or Phthalo) Blue
- Viridian (or Phthalo Green)
Additional colors occasionally added in, not essential but nice to have in your kit: Caput Mortuum (Old Holland, aka Mars Violet), King’s Blue (Old Holland, a wonderful blue perfect for skies and creating cool grays), Cerulean Blue, Cobalt Blue, Cadmium Red, Lemon Yellow (or Cad Yellow Light), Gold Ochre, Phthalo Green, and Ivory Black. Zinc white which is semi-transparent to Titanium’s opaque, can be used to great advantage in layering and scumbling to create atmospheric effects, but Titanium’s my daily go-to white.
I paint mostly directly and in layers wet on wet, and often use no medium at all, so if you’re a beginner don’t worry about it. As you figure out what kind of painter you are, you’ll discover the uses of mediums to create different effects in different kinds of work. I do enjoy using straight “stand” (thickened) linseed oil or pure linseed oil; the former thickens the paint while improving flow and adding gloss. My true favorite medium (aka “honey”) is a mixture of about 70% Stand Oil and 30% Linseed Oil, sometimes with a little Turp/Odorless Mineral Spirits, which I also use for cleanup.
If I need my painting to dry quickly (oils without medium take 3-5 days to dry to the touch), I use Winsor & Newton’s “Liquin” or Gamblin’s “Galkyd,” a viscous drying medium that speeds up the drying time and also imparts a mild gloss to the finished painting.
- Palette – a surface (I use and recommend a wooden palette) for mixing your oil colors
- Paper Towels/Rags (Trust me, get the blue “shop towels” at a hardware store. They’re more absorbent, more durable, and often cheaper too).
- Cleaning Solvent: I use Mona Lisa Odorless Mineral Spirits in the studio and pure, artist-grade turpentine when I’m working outside. If you want a completely solvent-free system, try plant-based oils (walnut oil, linseed or cooking-grade safflower oil) for cleaning brushes.
- Palette knife, for mixing and applying paint (I often paint with a square-tipped palette or “painting knife” like this)(and see above). I like the flexibility of the one made by Loew-Cornell and the one with the blue rubber handle sold by Blick online.
- Wooden folding French easel (search online for “French easel”). I use a half pochade with backpack straps. You can also use a paintbox mounted on a tripod, such as the Guerrilla Painter or OpenBox M boxes. I also have two student-grade easels and two plein air pochades available for student use.
- B pencil or charcoal and sketchbook (very optional – I don’t usually use them but they can be nice to have handy).
- Old clothes! Oils can be messy, and if you paint like I do, you WILL end up with paint on your clothes and on you!
Additional Gear for Outdoor Painting
- Hat with brim
- Comfortable hiking shoes or sneakers
- Layered Clothing
- Bug repellant
- Water Bottle
- Something to carry home wet paintings in (pizza boxes work well but you can also buy “wet paint carriers” that are nice)
- Small White Umbrella (these are awesome for keeping out of direct sun, but they can be cumbersome and I confess I don’t use one, though I should)
I have an academic background as a writer and art history instructor, and I write about art for websites, scholarly journals, exhibition catalogues, and print magazines like Art New England and American Art Review. In addition, I enjoy giving public lectures and presentations on the history of art. Lecturing and teaching helps me make my background in art history, aesthetics, and literature converge with life – it feels like I’m putting art history and ideas into practice.
Here you can download free PDF versions of some of the slide shows I use in my presentations to art associations, libraries, historical societies, and students.