I am currently enrolling students for private art sessions at my home in north Seattle. Rates are $60 per hour. Come as often or as infrequently as you like. All levels welcome.
>>>Private mentoring is personalized support for motivated art students who desire professional feedback, encouragement and direction.
Email or call me for details
julia@juliahensley.com
206-931-7407
Details and FAQ's follow.
_____________________________________________________
Tamara Belland is a third-year illustration student at Cornish College of the Arts in Seattle.
She recently had three pieces accepted to the 1-2-3 Show at Cornish. This oil pastel won one of two honorable mentions for her year.
Tamara visits me every month for an hour-and-a-half private mentoring session.
Tamara Belland, oil pastel, 16 1/2" x 22 1/2"
"Julia truly cares and gives an honest assessment, as well as helping me through any blocks I have toward being the best artist I can be. My artwork, as well as my confidence, have grown tremendously." - Tamara Belland
_____________________________________________________
Every artist needs some form of encouragement and feedback. Private lessons or "mentoring" with the right teacher can be an effective way to further every aspect of your art practise, from what to paint to how to paint it, and where to go from there. Students of all levels can make great leaps in a short time with an infusion of one-on-one attention and encouragement.
___________________________________________________
FAQ's: Following are some answers to frequently-asked questions about my private sessions.
>Do I draw while you watch, or how does it work?
The mentoring sessions are driven by you and what you wish to achieve. While hands-on drawing and painting lessons are available, generally we focus on work you have done on your own outside of class, with drawing built into the discussion.
A typical session goes like this: I look at your work and listen to your questions. I try to get a sense of what you need and are ready to hear. Then I make specific, constructive observations, sometimes accompanied by short demonstrations. I offer creative exercises, simple explanations, and concrete techniques to address problems and stretch your abilities. I frequently suggest artists for you to look at that may be inspiring to you and pull out relevant art books from my collection. Together we propose projects to work on till the next time. I make suggestions, and you follow up on what sounds enjoyable or beneficial to you. Some students take notes. Everyone who is able to work between times shows marked progress from one session to the next.
>Should I take private sessions while taking other classes?
Mentoring can accelerate your absorption of material while taking another class. You get to ask me all the questions your teacher may not have time for. Taking private mentoring instead of a class is an excellent option, too, when you don't want to be tied in to six or eight sessions. A nice thing about private sessions is that you can cancel or reschedule up to the night before with no charge.
>I work in media other than painting or drawing. Would I benefit from mentoring from you?
Most likely yes. Most art projects involve the same basic principles of concept, design, form, color, content, and execution. I don't have to be an expert in your medium to offer insight into the artistic principles involved in mediums as varied as stained glass, silk painting, printmaking, and sculpture. For specific technical advice, mediums within my immediate expertise include graphite, charcoal, colored pencil/aquarelle, ink, pastels, watercolor, gouache, acrylic, oils, collage, pastels, and blockprinting.
>How often should I come?
Most students benefit from regular weekly, bi-weekly, or monthly sessions, depending on how much time they feel they will have to work on their art. Or you may schedule a session whenever you need a boost - I am flexible to your needs.
>How much is a session?
Classes are $60 per hour. Pay following each session with cash or check, or buy up to five sessions in advance.
>Where are they held?
Sessions are held at my home in the north end of Seattle, off Sand Point Way on 105th St. I do on occasion make house calls if you are in my general area.
>Contact:
Email or call me to set up a time, or to find out more
julia@juliahensley.com
206-931-7407
Friday, May 05, 2006
Upcoming Shows
My work will be included in the following shows in 2007
January 17-April 18 2007
John Raimondi Gallery, Boston, Massachusetts
New city images will be shown with photographer Joel Kershner's close-up urban views in this extended two-person show at the corporate gallery of Vitale, Caturano Inc.
http://www.vitale.com/R04/gallery/gallery.asp
Fall 2007
Sullivan Goss Gallery in Santa Barbara, California
The City Works group show will be shown in the new contemporary space of Sullivan Goss Gallery, on Anapamu Street opposite the Santa Barbara Art Museum. The gallery specializes in early 20th Century California landscape painters and carries a strong selection of urban imagery which will be gathered together for this show.
www.sullivangoss.com
Fall 2007
Florence Griswold Museum, Old Lyme, Connecticut
Weir Farm Trust Retrospective
Group show. Presented in the context of American Impressionism in Connecticut, this exhibit will showcase twenty artists of the 350 residents who have participated over nine years of the Weir Farm Trust program.
www.florencegriswoldmuseum.org
January 17-April 18 2007
John Raimondi Gallery, Boston, Massachusetts
New city images will be shown with photographer Joel Kershner's close-up urban views in this extended two-person show at the corporate gallery of Vitale, Caturano Inc.
http://www.vitale.com/R04/gallery/gallery.asp
Fall 2007
Sullivan Goss Gallery in Santa Barbara, California
The City Works group show will be shown in the new contemporary space of Sullivan Goss Gallery, on Anapamu Street opposite the Santa Barbara Art Museum. The gallery specializes in early 20th Century California landscape painters and carries a strong selection of urban imagery which will be gathered together for this show.
www.sullivangoss.com
Fall 2007
Florence Griswold Museum, Old Lyme, Connecticut
Weir Farm Trust Retrospective
Group show. Presented in the context of American Impressionism in Connecticut, this exhibit will showcase twenty artists of the 350 residents who have participated over nine years of the Weir Farm Trust program.
www.florencegriswoldmuseum.org
Thursday, May 04, 2006
Residency Notes
January, 2006
Weir Farm Trust Residency in Wilton, Connecticut
www.weirfarmtrust.org
American impressionist painter, J. Alden Weir, bought the beautiful New England property known as Weir Farm in the 1900's for a painting plus $10. He lived with his family and painted on the farm for the rest of his life, welcoming many prominent fellow artists to work on his property, including Childe Hassam, John Singer Sargent, and John Twachtman.
The farm has been preserved almost intact, and is one of only two National Parks devoted to art (the other being St. Gaudens in New Hampshire). It is run jointly by the National Park Service and the Weir Farm Trust, which hosts artists to enjoy the inspired setting. Only one artist at a time is selected for a residency; mine was two weeks long.
I lived in the former cottage of the farm manager and his family. In the lovely attic studio, I produced eight cityscape collages in gouache on Bristol board, which I am now translating, along with ten more done before and since the residency, into oils on panel. Below is a preview; high-quality digital images will be forthcoming on the website.
(left)
Julia Hensley
Cranium's Coffee
Gouache on Bristol Board collage, 2006
5" x 6"
(right)
Julia Hensley
Cranium's Coffee
Oil on Panel, 2006
9" x 7 1/2"
Weir Farm Trust Residency in Wilton, Connecticut
www.weirfarmtrust.org
American impressionist painter, J. Alden Weir, bought the beautiful New England property known as Weir Farm in the 1900's for a painting plus $10. He lived with his family and painted on the farm for the rest of his life, welcoming many prominent fellow artists to work on his property, including Childe Hassam, John Singer Sargent, and John Twachtman.
The farm has been preserved almost intact, and is one of only two National Parks devoted to art (the other being St. Gaudens in New Hampshire). It is run jointly by the National Park Service and the Weir Farm Trust, which hosts artists to enjoy the inspired setting. Only one artist at a time is selected for a residency; mine was two weeks long.
I lived in the former cottage of the farm manager and his family. In the lovely attic studio, I produced eight cityscape collages in gouache on Bristol board, which I am now translating, along with ten more done before and since the residency, into oils on panel. Below is a preview; high-quality digital images will be forthcoming on the website.
(left)
Julia Hensley
Cranium's Coffee
Gouache on Bristol Board collage, 2006
5" x 6"
(right)
Julia Hensley
Cranium's Coffee
Oil on Panel, 2006
9" x 7 1/2"
Subscribe to:
Posts (Atom)