The Edgar Whitney Watercolor Site

Biddeford Pool...shared by Leslie Frontz

2012-01-12T11:54:00.000-05:00

You can't read much about Edgar Whitney without getting a taste of the Maine coastline; the visual rhythms created by boats, docks, sheds and water all creating a sort of colorful chaos for the plein air painter to decode with watercolor on paper. Blog reader (and now contributor) Leslie Frontz shares some images from her time with Ed Whitney in 1978 at the Biddeford Pool, and what she describes as a turning point that led to her painting career.... more about Leslie at http://www.frontzstudio.com/

Biddeford Pool....

Early one August morning, my husband and I loaded our car with my painting gear and headed east on a pilgrimage to Kennebunk. Like most rites of passage, this one inspired both hope and fear. I’d heard first-, second- and third-hand stories about Edgar Whitney’s “summer tours” from other artists. His workshops were legendary, as were his commentaries.

Edgar Whitney 1978 photo by Leslie Frontz

Once out on the highway, a sense of excitement held sway. Whitney’s book, Complete Guide to Watercolor Painting, provided the hope. I had struggled to learn how to pull together a watercolor painting with very limited success. Worse yet, it was already apparent that technical mastery was not going to be enough. An even bigger piece of the puzzle would be learning how to organize the painting. Although there were any number of instructors who could define the elements and principles of design, there were frustratingly few artists who could actually explain how to put design to work for any subject in any style. The Complete Guide had been a revelation, and I wanted to see for myself how Whitney applied his strategies.

photo by Leslie Frontz

Our first day at the workshop promised to be outstanding. A clear, sunny morning dawned, and Whitney’s first demonstration was scheduled for Biddeford Pool. Paintings of this site had been reproduced in his book, and I was eager not only to see him paint, but also to have a chance to paint the scene myself. We nosed the car down a rough track and pulled up when we spotted a few people congregating. I remember being unimpressed by the setting and wondering how Whitney had translated this subject in his paintings.

Leslie's painting from this 1978 workshop

I soon found out. Whitney built shapes, established color and value dominance, and accented the center of interest with line and texture. He did nothing by “halves.” There was only more or less, greater or lesser. It was the relationships that counted.

That afternoon, I started to paint instead of just applying paint on paper. submitted by Leslie Frontz 12/14/2011

Watercolor Road Warriors...

2011-12-15T17:15:00.000-05:00

In addition to my fascination with the medium of watercolor, I have always found the social dynamics of watercolorists unique and interesting. Especially, the origins of the watercolor workshop, plein air expeditions, and the energetic and creative atmosphere found in many of the workshops I have participated in and taught. I don't mean to imply that the creative and social energy in these settings is the sole property of watercolorists, but since that is where my personal experiences lie, it is all I have as a frame of reference. I sometimes read and think about what it might be like to study painting formally at a reknowned atelier with a master instructor, but following the thought eventually makes my throat tighten up and my legs jittery.

In the watercolor workshops I have been involved with, the participants seem to vacillate between moments of intense focus on the instruction, round-robin vocalizations regarding their struggles with the medium, and fortunately, numerous episodes of humorous asides. Of course, there have been exceptions, but over the years, the majority of my experiences have been fun and fulfilling.

Ed Whitney never discounted the social aspect of what he did. He was admittedly an entertainer in addition to doling out solid information and challenging his students, often in a dramatic manner. Personally, I feel that instructors who do offer a bit of the entertainer flair and are also willing to support the growth of a light-hearted group dynamic, often succeed in reducing many of the tensions and inhibitions that impede the creative process. Anyone who has taught a week-long workshop understands the challenges present amidst the fun.

In a class of twenty participants, there are twenty individual agendas and accompanying levels of anxiety. At one end we have the very serious student who expects to make every minute count, up to the point of their final critique. At the other, we have the socialite who attends primarily to have fun, and if a painting results, so be it. I find it interesting that our modern watercolor workshops accommodate both extremes with relative success most of the time (just ensure that their work stations are as far apart as possible). Advertising preferred skill levels can certainly help, but rarely have I had a homogenous group with regards to experience. I have noticed that my teacher and friend, Cheng Khee Chee, apologizes in advance to participants during the opening session should they feel short-changed from receiving the expected amount of individualized attention they hope for. Something tells me he knows that is bound to occur with at least a few persons.

While I have done my share of instruction over the years, I consider myself unqualified as a road warrior. Being an academic and somewhat of a homebody, the majority of my experiences have taken place within the luxurious confines of the Cheap Joe's teaching facility, with every painting supply imaginable ten feet away in the adjoining retail space. Most of us are very familiar with the first generation of Whitney followers and the instructors that followed in his footsteps: Webb, Nechis, Rudman, Lawrence, Van Hasselt, and many others, all paving further pathways for us to travel down with their workshops, books, and demos. I do vicariously enjoy the stories of travel via friends like Sterling Edwards, whose continental drifts into Canada and workshopping schedule has at times made my head spin. No one has more successfully chronicled the life of the traveling instructor like Don Andrews, in his enjoyable and humorous book, Rough Sketches. I also enjoy following the travels of Facebook friends like Nicholas Simmons and Mark Mehaffy as they gain recognition globally, push the boundaries of watercolor, and build relationships and followings in places like Nanjing, China, and beyond.

I think about all of these current dynamics in contrast to the early years of O'Hara's Goose Rocks school on the incredible coast of Maine. Based on O'Hara's books, instruction was clearly more formalized then and included numerous time-consuming color drills and brush handling practice sessions (64 of them actually!). I cringe to think of the reaction of most participants today should such instructional methods infringe upon their workshops. Yet, in the thoughtful, methodical, and technical approach to teaching watercolor that was Elliot O'Hara, nothing at that time could seem more valid or helpful to a budding artist's development. What if we could return to that point, slow down, lower our expectations and actually do several days of color and brush drills? We would all likely need to be medicated, but some small part of that approach is still appealing to me.

I also imagine the intensity with which Ed Whitney studied the work of O'Hara and countless others during his own artistic development. A few years back, Whitney's personal O'Hara book was on the rare book market, complete with scribbled side-notes on almost all of the pages. I am interested but clueless as to where it may have ended up. Then, there proceeded the long string of years where Ed Whitney taught at Pratt, followed by hundreds of workshops and thousands of miles all over the country. He traveled and taught through declining health well into his eighties. In Ron Ranson's book Watercolor the Ed Whitney Way, we clearly see the impact he had upon the great watercolorists and instructors of the following era. But, think also of the countless others over a fifty-year career that participated in some form of the Ed Whitney watercolor energy, focusing on "the most beautiful thing that exists, light."

I don't think it is a major stretch to think that his efforts (and their domino effect) provided significant fuel to a movement that has resulted in a global community of passionate watercolor painters. Of course, there were many other instructors out there crusading in the Whitney era, and he would likely be the first to call them out as equal contributors. However, I do think that his laser-focused passion for watercolor and teaching his design tools and rules during this period would be hard to trump. An interesting question now that we are all globally connected might be: "Who were the Ukrainian, Chinese, Thai, Malaysian, South American, Indian, (and other) Ed Whitneys?" Clearly, from the excellent watercolors posted on a daily basis all over the world, others like Whitney were hard at work proselytizing the medium in other countries. It would be great to someday read about them as well.

We focus on making art, capturing the essence of the subject, learning techniques, demonstrating and teaching. Open to the back of any one of your art magazines and for a few minutes, focus only on the workshops offered. Think of the countless hosts, the travel, the facilities, the logistics, the seasoned instructors and the thousands of diverse participants. One of my favorite professors in graduate school, Dr. Jack Mulgrew, taught Gestalt therapy and reminded our class: "Every group that comes together for a distinct period of time has a beginning and an end, a life and a death. Upon departure, that specific and unique energy will never exist again." I always think of that every time I do a final critique, and folks begin to pack up their ArtBin Totes for the Friday afternoon journey back from whence they came. It is quite a legacy to be a tiny part of.

(1966 Whitney Station-wagon photo and 1969 Newspaper Ad courtesy of Naomi Brotherton)

Tribute to Dr. Faber McMullen, an Ed Whitney student and watercolor benefactor...

2011-11-07T18:06:00.000-05:00

It came to my attention today that Dr. Faber McMullen, a past contributor to this blog and Baylor University benefactor had passed away in a tragic farm accident not long after the dedication of the Faculty Center and Art Museum that bears his name. I corresponded with Dr. McMullen, a former Ed Whitney student, regarding his experiences with Whitney and the dedication of the Baylor University McMullen-Connelly Faculty Center which housed Dr. McMullen's extensive collection of original watercolors including many Ed Whitney pieces.

(Dr. Faber McMullen and his wife Roxanna Connally McMullen, 2008)

A memorial article about Dr. McMullen can be found here.

The previous blog post on this site regarding Dr. McMullen can be found here.

Though highly successful in the medical field and in many other endeavors, Dr. McMullen held his experience as a student of Ed Whitney in the highest regard. His contribution to watercolorists via the Baylor University Faculty Center / Art Museum is one of grand scale, and one by which he will long be remembered.

Still alive and well...

2011-09-02T13:12:00.001-04:00

(above: Booming Surf, Edgar A. Whitney) This blog title stems from a song by veteran blues-rocker Johnny Winter. Johnny performed recently in Asheville, NC, but after many hard years on the road does so sitting down now. Though Johnny has gone through some hard times and many changes, he still maintains an intense passion for his art, playing blues and rock and roll. Several folks have inquired about the status of the Whitney blog which has been inactive for too long. In relation to the blog, I suppose a better title could be Still Alive...But Changing. I have allowed the effort to falter due to number of personal demands over the past year that I won't go in to, but also felt the need to re-evaluate the current and future approach to the site.

(Ed's Palette 1966) While I disagree that the blog role in social media is dead as some claim these days, it has a different role than it did a few years back. From my Facebook window I can view and comment on fresh off the board watercolors posted by friends in Malaysia, India, China, Macedonia and Seattle. Facebook has certainly confirmed for me that watercolor as a medium has never been more alive and vibrant. Social media then is primary, but filters participants (who want more on a topic) down to a blog. So, in a sense, the blog has become the root folder in technological terms. When combined with the conduits of Facebook and Twitter, a blog still offers great possibilities to expose watermedia painters worldwide to the importance of Whitney as a teacher and watercolor icon.

But, in my view, it is now time for this blog to go beyond collecting memorabilia from the Whitney era and reflections on his colorful teaching career. We must also move toward developing the site as an Ed Whitney focused instructional resource for watercolorists of all levels. Allowing those new to Whitney teachings the ability to see his many quotes and maxims in action and demonstrated via wonderful watercolors from around the world is one of the ways I envision this occurring.

We also shouldn't forget that there are still many former Whitney students, now instructors, out there in action still turning watercolor newcomers on to Whitney philosophy and design principles. A good friend taking up watercolor recently sat in on a Frank Webb workshop and afterwards came up to me gushing over this amazing painter and watercolor teacher that he was just exposed to. Thanks to Frank for helping me get this effort to this point, and for continuing to promote Ed's teachings as vividly as ever!

I don't plan for instructional posts to completely replace the original purposes stated for this blog. With help from others, I will continue to track down and post as much information about Whitney the artist, the character, and one of the founding fathers of the watercolor workshop as possible. I also don't perceive that this will evolve in to a major w/c teaching site. There are hundreds of great demos and teaching clips posted daily. In fact, there is so much instruction at our disposal that I sometimes fear it eclipses the very act of simply painting, and, painting simply.

My vision for moving to an instructional realm will also be simple and I have recruited a few new friends to help out on this front. This is likely to be a slow evolution, as I find that I have no more hours to work with today than I have had over the past year. All I can say is that with a little help, I am excited about getting the blog re-established and continuing to promote Ed Whitney's ideas and principles. His message and specific teachings are as relevant today as during his era, perhaps more so. I'm not sure how you feel, but I find it increasingly challenging to cut through the chaff to find wheat in almost every respect these days. In my view, there is still no better resource than The Complete Guide To Watercolor Painting. I find it to be all wheat. Cheers!

Thanks once again to our wonderful Naomi Brotherton (Texan Ed Whitney student and historian) for the photos of Ed's dirty water palette, and him at the punchbowl, circa1966

Time for a Spring Revival?...Courtesy of Watercolorist Ward Hooper

2010-02-01T16:39:00.027-05:00

As an outdoorsman and Appalachian Mountaineer I have always held no small amount of pride in my ability to weather a good winter. However, with two full months now of serious snow shoveling I find cause to scream "Uncle" and, to think more and more about those wonderful green pigments of spring that await.

This winter may find most of us a bit more in survival mode for a variety of reasons. As I returned from a meeting across campus today, I came across this young man fund-raising for Haiti amidst a rather cool backdrop. While the powerful color and value contrasts of this landscape didn't escape my notice, my main thought was of how a life making art is a wonderful luxury; a luxury not to be taken for granted. There is no shortage of starving artist references. We also know that Van Gogh certainly produced fine work under extreme duress. However, I think most of us would agree that we focus most enjoyably on our art efforts when well fed, warm and sheltered.

I was reminded of the slump in painting I experienced following September 11th, 2001. Painting during that time seemed accompanied by a certain degree of guilt. Guilt for pursuing what felt a bit like a frivolous luxury while so many suffered. Yet, if we are so fortunate to dodge the bullet; we do what we can to help and (to paraphrase Ed Whitney) we re-energize ourselves for the task ahead and get busy. I am not entirely sure why our contribution of creative energy and making art is important to the world during times like these, but, I strongly believe that it is.

There must be a reason it has taken me far too many months to post a wonderful contribution from Ward Hooper on this site. When we feel debased, we best return to our base and renew our commitments. A very competent portraiture watercolorist recently emailed me asking for some advice concerning painting landscapes. I once again found myself referring her to Ed's book: "Read the Complete Guide to Watercolor Painting slowly and methodically until you fully understand every design concept Whitney discusses. Then, read it again. Everything you need to know to become the strongest painter possible lies in these pages". I heard back from her today, and evidently the aha experience is underway. Spring is still a few months away, but its not too early for me to do the same.

Ward Hooper of Northport, N.Y. studied with Ed Whitney among others, and still teaches at the National Art League of Queens. You may find out more about Ward and view his colorful and expressive watercolors at WardHooper.net.

Ward writes:

The National Art League in Queens where Ed held his famous Saturday workshops is still a large group of artists. I was asked to do a demo for the opening of their fall season a few years back. Just being there brought back many fond memories that I related to them as I painted. It was a lot of laughs (back then) as almost anything Ed Whitney said was a memorable quote. His critiques showed no mercy. Of the usual Saturday group of 25-30 people, if you were among the 3 or 4 students who received his famous "whose is it" it made your week until the next Saturday!

In regard to a previous blog on this site regarding the influence of the California School, Ed was an admirer of Rex Brandt and Robert E. Wood. In May of 1975, I got Robert E. Wood to come to my hometown of Northport on the East coast of Long Island to give a workshop. In addition, he had a showing of his watercolors at our local gallery. Ed and the Saturday Workshop group caravaned to Northport to see the show. Ed purchased one of Bob's paintings titled Monterey Signs and a photo of the painting appears in Bob's book Watercolor Workshop. I have enclosed some photos of Ed's Saturday workshop demos on Long Island plus a signed print of one of his forest interior scenes. Keep up the good work, wonderful tribute, Regards, Ward Hooper

Thanks Ward for your contributions to the site. Now, lets all go and paint our way in to the Spring of 2010! P.S. If anyone wants to contribute to Appalachian State Hope for Haiti please contact me and I will provide info on how to do so.

Interesting article..The California School

2009-05-20T12:23:00.014-04:00

In the midst of doing a bit of research on the Eliot O'Hara and Ed Whitney relationship and the early era of the east coast watercolor scene, I came across this interesting 1988 publication by Susan M. Anderson on Regionalism: The California View, Watercolors 1923-1945

LINK TO ARTICLE

The article is a bit heavy reading at first but eventually gets to the birth of what is commonly referred to as the California School of Watercolor due to the efforts of painters such as Phil Dike, Millard Sheets, Barse Miller, Paul Sample, Lee Blair, Phil Paradise and Hardie Gramatky...and many others. It also mentions the influence of Walt Disney Studios on Phil Dike (an employee). This era of colorful interpretive watercolor landscape seemed to take hold in the early 1930's, a bit prior to the heyday of O'Hara's Goose Rocks Maine School and well before Edgar Whitney's primary watercolor years. One could infer that some of the California School watercolor energy & design focus made its way east to influence both of these fellows to some degree in their east coast painting and teaching? Any thoughts or comments Mr. Webb?

Ed Whitney...reflections from Barbara Nechis...

2009-03-18T14:40:00.014-04:00

A while back Barbara Nechis (who needs no introduction to most watercolorists!) sent me the info and images below. My sincere apologies to Barbara for taking so long to get it on the blog. Her work has always been inspirational in clearly demonstrating one of Ed Whitney's favorite adages:

Substances obeying their own laws do beautiful things!

To view her beautiful work and find out more about Barbara, visit her website at BarbaraNechis.com

Hi Wes,
Frank Webb just told me about the blog. Here are some photos I took in
Whitney workshops in Kennebunkport between 1969 and the mid-70's and also a
painting I bought from Ed. I scanned them some time ago and would have
difficulty finding the originals. I was monitor of his Round Hill CT class
for several years.

Most of my memories of that time (along with those of my colleagues) are in
Ron Ranson's book Learn Watercolor the Edgar Whitney Way

In the one with Doug Walton, I think that is Webb in the upper left.

In the Whitney Lecture, that is me in the lt. blue jeans, long dark hair. I
had taken Ed and some of the class members to the Mamaroneck Artists Guild
juried exhibition at a gorgeous contemporary church in White Plains. This
was a multi-media show and some of the exhibitors were Carl Molno and Mike
Rossi. I was president of the guild at the time. Ed said it was the best
presented exhibition he had ever seen. It truly was - we dragged in pebbles
for a sculpture garden and probably hung each piece at least 3 times in
order to best present it. I lead a caravan of cars from our class in CT to
the exhibition with Ed directly behind me. As we approached the toll booth
on the Hutchinson River Pkwy, Ed speeded up and passed me. As I went through
the toll, the collector told me that the gentleman preceding me had paid my
toll.

Feel free to use this info as you wish.

Best regards,
Barbara Nechis

Whitney Memorabilia...

2008-11-12T18:28:00.012-05:00

Frank Webb recently shared two pieces of Ed Whitney Memorabilia from his personal collection of letters and images. The first, a Whitney letter in which Ed espouses on the virtues of Aldous Huxley as the result of a book gifted by Frank. As anyone who has carefully read Whitney's writings can attest (or viewed his bibliographies), Ed was a voracious reader and didn't shy away from the deeper philosophical works. He not only "devoured" books, but dissected them, making sidebar notations of what he strongly agreed with, or vehemently contested!

The second, a 1974 workshop brochure inviting participants to Mexico (in January...sounds like a great idea!). Frank remarks that Carl Molno is responsible for the wonderful Whitney portrait on the brochure cover, "I believe that Carl Molno designed this. He was one of the most advanced of Ed's students. I have always believed this to be the essential Ed. Many capable students drew or painted Ed, but this is the magnum opus."

I love the Huxley quote that Ed refers to in his letter to Frank:

The quality of a mind was best proved by the pertinence of its analogies

As always, thanks Frank for sharing this with us.

Ed Whitney, Deep in the Heart Of Texas...

2008-10-10T11:26:00.026-04:00

A while back I began corresponding with a wonderful woman and watercolorist, Naomi Brotherton of Carrollton, Texas. Naomi has a long history as a fine painter, instructor, Whitney student and colleague. She has also been a major contributer on the organizational front of advancing the medium and to fellow watercolorists in general. It is always a delight to hear from her. Naomi's energy and enthusiasm for watercolor and making art still shines through, even across cyberspace! Naomi's friend Anne Bedford has generously forwarded me a collection of vintage Whitney Workshop ads from the pages of 1956-1969 Artist's Magazine. Her contribution to the site is greatly appreciated as well. It is with pleasure that I allow Naomi to share her story with you for the Whitney archives. In addition, I am able to illustrate her story with her beautiful watercolors. Clearly, Ed's design influences are apparent in her skillfully executed work. I suppose he is somewhere saying

Thank God for scholarship!

Hi, Wes, Here at last is my story... my association with Ed Whitney and the resulting organization, Southwestern Watercolor Society, now 45 years old and very Alive and Well. They recently had a "This is your Life" program about my part in all this.... a nice reward. I am glad this will go in the records as to how Ed happened to come this way.

Best wishes,
Naomi

How Edgar A. Whitney started teaching in Dallas and the South

While living in New York City in the early 1950s, I discovered an ad in the American Artist Magazine. It offered a two week watercolor workshop in New England traveling in the teacher’s station wagon. It sounded very interesting, but I knew nothing about this person, nor about his work. About that time his first book was published and the paintings were exciting. I wanted to learn more about watercolor from this teacher, Edgar A. Whitney.

Having written for information about the workshop, I was on Ed’s mailing list, and received a post card inviting me to join his class for Memorial Day week end out on Long Island. Cars were needed to transport some of the other students.
I had a car, so planned to go. The thought was that If I found myself in the wrong company, I could come home. Well, of course I had a ball, and was eager to learn more about painting from this dynamic teacher. I immediately signed up for one of the summer workshops in 1953. The trip was with 8 students and Ed in the station wagon. Luggage and plastic water jugs rode on top and watercolor bags were strapped on the open tailgate. Rain brought out tarps, to protect the exposed baggage. I recall that as we made our way up to New Hampshire the first day, Ed announced in his booming voice, “There will be no “lolly pop” trees painted on this trip.” Shocked, this little Texan was in awe of the man.

The two lane asphalt roads were higher in the center than on the edge, so Ed drove down the middle of the road, so as not to wear the tires unevenly. That was scary at times. Each day consisted of painting at two different locations with “tailgate lunch” between, and a group critique ending the day. Ed took pride in painting a demo in one hour or less to get students started at each location. One day, he painted an entire painting of a light house using only his 2 inch brush in the actual time of 5 minutes. Going from location and in the work clothes of the day, the class was welcomed at the best seafood restaurants in the area. Idlease Motel in Kennabunk Port, Maine was the longest stop, but the area provided a wide variety of subject matter including woodlands, light house, surf and rocks, lobstermen’s shacks, ocean vistas, boats, etc.

A one week trip was planned for the week after Labor Day, and I decided to take advantage of that one also. Before the next summer my husband and I had moved back to Dallas, TX, but that year I flew up to New York to make another trip with Ed’s workshop. By then other cars were joining the caravan, as his class was becoming popular. Lem and I settled into life in Dallas and began raising a family.

About 9 years later I learned from one of my workshop roommates that Ed and his wife, Opie, were planning a trip to California to visit some of the west coast watercolorists and for Ed to paint as they traveled. I invited him to return through Dallas to participate in an Art Fiesta put on by the Artists and Craftsmen Association (ACA) of Dallas. He timed the trip so as to do so. He took a booth in the show and later did a demonstration for their regular program. Plans were immediately forming for them to return to Dallas the next March for him to teach a workshop.
I worked up a class for him, found suitable locations to paint out, or in case of inclement weather, a place to paint indoors. Maps had to be made and mimeographed. The cars would meet at a location near downtown Dallas, and caravan to location. Ramon Froman, a Dallas portrait painter, would follow the procession of up to 25 cars, and try to keep anyone from getting lost. The class was held on Saturday and Sunday, and two week days… for 3 weeks each year. At the end of each workshop, Ed and Opie hosted a party for the group at their motel room. That was cozy and fun.

After they had made the trip from New York to Dallas and back the first year that they came to hold a workshop, Ed and Opie decided getting out of the north in March was a good thing. Word got around and he was invited to teach in Florida, so he combined it with the Dallas trip. Then the New Orleans area wanted him, and Houston, Ft. Worth, San Angelo and Pittsburg, TX were other workshops that evolved out of the Dallas trip. One year Jo Taylor and I followed him to his Joplin, MO workshop.
About 1962 I asked Ed if he thought I knew enough about watercolor to teach it. He said, “Teaching a subject you will learn more about it than just practicing it.” I did so, phasing out my commercial art, and found myself constantly quoting the man in my own classes. In 1963 the Dallas Whitney class plus students of Bud Biggs and Reese Kennedy organized the North Texas Watercolor Society, which was soon renamed Southwestern Watercolor Society. With Reese Kennedy as the first president of SWS , the organization got well established, and they started sponsoring Ed Whitney’s annual trip to Dallas relieving me of the responsibility. Ed was very proud that he had “Spanked the baby” to get SWS started.

Whitney introduced the use of the demonstration mirror. He carried one in his station wagon along with a portable rig to suspend it over head. He claimed that 100 people could see the demo using that rather small mirror, which was proved so, by the attendance at his demos. Having found that it worked, SWS soon had one of their own.
Ed continued to make these winter/spring journeys well into his 90s. Cataract surgery and hip replacements through the years didn’t slow him down. In 1984, the last year that he taught in Dallas, he hired a driver for the trip. He realized that his reflexes were not as good as they should have been, but the dynamic teaching process was still there.

Edgar A. Whitney died in 1987 at the age of 96.

Submitted by Naomi Brotherton July, 2008
www.artisansstudio.com

Thanks so much Naomi for your important historical contribution to the site! I have several other posts coming soon with contributions from Barbara Nechis and Frank Webb. I also welcome Ward Hooper to the site, a Whitney student and fine watercolorist (who maybe can be talked into a submission?). Please be sure to Subscribe to future posts and as a site Follower at the new links on the left column. As the site grows this will enable you to get automated notices of new posts (and I will not have to manually send out notices). Stay tuned!

Thirty-nine Edgar Whitney works featured at new Baylor University facility...

2008-09-08T18:13:00.042-04:00

Greetings all! My apologies for a dry spell in posting. Summer seems to have gone by at warp speed for me with the "art season" in full bloom here in Boone, N.C. I did my best to convert a few new Whitney followers during the Cheap Joe's Annual Trade Show workshops and also gleaned a few possible contacts. Unfortunately, this will be the last Trade Show on the agenda as it had become a rather huge undertaking logistically. The good news is that I have received some great Whitney info and have at least 2-3 postings to work on, so lets get started!

One of my ancillary goals in creating this site in addition to collecting personal info about Whitney's workshops and followers, was to track down where some of his original works currently reside. Last summer Frank Webb connected me with Whitney collector, student and personal friend...Dr. Faber McMullen of Texas.

Dr. McMullen remains an avid watercolorist and was the personal physician to Ed and Opie Whitney. To say that he was a collector of mid-20th century watercolorists is an understatement (as you will soon find out). On the Baylor University Campus at Waco, Texas, a Faculty Center will be dedicated October 3, 2008. This my friends is no ordinary Faculty Center, but one that will house and display McMullen's extensive collection of works (280 pieces) in a variety of mediums spanning 40 years.

I will name a few artists featured in the collection in addition to Edgar Whitney: Charles Burchfield, Gerald Brommer, Rex Brandt, Cecile Cardman, Phil Dike, Don Dennis, Henry Fukahara, Polly Hammett, Dong Kingman, M.S. Kaneko, Ray Loos, Carl Molno, Barse Miller, John Marin, George Post (extensive), Elliot O'Hara, Carlton Plummer, Millard Sheets, Zoltan Szabo, Jo Taylor (extensive), Frank Webb, Edgar Whitney (39 works), Robert Wood, Frederick Whitaker, Milford Zornes...and others. Does it sound like a trip to Baylor is in order? It is my guess that this may be one of the (if not the) most extensive and cohesive collections of historically significant American watercolorists of this era.

Dr. McMullen took the time to respond thoughtfully to my inquiry and I will share a portion of his letter below:

Unfortunately time changes things dramatically and irreversibly, even though we wish that this would not be so. Even in the academic world one can not imagine that generations that follow would not know our professors. Each generation has its teachers, beloved professors, shared experiences and times. Those that follow in ten or twelve years have theirs and then the whole situation changes again. Ed Whitney was ours, not the possession and gift of the generation that follows. The other day I was looking at the art that was accepted for the 2008 American Watercolor Society Show and I realized that the art submitted by Milford Zornes, Dong Kingman, Edgar A. Whitney, Barse Miller, George Post, Phil Dike or Robert E. Wood thirty years ago would not be accepted today with the emphasis on photographic realism. ...What really is the legacy of Edgar A. Whitney? I believe that this one person cut through the raised, confusing dust of the art teachers, meaning nothing words of the so called critics, and the cataract of misinformation published in design textbooks, to make all of the truth known about art discovery understandable to our generation. While Edgar A. Whitney lived, more of his students were members of the American Watercolor Society and the National Academy of Design than those of any other living teacher. It is my hope that this collection which includes most of the very best Whitney produced will be a tribute to this splendid teacher and that this effort will inspire future teachers to not only know, but teach, the principles and the essentials of design order. ...Kindest Regards, Faber McMullen, Jr.

This enormous gift to Baylor and the world of watercolor has been funded by the McMullen Charity Family Partnership.

To view Dr. Mullen's response letter (in full) and to see the entire collection listing that will be housed at this site, I have provided a PDF link below. You will need Adobe Reader plug-in if you do not already have it. Enjoy and begin planning your trip to Baylor! P.S...I am still seeking information from anyone re: Robert Conlan, the executor of Whitney's estate and a long time personal friend and student of Whitney. My emails and letters of inquiry to Mr. Conlan have gone unanswered thus far, and I find it unusual that he would not be interested in this effort if he has received them. I certainly don't wish to aggravate Mr. Conlan, but just wondering if any one has info about his status? Stay tuned... my next post will introduce you to a bit of Texas Whitney history.

Here is the link to the complete info: McMullen Letter and Collection Listing (pdf)

One last aside...I added a new Google Gadget on the left sidebar, a Follower feature that will allow you to be notified of new postings. Please sign-up to stay informed of progress with this effort!

Edgar Whitney's on Location Set Up...

2008-06-10T16:59:00.000-04:00

Dear Wes, Here is a piece of blog:
(Blogspot Photo and text by Frank Webb)

This image shows Ed's gear used on location. The right side shows a masonite panel that sits on folding legs and is within reach of Ed from his seat on a 16 inches high campstool, At top center is his palette box that has only a two inch alley between color banks for gathering color. This palette was originated by Eliot O'Hara and the idea is that the painter should mix color on the paper and not so much on the palette.You will notice that the palette is separate from the box and is slanted in two directions to keep sullied color from the mounds of fresh paint. This box was made by Grumbacher and I believe it was item no. 964. The palette box shows an array of brushes. His workhorse of a brush is shown at bottom, center. It is a two inch flat squirrel hair, Grumbacher Mottler. The rectangular, cellulose sponge is used for adjusting the amount of charge in the brush by touching the sponge after charging. Ed's water pan is shallow. This facilitates his banging his brush on the bottom to speedily clear away the paint in his brush.
Not shown in this picture is Ed's painting board which he usually placed on top of his half sheet painting bag. This was placed on folding legs and was therefore level with his gear to his right. In future blogs I expect to show other images that might help to focus on the production and the aesthetics of watercolor.
On a philosophic note: One day Ed asked me to shared my shortest definition of art. I thought a moment and then replied,

"Embodied meaning"

This was a quote from Louis Reid. Ed then shared his favorite shortest definition which was from Santayana,

"Pleasure objectified"

Conversation with Ed was often peppered with quotes and aphorisms.

Sandy Sandy thinks Whitney was Dandy...

2008-06-09T16:19:00.000-04:00

Happy summer all! Its nice to feel a renewed sense of interest in our Whitney effort as we enter the prime workshopping season. I acknowledge having back-burnered the effort for a while myself...funny how a new one-year old daughter in our household seems to keep me off the computer and away from the watercolor slab a bit more than I anticipated. But..with the Cheap Joe Tradeshow and workshops around the corner I am having to rally my rusty instructional skills. I look forward to help from a number of persons who have expressed interest in tracking down new contributers to the site over the next while. Especially any great Whitney workshop stories and photos. Sandy Sandy (yep that is her real name) provided another Whitney testimonial and a few great quotes from others about Whitney. Also, a great photo of a very happy Frank Webb. I hope to set up a linked page soon that will compile the many Edgar Whitney quotes that have provided inspiration and insight for multitudes of painters. Don't give up on us and keep checking back. If anyone has any insight into the status of Mr. Robert Conlan, or a means of contacting him we would love to gain his support and possible contributions for archiving.
From Sandy Sandy...

I'm proud to call myself: "third generation Edgar Whitney". Years ago, I was permanently changed by his book,"Complete Guide to Watercolor Painting". It provided many insights into my craft and the principles of design. His writings continue to inspire and direct me. I am also grateful to have studied under some of his star pupils
including; Tony Couch, Joan Rudman, Tony Van Hasselt, Mel Stabin and Frank Webb. All these people carry on with Ed's Creed in their own way, as I do in mine. Today, over twenty years after his death, Whitney's spirit, enlightenment and craft are still gaining momentum and flourishing in the hearts, minds and work of in his many disciples. "Once students had passed through his hands,they were never the same again, and seemed to become completely indoctrinated with his ideas and convictions." ~ Ron Ranson.

From Sandy Sandy's blog...
Dear Friends ~
Edgar A. Whitney spent twenty-five years in commercial art before
devoting himself full time to painting and teaching. He taught at Pratt
Institute in NYC and lectured at New York University. Twenty years
after his death, his book, "Complete Guide to Watercolor Painting"
continues to be one of the foremost and extensive manuals on philosophy,
design, and watercolor technique. In his golden years, Ed demonstrated
and taught workshops from Maine to Florida, producing many extraordinary
modern day watercolor masters while establishing himself as a legend in
the art world hall of fame.

Quotes On Ed Whitney:

"I wish Edgar Whitney was around today. He was so much more than
a teacher of watercolor technique." ~ Monte Guynes

"His critiques were always good theater. He would use any device,
a gesture, description or word to drive home a point." ~ Frank Webb

"On finishing a workshop, Ed would conclude by ending on a philosophical
note. Remember you're the elite who have chosen to spend your time and
money on esthetics he'd say. Others can cheat you, a craft cannot. It's the
only area in life where you get back what you put in." ~ Joan Rudman

Thanks Sandy and sorry for the really bad title pun!

How you doin' Mr, Whitney!...

2007-12-30T18:56:00.000-05:00

With great pleasure I post this recent contribution from Michael Killela....

I thought I would share some of my personal interactions with Ed. Perhaps this might appear mundane but I believe my interactions with Ed revealed the true character of a great man and showed him always to be the teacher, even in the most unexpected places.

I have not lived in New York for more than 20 years. As a teenager, I lived in Jackson Heights not far away from Ed's home.

I met "Mr Whitney" as I called him in those days in the early 80's as he was a regular customer in the local pharmacy that I worked at as a teenager. What a vibrant dynamic gentleman he was. He would come in and I would greet him with my usual "How you doin' Mr, Whitney!" He would look up at me with those piercing eyes and say "terrible, absolutely terrible" to which I would counter "but you look great!" and he would always answer " aw you must be cockeyed!" I think he did it just because he knew I enjoyed it so much so he never changed it.

A year or so later (maybe two) Opie passed. She was in a nursing home I believe and during this time his health deteriorated. I began to deliver his medicine and other items to him during the next several years. When I would get there we would have our usual beginning exchange and then we would discuss art. Not painting per se, but art in general. I was a musician facing choices of style, and what I perceived to be ethical questions over pursuing money or keeping my art pure. Those treasured 20 to 30 minutes I had with him each week or so were the most influential I ever spent with anyone in my life. He told me several times that "there are only two things that matter in life- your friends and your art, everything else is worthless". He challenged me to make sure the decisions I made were ones I could live with.

I never lifted a brush and never showed an interest. We hardly looked at his work that was all over his house. It was the man, the teacher that I hold dear and consider one of the most important influences in the person I have become. He was remarkable. I surely can't speak to his art. But I can speak of his heart-. Pure and uncomplicated. He had the ability to lift your spirits and at the same time make you feel like you forgot your homework. Ever the teacher, he wanted to pass on the passion and conviction that guided him. In that, I can assure you he succeeded.

I am not cockeyed, as his accusations went, and it was Ed's presence, wit, and style that left the world a better place because he lived in it. I can still hear him screaming at me for refusing the tip money he wanted to give. He had already given me something priceless that will stay with me forever.

In Tribute,

Michael Killela

Frank Webb on Edgar Whitney.....

2007-11-28T11:08:00.000-05:00

Ed Whitney would sometimes find an unattractive spot in a painting that he was critiquing. He would handle this by saying that the student should make something beautiful near the bad area so that attention would be directed there instead. To clarify this he would tell of the lady who had had a goiter operation should buy a lavaliere. Such an attractive jewel at her throat would command attention, making the ugly spot less noticeable. One day Ed asked me if I had ever read my student's notes. “No, why do you ask?” I said. Ed replied, “This morning at breakfast at the Narragansett I asked Mary if I could see her notes made at my critique the day before. She had written, ‘If you’ve had a goiter operation, buy a chandelier.”...Frank Webb

Edgar Who? ...Is he scheduled at Kanuga?

2007-09-24T16:46:00.002-04:00

When I have mentioned this idea for an Ed Whitney web archive over the past few years some have thought it a great idea, a few have questioned my motivation, and a few more have replied Ed who? Skip's take on the status of Ed in today's watercolor world is that a growing number of workshop participants haven't a clue who Whitney was. While watercolor (as a medium) continues to grow and has diversified in countless ways, I for one simply can't let go of many aspects of the Whitney era (another one of Shirley Landgraf's photos from 79 to the right).

Though I was never a direct participant in this mid-century rise of watercolor, there was clearly a spontaneity and expressive approach conveyed that I find crucial to my creative process. Here I am, several generations removed, still impacted daily as I paint by wisdom and energy generated from efforts thirty years back. "The Complete Guide" is still a constant reference for me. I own well over 200 painting related books many of them fine publications, but this is the one I would grab if the studio were on fire (Light and Shadow would go of course, if I could manage two books). When in a slump it is back on my nightstand. Ed's reference bibliography alone at the back of this book could supply a lifetime of deep art and philosophical reading. Could be my bent for the nostalgic I suppose, or some have indicated that my enthusiasm is due to never being personally subjected to a Whitney critique.

Why just Whitney as a focus? Certainly, countless others such as O'Hara laid critical and equally important groundwork prior to Ed Whitney and deserve equal if not greater billing. How true! My hope would be that this effort might encourage other such efforts to sprout that would address other and earlier greats, with at least one legend still living as I write (Milford Zornes). An effort to document the California School legacy could be a lifetime project for someone. Any takers? As mentioned in the inaugural blog, this is all but an experiment and I will focus on Whitney because blogs ARE personal efforts, and the Edgar Whitney story (to borrow from Neil Young) is "most innaresting to me".

Frank Webb confirmed in a conversation over the summer that although at least one book has been written on the Whitney legacy (Ron Ranson's Learn Watercolor the Edgar Whitney Way), many other resources remain in the form of individuals with deep and long lasting associations with Ed. Certainly, a number of them are highly respected professional artists. In a sense, one motive for this site is to plumb out such persons and collect what they would wish to share. Not only could we gather a better picture of his lengthy trail of workshops all over the country, but hopefully, answer questions such as where is his body of work (all over the place, no doubt!)? The painting below (cropped) was discovered by Mary Jane Stephens (Whitney site contributer) in an small upstairs painting room at the National Art League in Queens, NY.

In conducting my own workshops over the past ten or so years, one thing I can vouch for is that his influence was powerful for many. While painting in watercolor was certainly the stated purpose for those following the Whitney wagon, as a human growth and development professional (my other ongoing career), I am equally fascinated by the impact he had upon individuals personally and feel there is much to flesh out in this regard. A few have questioned whether those of the earliest Whitney era are technology saavy enough to follow and post to a blog and to that I shout a resounding YES. Why, because this (computer) medium is creative and watercolorists of all ages still rise to a challenge. I receive emails regularly from participants in their 70's and 80's who not only still paint but have taken up learning Photoshop! Technological deficits among the Whitney populace is the least of my concerns, and should anyone need help I will do my best to offer it.

A recent email inquirer asked me how I came to know Ed Whitney. I will share my story (only once to your relief). Whitney passed away in 1987 at age 96, the same year I posed a serious challenge to myself to tackle this medium in earnest. Back up a few years to 1981.. I was twenty-one, a recent college graduate who had started graduate school, quit graduate school, just lost my father at age 57 to cancer and to put a positive slant on it, found myself "awaiting direction" at the time. My interests were backpacking and mountaineering, shooting pictures and occasionally reverting to making feeble attempts to draw and paint, an activity I had cherished in my younger years. I suppose looking back I was at the time a young man "in the ashes" as Robert Bly would call it. My mother utilized different, less prosaic terminology I recall.

She did however, bring me a book from the community college library where she worked. It was the "Hows and Whys of Watercolor" by Edgar Whitney that had been placed in the discard bin. Most of us who call ourselves artists can usually recall our ah-ha moments with clarity. I had never seen any paintings quite like these. They appeared very unusual to me; more of a response to being fully present in a place..put upon paper with watercolor. I wondered what it would feel like to make a painting like that, full of wild splash and bold calligraphy. That thought in itself was exciting.

I slowly and methodically pulled out of my nose dive over the next five years, returning once again to school and proceeding on to a respectable career. This encounter with watercolor continued to germinate during this time, though real action in this regard was sporadic at best and not worth going in to much detail about. Lets just say I painted a number of old farmhouses, derelict barns and a few commissioned "homeplaces". In 1987, employed at Appalachian State University in Boone, I found myself on my lunch hour repeatedly staring at a wall of watercolors. Upstairs, above a downtown drugstore lunch counter, was an art gallery of sorts. A rather dimly lit cavernous attic, with creaky wood floors housed the first Cheap Joe's Art Stuff business locale.
A narrow hallway in this domain served as Joe Miller's personal display area. Gerta, a polite German lady was employed to hang out up there should anyone happen to come up and to oversee this entreprenurial phoenix awaiting ascension. But, for the time being, she mostly sold a few tubes of paint and tolerated me staring intently at Joe's work daily from 12 to 1. I soon sought out this Joe Miller watercolor zen master and probably aggravated him near to death for a year or so. I would remind him now that he probably did the same to his first mentor and our friend, Noyes Capehart.
Several workshops with Joe led me to Skip Lawrence, where I began to get a taste of Ed Whitney incarnate, at least in some senses of the word. Skip is free to counter this, but in addition to exposing me to incredibly rich saturated washes ("bold of hue" I believe he termed them) he added a bit of the "Whitneyesque" flair and drama to his workshops (proof in the 1994 photo). Later workshops with the honorable Cheng Khee Chee (who still scolds me when I call him Master Chee), another Whitney student and associate moved me in equally exciting directions. Mr. Webb has yet to be subjected to my participation in one of his workshops, but it is never too late!

However diverse their approaches, processes and the end results of their painting efforts, those who studied with Ed and now teach seem resigned to his presence. He is called upon at least once, but more often a number of times during any given workshop week. Through countless watercolor instructors across the country and even worldwide, I expect the theatre of Edgar A. Whitney continues even if it now fails to be recognized as such. There is no question that the sound principles, the tools and rules of design, that Ed put forward so well in his book remain as the guage of a strong painter.

We are now in an age where it becomes easier each week to disassociate from many elements of our past, especially from the humanistic forces that perhaps brought us together in the first place. Technology (how ironic), I suppose, is in many ways responsible for this. Regardless of how internal we perceive ourselves as painters, watercolorists are notoriously good "gatherers". We have our own societal niches and when looking back on the Edgar Whitney watercolor era, it is impossible not to take notice of the importance the social element played in the energy of this time.

It may take some time for this web effort to develop a following if it does so at all, but... if it does I predict numerous photos to be posted from everywhere USA of Edgar Whitney holding court during social hour, with a stiff drink in hand. I will gladly post them all. That folks, is how I came to know Ed Whitney without ever meeting him in person. I suppose I could say that his book, or more accurately the ideas put forth in his book changed the course of my life. Sorry this was so long guys, but that IS why the call it a B..L..O..G..! I will soon be off to China for the long awaited adoption of our daughter, so look forward to some posts from the real Casey Jone'ses up to bat. Regards, WES

A toast to old Ed, lets keep the fire burning...

2007-09-12T19:26:00.001-04:00

Uncork the bottle and welcome to the inaugural post on the Ed Whitney Watercolor Blog! From the mid-1950's until the early 1980's Ed and his contemporaries laid the groundwork for a new generation of painters that in many ways remains unchallenged. "The Complete Guide to Watercolor Painting" by Whitney is still considered by many to be the definitive instructional publication.....not only on how to create strong and emotionally relevant paintings but on the philosophy and aesthetics of art in general. Whitney was a charismatic, humorous, opinionated and at times controversial instructor and individual. He conducted hundreds of workshops throughout the United States (and abroad?) and developed a following of untold proportions. There are countless Whitney students and friends still among us, though we are ALL aging a bit! So...now is the time to connect and document these experiences for our future painters. Our site authors are myself (Wes Waugh), Joe Miller, Skip Lawrence and Frank Webb. I am most excited to be in the company of these contemporary watercolor legends in their own right and look forward to their posts.

You are invited to post your comments relative to Whitney workshops, share your images of Whitney or related workshops, interact with (and locate!) one another, and follow posts which may arise from our collective efforts. For those of you who haven't played much with blogging it is quite easy and straightforward; just create a login account with Blogger and share as much or as little about yourself as you like via your Personal Profile. Discussions of Whitney’s (or his contemporaries) teaching methods, book contents, watercolor design concepts and techniques will be a focus of posts but we shall see how the site evolves. If you own personal images you would like to see hosted on the photo link but lack the technology needed to digitize them, please email me and we can discuss options.

Please submit for consideration only images that are yours or for which you have documented permission to use from the source individual. Images or info submitted will be used only for this site's photo album or incorporated in to posts. Keep comments clean, upbeat and positive. Problems on this front are not really anticipated as we watercolorists are generally a pleasant lot!. Those who know me can attest that I am a busy guy, with too many irons in the fire... but I will do my best to respond, manage and keep posts flowing as often as possible with help from my co-authors. Now, lets open up the back of the station wagon, fix an onion and peanut butter sandwich and get this party started!