Hello I'm Mike Manley, welcome to my studio Blog. I am veteran comic and animation artist and I created and edit Draw! Magazine. This blog is a chronicle of what's happening in my studio. Follow my process and path as an painter, cartoonist and teacher and find out how they inform and enrich each other!
Sunday, September 25, 2011
Friday, September 23, 2011
Fall Semester--Week 5 US Artists in the House
This week the US Artist show rolled into PAFA again for it's second annual 4 day show featuring galleries from all over the country bringing the work of top tier artists from the past and present. the event is hosted by the Women's Board of the Academy and it's always a good show and honestly a great opportunity to see lots of great art. As soon as I walked in the show today I was face-to-face with a piece by Norman Rockwell. there were several Rockwell's at the show as well as two painting by Dean Cornwell. From Arcadia to Principle Gallery and more, there was work by Sargent, Koch,Eakins, Mann, Sloan, Hopper and more. After my morning class with Peter Van Dyck along with my buddies Dave and Will we trucked around the show taking in, literally gorging our eyes on art. the show was smaller this year but i think there was just as much good work, maybe less contemporary or abstract work this year, but I saw enough of that last week in Chelsea. We all snapped away with our cameras and just ate with our eyes. Its always amazing and sort of shocking to find some incredible new artist you never even heard of before at an event like this. I was really stunned by this painting by Alexander Bower--it just jumped out at you. It seems 100-125 years ago there were so many great painters working that are out there in obscurity like ships in the sea waiting to suddenly be discovered again. You realize how high the painting skill was in that age.
A great painting by Sloan. This show and last week's trip to NYC were really big art recharges for me. i have a great collection of books, but nothing beats looking at great paintings in the flesh!
Posted by Mike Manley at 10:36 PM 2 comments:
Labels: Dean Cornwell, Jeremy Mann, John Singer Sargent, Norman Rockwell, PAFA, Pennsylvania Academy of Fine Arts, US Artist Show
Sunday, September 18, 2011
Fall Semester Week 4 -Mega Post-DPC in NYC-Desiderio, Saville and More
This was a good, busy week for me. I had been fighting a bit of a head cold so it took a bit of edge off in the beginning of the week and then just like last year, now I know I will have this annoying little cough for a month after. But despite that it was a good week for art. Along with my DPC buddies and a few other friends I hopped the Megabus and headed to New Your to see two openings by two renowned artists, Vincent Desiderio and Jenny Saville. We also tromped around Chelsea and looked at a lot of good, weird and strange art at a lot of galleries. We hit Gallery Henochwhich had their new season show up and represents David Kassan and Kim Cougan, one of my current favorite artists. Mary Boone Gallery Alex Kanveski on the way out. We grabbed a burger and headed back to Philly and were treated to a beautiful sunset in the city. Everyone was inspired and we all hit the studio yesterday and painted away!
Posted by Mike Manley at 3:54 PM 2 comments:
Posted by Mike Manley at 12:08 AM 1 comment:
Labels: Comic Strips, Judge Parker, Mike Manley
Monday, September 12, 2011
Fall Semester 2011 Week 3
Sunday, September 11, 2011
Posted by Mike Manley at 1:01 AM 4 comments:
Sunday, September 04, 2011
Fall Semester 2011-- My final Year- Week 2-MEGA POST
All hail the mighty Paint Brush!! This week was the official opening of the Lenfest Plaza and the grand social experiment that will be happening daily on the steps of the school. They opened the side door of former gallery 128 and grilled up hamburgers and hot dogs for the student body and faculty--almost a Noontime Nuggets Mixer.
We all sat at the new benches and ate as we enjoyed the beautiful summer afternoon. I would say the paintbrush or Paint Torch (it's official name) by Claes Oldenburg doesn't seem very popular to say the least with most of the student body. I think most everybody I know would have prefered it be something other than a paint brush and that there would have been a competition hosted at school and offered some of the great sculpture alumni or faculty to compete. I also think it just clashes with the Historic Landmark Building too much. It would have been great for Pennslanding or Love Park.
It looks too pop-camp for what I think should represent our school. Out of sync and out of date are what I feel about it in the end--though I do like the design of the plaza. I think however the fact we have a women's shelter, family court coming, drug and metal health facilities all within a block of school and a growing and aggressive homeless population means the plaza is going to be natural draw for a grand social experiment. The only real good is the fact it will be a tourist and art draw to our campus, however I think the idea that it will somehow boost the attendance at the museum or benefit the school in other ways is yet to be proven.
What has been proven is the fact that the cities skate boarders like it and the plaza--they already scuffed the paint dob ground sculpture within the first days of the plaza's official opening. It's only a matter of time before someone, some asshole will write on the thing. I wonder if the people who thought of this whole thing have really spent anytime of the ground in Philly, especially around city hall? This city is full of messed up people and assholes and jerks just looking to mess stuff up. Philly is a great city, but it's held back by there being too many ****ed up people living here and the stress of the underperforming/funded city and social services and the growing amount of underemployed and undereducated.
That being said progress is being made, and no one thing, person or event can totally define an institution like PAFA, overall it is the quality of the artists and teachers who work, teach, study there and the influence of their art on the art world that do, and even if I disagree with certain aspects of the plaza, or Torcho Brush, that beautiful summers day was I'm sure what the people who came up with the Lenfest Plaza would have had in mind, 100's of people eating,laughing and enjoying each others company on the plaza.
This was the first full week of school and so all the 4th floor was buzzing--what wonders of art are being created behind the yellow cutains?
Here is my painting The Morning Signal hanging at Parke Scaffer Fine Art.
Week 2 of my fall semester flew by, I only have one class but it was a busy week. I attended the opening of the Parke Schaffer Gallery, a new gallery in Wayne PA where I have five peices of my work for sale and I also did First Fridays, all with my DPC buddies. I did manage to finish another painting in my SEPTA series and plan out another which I will start this week.
You can see the final painting on michaelcolemanley.blogspot.com
Peter Van Dyck decided to not have the model sit on the couch, so we started a new pose with the model, and we'll have a separate pose with her on the uninstructed days.So this is where the painting of the blue sofa stops for now
The class is supposed to be a portrait class but it's really just a painting class. I'm 50/50 on this, I'm kind of disappointed it isn't a portrait class as I'd love to see how Peter handles the portrait.
It's more like his painting the interior class I took with him a year ago. I enjoyed that class a lot, so I'm looking at it as a second pass at that class. Van Dyck like Noel is all about starting your painting by building in these big shapes and pushing or almost inventing/reinterpreting changes in tempuature /color/value between the figure/objects or the inside of a room vs the outside or a passage of light--( it took me a while to actually understand this, I was very frustrated for a while, but I finally understood their language and point during on Sunday painting session.)
This is my block-in-we'll see how far I get by next week, below is Peter's block-in that he did with us in class
This paintings a is a great example of what Van Dyck is teaching us--notice how close the value range is here, no high key lights or dark, darks.
The big thing is keeping the values range pretty narrow. You paint these shapes, large and bold, thick paint, and then into these bigger beds of color you start to paint the smaller things, the smaller transitions paying attention to contour and shape, but also being ruthless and painting through or repainting some passages many times, often scrapping of most of what you did during the current session and revisiting it later in the next session. It's definitely not closed form painting!
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