We have an impressive summer lineup and the Education Committee hopes you find just the right workshop(s) for you.

Non-members will be able to take a workshop if space allows.
TO REGISTER, e-mail Abba Cudney at abba@providenceartclub.org
See below for registration and policies

Mike Howat: 3-Day Workshop: Painting the Everyday July 20 - 22
Judy Vilmain: 3-Day Workshop: Still Life Composition and Painting July 27 - 29
Nancy Gaucher-Thomas: 3-Day Workshop: Watercolor Still Life August 3 - 5
Dietlind Vander Schaaf: 3-Day Workshop: Encaustic Layering August 10 - 12
Natalie Featherston: 3-Day Workshop: Still Life Goes on: with Lemons August 17 - 19
Nick Paciorek: 3-Day Workshop: Advanced Color and Composition August 24 - 26
Frances Middendorf: 3-Day off-site Workshop: In the Footsteps of Sydney Burleigh August 24 - 26
Bill Lane and Sam Green: 3-Day off-site Workshop: Painting Outside in Providence August 31 - September 2
Mark Freedman: 3-Day Workshop: Urban Landscape Painting September 7 - 9
Betsy Payne Cook: 3-Day Workshop: Paint the Night: Pastel Painting September 14 - 16
Howat 3-Day Painting the Everyday
Tuesday-Thursday, July 20 - 22
All Things Familiar: Painting the Everyday with Mike Howat

Paint what’s around you and embrace all things familiar and everyday. Sometimes the most seemingly mundane, everyday things can make the most interesting paintings. In this three-day immersive painting workshop, students will create paintings based on their surroundings as well as places, people or scenes close and familiar to them. Using a combination of photo reference, still lives and plein-air work on-site, students will be guided through various representational painting techniques to accurately express what they’re seeing. Students will also explore how things like memory can play a role in bringing a painting to life, or how choices in color palette and lighting affect the mood of a painting. 
Optional short walks in the surrounding downtown area will allow outside work on-site to capture the light and colors from life to help inform paintings worked on in the studio. Basic drawing, color mixing and other painting techniques will also be covered, so all skill levels are welcome.

Location: 3rd Floor Masiello Studio
Class size limit: 15

Fee: $350 member || $450 non-member
Mike Howat is a painter working out of Concord, NH. Since earning his B.F.A. from New Hampshire Institute of Art in 2014, he has been actively engaged in the New England art scene. He shows regularly with Nahcotta Gallery and Kelley Stelling Contemporary, and has shown with Rochester Museum of Fine Arts, Mill Brook Gallery, Chase’s Garage and other galleries in the region. He was the long-term artist-in-residence from 2016-2020 at Kimball Jenkins School of Art, where he teaches classes and workshops, and recently started teaching at AVA Gallery in Lebanon, NH. When not in his studio, he’s likely wandering the coast or the White Mountains.
Vilmain 3-Day Still Life Composition
and Painting
Tuesday-Thursday, July 27-29
Still Life Composition and Painting with Judy Vilmain

So much of the time we artists paint from photographs, whether it’s landscapes or cityscapes or portraits. Setting up a still life in your own studio from time to time gives you the very pleasurable experience of painting from life, and it keeps your drawing skills sharp. It also allows you to have complete control of the shapes, colors, and arrangement of your subject matter. 
But you don’t want to paint another ordinary, boring still life. In this workshop we will go over different types of still life paintings, and explore in detail what it takes to make your still life paintings more compelling:
•  How to find and choose objects to paint.
•  How to arrange objects into a good composition.
•  Different ways of lighting a setup.
•  Common mistakes in still life paintings.
•  How to arrange your studio for still life painting.
You will be painting all three days! This workshop is for representational painters working in any medium.

 Materials List:
•  All your usual painting gear.
•  A variety of supports in different sizes and aspect ratios.
•  A viewfinder.
•  A hand mirror.

Location: 3rd Floor Masiello Studio
Class size limit: 15

Fee: $350 member || $450 non-member
"With the objects I choose, and the way in which I paint them, I'm trying to present a world that feels familiar, solid, and grounded, hopefully providing the viewer a quiet break from the chaos.
Regardless of the subject matter, I'm always considering the formal aspects of a painting: color, line, shape, and surface texture. Using these, I work towards a level of realism that still shows the hand of the painter -- I want the viewer to keep moving back and forth between "seeing" the three-dimensional objects and seeing the paint and brushstrokes that created the illusion. That back and forth is what I find magical in a painting."
Gaucher-Thomas 3-Day Watercolor
Tuesday-Thursday, August 3-5
Watercolor, My Way with Nancy Gaucher-Thomas

Painting on Plate Bristol

In the hands of a Master, a rapidly executed watercolor excites with its immediacy, energy and sheer boldness. What may appear simple in execution can take years to perfect, this medium is not for the faint of heart.
Painting wet in to wet had become my favored approach to watercolor. Working on plate Bristol paper, unlike painting with oil paint, there is a freedom when paint and water are allowed to mix and blend on the surface and the spontaneity of the medium takes over. Once dry, the application of layers of paint result in a transparency and luminosity, and often times a wonderful patina, a quality only characteristic of the watercolor medium.
So much of how I paint has been knowing and learning how to manipulate and guide puddles of paint that flow from the brush rather than painting with aggressive strokes and pushing and scrubbing the paint into the surface. My painting method has become a process of alternating: applying broad areas of color, wiping out areas to create light and dark patterns; adding more color to establish more density or richness of color; rubbing and painting until the image is realized.
In this class we will work from the still life and will experiment and learn the unique qualities and characteristics of working with watercolor ( transparent and body color) on plate Bristol.

Location: 3rd Floor Masiello Studio
Class size limit: 15

Fee: $350 member || $450 non-member
"The process of painting is much more than recording the obvious. Simply put, my work is my personal interaction with and visual interpretation of a person or thing. The goal of which is to push past the surface of materials and technique used in the process of creating, in an effort to convey a personal vision.

More than technique, it is how we as artists, interpret our own personal vision through our medium that elevates an ordinary subject into a work of art, one that resonates long after. I feel strongly in the versatility and flexibility of the medium and go to great lengths to push the medium in directions that may not be considered characteristic to traditional watercolor."
Vander Schaaf 3-Day Encaustic Layering
Tuesday-Thursday, August 10 - 12
Encaustic Layering
with Dietlind Vander Schaaf

This three-day workshop offers participants a deeper understanding of how to develop encaustic paintings that suggest luminosity, depth, and dimension. Emphasis will be placed on creating a sense of light; on the balance and weight of composition; and on expressing meaning through an exploration of accumulating marks, drawings, and image transfers at varying levels. Students will have plenty of time to explore and develop their own personal ideas and visual vocabulary on multiple panels.
Materials: Students should bring multiple unprimed panels to work on ranging in size from 6" x 6" to 14" x 14"; multiple natural bristle hake brushes, including one 3" or 4" brush; a potter's needle; a pear-shaped pottery looping tool (Kemper Ceramic Loop Tool); a pen and notebook; laser photocopies for image transfers (not ink jet); a roll of wax paper, a roll of tin foil, and a roll of blue painter's tape or masking tape. (If you know you will be using a lot of a particular color encaustic paint, please bring that with you as color choices may be limited.)
Instructor will provide 5 16" x 16" R&F heated palettes with burners, 9 Iwatani torch heads, butane gas, 5 R&F heat guns, assorted drawing materials (graphite paper, colored pencils, etc.), transfer paper, metallic foil, and pan pastel, extension cords, palette cups and bread loaf panels for melted paint and medium.
R&F will donate encaustic paint, gesso, Pigment Sticks, blending medium, and encaustic medium, as well as soy wax for the workshop (value $1,100).
There will be a $30/ student workshop materials fee to cover the costs of instructor-provided materials.
Location: 3rd Floor Masiello Studio.
Class Size Limit: 8
Fee: $450 member || $550 non-member
Dietlind Vander Schaaf holds an MFA from the University of San Francisco and an MA from the University of Southern Maine. Her work has been described as “the transformation of disparate objects into elegantly simple compositions of pattern and grace” (Artscope). Vander Schaaf has exhibited at the Cape Cod Museum of Art, Conrad Wilde Gallery, The Fuller Craft Museum, and On Center Gallery, among others, and been featured in Maine Home + Design, Decor Maine, UPPERCASE, and Downeast magazines. She is a Core Instructor for R&F Handmade Paints, an Ampersand Ambassador, and the former president of New England Wax. Vander Schaaf is an annual presenter at the International Encaustic Conference and teaches workshops throughout the country, including Haystack, Castle Hill, Snow Farm, Penland, Maine College of Art, R&F, and internationally at Zijdelings in The Netherlands. The recipient of grants from the Maine Arts Commission and International Encaustic Artists, as well as a Tending Space Artist Fellowship from the Hemera Foundation, she is represented by Portland Art Gallery, Salon Design, and Artemis Gallery.
Featherston 3-Day Still Life Goes On:
with Lemons
Tuesday-Thursday, August 17 - 19
Still Life Goes On: With Lemons with Natalie Featherston

Join Natalie Featherston for a still life painting workshop and learn the fundamentals of color theory. Students are invited to paint what they want- but each composition will include a lemon in order to explore the basics of the Munsell system of color theory. This class will also cover all the things we love about still life: drawing, composition, and capturing textures in oil paint. Open to all skill levels.
What you’ll learn:
Why chroma retention can be the most challenging part of color, and why it matters
How to create a color mixing plan to match hue, value and chroma every time
How understanding color theory can make your paintings more vibrant
How the value-chroma relationship is key in turning form convincingly in your work
How to capture textures in still life
Natalie will also do several demos during the class including making an oil ground panel and how to do oil transfer drawing in preparation of painting.

Location: 3rd Floor Masiello Studio
Class size limit: 15

Fee: $350 member || $450 non-member
Artist Natalie Featherston works exclusively in the centuries old realm of trompe l’oeil, creating dazzling paintings that combine the virtuosity of a Dutch master with a thoroughly modern mind. The Chicago Sun Times has described her work as, “Artful beyond just illusion and trickery, they are truly masterful still lifes made with both craft and wit.”
Natalie says, “What inspires me is the creative voice, whimsy and humor trompe l’oeil allows the artist to express. Unlike portraits or landscape, still life doesn’t simply exist around us. You have to build the stage for the painting, selecting the color and textures. The end result draws the viewer in and connects with them in a meaningful way. This is why I’ve always found trompe l’oeil to be a challenge, and I can’t imagine painting anything else.” 
Paciorek 3-Day Advanced Color and Composition
Tuesday-Thursday, August 24 - 26
Advanced Color and Composition
with Nick Paciorek

This workshop is an expansion on Nick's previous "Color Theory Workshop",
a prerequisite for this class.

We will explore the use of color and composition.This workshop is for anyone that works with color in their profession. Painters, sculptor, interior designers, landscape designers, graphic designers etc. We will explore color and how color works in a composition. 

Prerequisite: Color Theory (taken any year)
Please contact Nick if you have any questions concerning the prerequisite.

(Please do not purchase another Color Aid set if you already have one)

Location: 3rd Floor Masiello Studio
Class size limit: 15

Fee: $350 member || $450 non-member
About Nick: Chicago – the city, its colors, shapes and sounds – shaped young Nick Paciorek's world and brought him where he is today: a renowned artist whose work is seen from coast to coast.

As a teenager, Paciorek spent countless hours at art exhibits. He continually returned to his favorite, an Impressionism collection at a museum in downtown Chicago, impacted by the ability of an artist to control the world on canvas simply through color choice. It was then that Matisse became Paciorek's central influence.

As an artist, Paciorek aligns himself with a new generation of Fauvists. He uses broad strokes of brilliant color for their emotional impact.
Each of his pieces is a celebration of light and color, a vivid interpretation of his subjects. For him, choosing the exact combination of hues for each painting is foremost.
Middendorf 3-Day In the Footsteps of
Sydney Burleigh
Tuesday-Thursday, August 24 - 26 Off-Site
In the Footsteps of Sydney Burleigh with Frances Middendorf

In the summer, Sydney Burleigh would come down to Little Compton and paint. His famous boat studio ‘Peggotty’ can still be seen at the historical society. We will paint with materials that Sydney Burleigh used: watercolor and gouache over pencil drawings on toned paper.

We can paint in the barn but weather permitting, we will frequent the spots where Burleigh painted - the farm fields, the cows, the beach, the old horse drawn carriages, the barns, and the windmill house.

Be sure to bring: lunch/snacks, beverages, portable easel, stool, painting supplies, bug spray, blankets, socks, sun glasses, and umbrella if you like.

There will be livestock of donkeys, horses, and cows -- so if you have allergies, this workshop isn't for you.

Location: Little Compton; exact location to be announced only to those who register.

Class size limit: 20

Fee: $275 member

This very special workshop is for members only, and is intended for seasoned artists.
A bathroom is available. :)
Frances Middendorf has lived in Florence, has a studio in Umbria, and now resides in Rome and Rhode Island. She teaches drawing at the Rome Art Program in Rome, and has taught multiple classes at the Providence Art Club, including Drawing in the RISD Museum and Drawing in the World's Museums. Born in New York, Frances attended the Rhode Island School of Design (BFA), School of Visual Arts, NYC (MFA) and the New York Studio School. She is represented by the Denise Bibro Gallery in New York City.

Following a 15 year commercial art career working for clients such as the New York Times, Newsweek and the Vivian Beaumont Theater at Lincoln Center, Frances Middendorf continued her learning at the New York Studio School. She moved to Italy in 1997 to study with Nicolas Carone and decided to stay. Nicolas Carone (1917-2010) was an articulate describer of the teachings and tenants of Hans Hoffman as well as a friend to many Italian painters particularly Giorgio Morandi. By emphasizing “plasticity” or the link between surface tension and three dimensionality (Hoffman’s push-pull), Carone guided Frances’ painting from the narrative to the poetic.

Frances credits her knowledge of drawing to her artist and art collector father and to New York Sculptor/Painter Bruce Gagnier who illuminated Carone’s teachings with his love of art history, anatomy and pictorial movement.
Green & Lane 3-Day Painting Outside
 in Providence
Tuesday-Thursday, August 31 - September 2,
Painting Outside in Providence with Sam Green & Bill Lane

Take your painting skills outside and learn the logistics of painting plein air with Providence Art Club teachers Sam Green and Bill Lane. They will guide you through the fun (and frustrations) of working outside during this 3-day workshop. All painting locations will be walkable from the Club so that you will have access to parking, bathrooms, food and respite.

Medium: Any and all types. Sam will be painting in oils and Bill in watercolor but please paint in the medium that suits you best. This workshop is not about the medium, although they’ll address the nuances of oils and watercolors during their demos, it’s about painting outside!

In late July (date to be announced), they will offer an afternoon “Meet & Greet” at the Club to review equipment and discuss your materials for successful outside painting. This should give you plenty of time to secure any missing items for our 3-day workshop in late August/early September.

Location: Off-site and 3rd Floor Masiello Studio
Class size limit: 20

Fee: $450 member || $550 non-member
Sam Allerton Green paints often, both inside and outside. The majority of his work is done plein air, on site, in a single session. This forces him to focus on capturing what it feels like to be there, rather than simply replicating what he sees.

Sam grew up in Providence, and studied painting at the Maryland Institute College of Art. He has been an artist in residence at The Creative Alliance at the Patterson in Baltimore, MD, and the Vermont Studio Center in Johnson, VT.
Bill Lane
Artist Statement:
"Everyday scenes from life intrigue me the most; be it a barren skyline, boats at the dock or city life on a busy day. I observe how the light plays into the scene and dances off the subjects. Because of this, I always work light to dark, saving those light values for the “sweet” spots in the painting." 
Freedman 3-Day Urban Landscape Painting
Tuesday-Thursday, September 7 - 9
Urban Landscape Painting with Mark Freedman

I would like to share with people my vision of the modern urban environment, including open industrial spaces and their relationships to more densely populated areas.

Urban landscape is a broadly termed genre. this class will be flexible enough to reflect and respect that. I look forward to instructing and working with people regardless of their proficiency and experience.

Oil and acrylic paints are equally acceptable because I know that some people are sensitive to the
chemicals associated with oil painting. Charcoal, pastels, and watercolors are fine but the emphasis is on oil/acrylic.
Canvas and wood are the preferred surfaces, however I try to be open minded about what people want to use.

Location: 3rd Floor Masiello Studio
Class size limit: 15

Fee: $350 member || $450 non-member
Mark Freedman's Artist Statement

"The urban environment possesses a unique ability to capture and hold light. There is a story in every image that I’ve rendered no matter how minor or cryptic. The beauty of our cities is sometimes obvious, but many more times, ironic. Love? Hate? For me, yes.

I love to paint cities. I love to paint the transportation systems that get us to and around the cities.

That’s my statement and I’m sticking to it."
Cook 3-Day Paint the Night: Pastel Painting
Tuesday-Thursday, September 14-16
Paint the Night: Pastel Painting with Betsy Payne Cook

The changing atmosphere from dusk to night lends itself to scenes of mystery, quiet contemplation and raucous drama. Nocturne paintings of the landscape, cityscape or interior scenes force the artists to shift value and color choices. For three days we will explore the changes that happen after daylight has disappeared and our view has limited natural and manmade lights giving us a chance to sprinkle with a bit of imagination.

Through demonstration and exercises Betsy will share key strategies and tips to paint scenes from dusk to night. Preliminary work will focus on the partnership between value sketches and notan designs to enhance your composition for an end of day setting. Creative color options will infuse personality into the night scenes, and Betsy will introduce way to heighten that emotive quality. This is a great time to use those brilliant colors in your palette!

Besides painting on traditional sanded papers, you will prepare our own pumice coated boards to use in this workshop. On day one, we will prepare textured pumice boards and dive into preliminary value, notan and color studies to set a plan for at least two paintings. Day two and three we will paint on black/dark sanded pastel paper and on the prepared pumice surface.
Betsy will provide daily demonstrations and encourages opportunities for class interaction. She will provide plenty of individual easel time to meet needs of the artists. Painting is about challenging yourself to try something new and experiment. There will be at least two group critiques. Handouts will be provided.

In addition, there will be a fee for the materials for the textures surfaces we will be making. You will have choices of gatorboard sizes ranging from 9 x 12 to 12 x 18. We will be preparing surfaces coated with gesso and pumice ground.

Location: 3rd Floor Masiello Studio
Class size limit: 15

Fee: $350 member || $450 non-member
Betsy Payne Cook paints exclusively with pastels, and is honored to be a juried artist member of the Pastel Society of America and to have achieved signature membership status with the Pastel Painters Society of Cape Cod (PPSCC) and the Connecticut Pastel Society ( CPS). Betsy is acknowledged as a juried Master Artist at the Cape Cod Art Association. She participates in local and national juried exhibitions, and is a gallery artist at Woodruff’s Art Center in Mashpee. Her pastel paintings have been exhibited in many competitive regional and national juried exhibitions having won numerous awards including Best of Show for the Pastel Painters Society of Cape Cod in 2013. She is a member of several art organizations and pastel societies, including the Plein air Painters of Cape Cod Art Center. Betsy is also an art mentor with the ArtWorks Program for high school students interested in pursuing a career in art.

Betsy records her thoughts and experiences as an artist in her newsletter and blog “Painting In and Out” sharing snippets of her life in the studio and painting outdoors ( plein air). In January 2021, Betsy began hosting casual monthly Virtual Open Studio Visits for her followers. Betsy teaches pastel and plein air workshops and classes, and is on the faculty of the Falmouth Arts Center and the Cultural Center of Cape Cod; and is a guest instructor /demonstrator for regional organizations and societies including the upcoming Plein Air series of workshops hosted jointly by Cape Cod Art Center and the Cape Cod Museum of Art. Betsy enjoys planning plein air painting workshops and retreats, artists painted with her in Wales, Great Britain in 2017, and her 2020 retreat in Italy has been postponed to 2022. 
Register by emailing Abba Cudney at abba@providenceartclub.org

Workshop Enrollment
Workshop size is limited and enrollment is on a first-come, first-served basis. Providence Art Club members will have the first opportunity to enroll. If enrollment maximum is reached, you may add your name to a wait list. The Art Club strives to provide the highest quality art classes in various media.
Cancellation Policy
+ In the event you are unable to attend a workshop you have registered for, please contact Abba Cudney
+ The Providence Art Club may find it necessary to cancel a workshop due to low enrollment or other scheduling conflicts. If this occurs, registered members will be contacted and refunded the full course fee.
Contact us:
Providence Art Club 11 Thomas Street Providence RI 02903
(401) 331-1114