Nelson Shanks' Palette - Page 2

Michael Fournier · 04-08-2002, 08:05 PM

From a interview with Nelson himself about colors of paint he uses.

Carol: Do you enjoy playing with new colors that become available on the market?

Nelson: Oh, I love it. I'm going berserk now with all kinds of thing as long as I feel there's a great permanency. But I don't think anything will ever replace the strong body of colors you can get with good earth colors. A dye color cannot do what a body color can do and vice-versa. The pigment may be of a little less importance than the knowledge you have. That's where the key is that unlocks it all: knowing in your mind what you want. And that takes a lot of experimentation. It also takes a freedom in painting. You can't just sit there and dabble in miniscule amounts, carefully, because you are accomplishing so little in doing so. Paint broadly and powerfully and sink yourself into it and you'll learn so much more.

Michele Rushworth · 05-08-2002, 12:05 AM

One thing that seems to characterize Nelson Shanks' complex official portraits is the use of intense color in the clothing that he has his subjects wear and in the background items he includes. I imagine that's where most of his wide range of intense pigments are used.

Anne Hall · 07-19-2002, 07:47 PM

Peter, I have watched Nelson paint just two demos. He is not one of the many accomplished artists who can paint and talk at the same time, so what I say is based on my observation and explanation that his teaching assistants made later.

Nelson uses all the colors on his palette. I watched him touch every red available in the course of mixing the wide variety of tones he painted into the flesh of his paintings. He doesn't work by set formulas, but by looking, mixing, and adjusting: making color statements and playing with the relationships.

When I painted in his class, we were urged to "swim color in," making our paintings reflect what we saw: orange into a blue drape, green into a shadow. It's radically different from painting with a limited palette. The basic idea is to start brighter than you'd ever dream, because you can never make a painting brighter than tube colors.

I hope you will have an opportunity to see Nelson painting. I have seen a couple masters with limited palettes paint; David Leffel, Albert Handell, Sherrie McGraw. Theirs is a very different process than Nelson's. Watching him paint will undoubtedly be more revealing than my description!

Michele Rushworth · 07-19-2002, 08:55 PM

Does anyone know why he has those little mountains of paint around his palette? Does he put the whole palette into a box to try and keep some of the paint on it wet for the next session? Is that how he transports the palette with those paint piles, in a box?

William Whitaker · 07-28-2002, 09:15 PM

Michele,

I don't know why Nelson Shanks has paint mountains, but you can read why I do here...

http://www.williamwhitaker.com/B_HTM...tes/studio.HTM

Bill

Michele Rushworth · 07-28-2002, 10:16 PM

Thanks for that link. Now, how do you keep those "mountains" so clean and not contaminated with adjacent colors?

William Whitaker · 07-29-2002, 12:32 AM

Ahh Michele,

This is where photography on the web fails us all. Those piles are seriously contaminated with thoughtless and garish colors, many of them buried away.

I am forever mindlessly sticking my black brush in my white paint.

Bill

Timothy C. Tyler · 07-29-2002, 10:13 PM

Bill, your remark about your studio sounds like something one of Sargent's sitters said once about his London studio. She said, "It's not large and cluttered with all kinds of stuff like an amateur's studio."

Michael Georges · 07-29-2002, 11:48 PM

Quote:

Bill, your remark about your studio sounds like something one of Sargent's sitters said once about his London studio. She said, "It's not large and cluttered with all kinds of stuff like an amateur's studio."

That is the key to a clean studio - throwing away all of the junk you accumulated as an amateur. I am still struggling with this. I purchased a 125 set of Marvy Markers back in 1984 that I still cannot let go of, even though I now have almost no chance of ever using them again. At the time however, they were fiendishly expensive for my budget and I was so proud to have them and use them, and there they sit, even today. In the end, it comes down to an easel, a drawing table, some pencils, charcoal, brushes, mediums and oil paints. All of that other stuff is no longer necessary but hard to get rid of as most of it was hard won!

Anne Hall · 09-02-2002, 09:29 PM

Michele,

Nelson has a box that resembles an oversize attache case in which his palette travels. He relies on a brush washer and rags to clean his brushes frequently as he paints. Haven't seen the paint piles too close though.