Take your work to a whole new level
OMI* will take your work to a new level
Old Masters Intelligence* is the basis of all of Marvin Mattelson's teachings.
He has spent decades deconstructing and analyzing the thought processes which he believes were utilized by the greatest realist painters throughout history. Although their paintings are all unique, style-wise, and easily identifiable, Marvin believes they shared a specific strategic approach, which governed their decision making.
A man paints with his brain, not with his hand.
OMI is the secret sauce, the DNA that underscores the works of history’s greatest painters. It’s not about the application of paint, but the application of knowledge. And this form of intelligence is definitely not artificial. It supersedes style, technique and individualism while incorporating them all. It doesn’t defy logic, because it is logic – in its purist form. It’s not a set of rules, nor does it incur a systematic footprint which results in a repetitious and predictable style. It is the understanding of how to manifest your artistic intent by unifying every aspect of your painting in order to create a unique and compelling work of art, a true masterpiece.
Marvin's OMI methodology is a comprehensive approach to the mechanics of painting. It's an opportunity to cultivate your own personal artistic voice. Once you develop true understanding every aspect of making art will be transformed. The key to mastery can be achieved only through a solid and complete understanding of the reasoning which precipitates each action.
Shying away from tricky techniques and gratuitous effects, Marvin focuses on the most effective approach for creating realistic imagery, which he feels will enhance every artist's ability to express their true creative vision. Marvin's contention is that reasoning, not alchemy, lies at the core of all great painting. Those who understand the truth are freed from the limitations of frivolous rules and rote learning.
A man paints with his brain, not with his hand.
Marvin's online painting classes broadcast from his are designed for artists of every level, regardless of their painting styles. He believes that the success of any painting has little to do with how tight or loose it is. He teaches his students how to think and see, as well as how to orchestrate their color, shapes, edges and values into a cohesive unity with the goal of portraying a three dimensional form, bathed in light and surrounded by air. Making it more real than reality.
What should be the first object and principal aim of a painter? The first aim of the painter is to make it appear that a round body in relief is presented upon the flat surface of his picture; and he who surpasses others in this respect deserves to be esteemed more skillful than they in his calling.
Marvin has devoted hs life to unraveling what makes the greatest paintings...great. An exhibition of Anthony Van Dyck's paintings, at The National Gallery in Washington, was his watershed moment. He saw that the figures in the paintings exhibited far greater aliveness than the people in the galleries. Over time he came to understand that the paintings he admired the most by Rembrandt, Velasquez, Lawrence, Raeburn, Bouguereau, Kramskoy, Monsted and Paxton, all manifested a similar energy as Van Dyck's. It had nothing to do with style, technique, mediums or subject matter. This approach has informed both his painting and his teaching.
I've studied with and painted with some of the artists considered today's greatest living masters. My main teacher was, and still is, one of the top producing artists for the top portrait brokers in the country. I've spent decades painting 4-6 hours a day and not really getting any better. However, Marvin is the first person I've encountered who could break the painting process down into logical steps. He describes systems that have been the underpinnings of realist art for centuries. These systems are founded in logic and observable facts, which, when applied, produce predictable results. Once mastered, these systems allow the artist immense freedom to develop style and a "voice" to describe whatever the artist chooses. Unlike many of today's ateliers, Marvin doesn't teach a method of painting that mimics his own, or anyone's. He simply offers the keys to understanding what many of the great masters were taught as the basis for their painting strategies.
Never satisfied and always looking for a better way, Marvin, due to the circumstances wrought by pandemic has developed an entirely new way to teach online that both he and his students feel takes his teaching to an entirely new level. You can read about his innovative digital learning classroom set-up here.
I have taken Marvin Mattelson‘s class numerous times. Why do I continue to take the class? Because every portrait I do is exponentially better than the last one. In my opinion if you were interested in being a better realistic portrait painter, then you definitely want to consider this class. I previously studied with Marvin in a traditional studio setting and this past year, online. Unlike other online classes or demos, he uses a high DEF three camera system that switched between his pallet, his reference photo and most importantly his painting. You don’t have to jockey for the best position. You get to see every brushstroke up close as well as listen to his always pertinent and informative advice.
Visually oriented people, those who are right-brain dominant, learn most effectively by watching an action being performed.
Demonstrating, while simultaneously explaining the reasoning behind every stroke, is the most effective way to empower students. In class, you can follow his brush, hear his rationale, and most importantly, unlike watching a video, you can question him whenever you need additional clarification or feedback.
He has that rare ability to not only demonstrate while annotating his every action, he is able to inject humor and personality to keep things lively.
Here, you can view examples of Marvin's students' class paintings and read feedback based on their experiences. If you are looking to enhance your understanding of how the greatest artists throughout history approached making their art, you can find more information on his course description and schedule page.
Marvin has a unique way of expressing the most complex areas of knowledge, blending hard-earned truths and wisdoms with plenty of humor and outrageous analogies. Who knew that learning a discipline so utterly focused could also be such tremendous fun?
If you want to get better at anything – you need to understand that whatever it was that got you to where you are now, is the exact same thing that's keeping you from moving forward. If you do things poorly, and you practice really hard, you'll get really good at doing things poorly. Malcom Gladwell's theorizes that 10,000 hours of practice is the key to mastery, but in fact, its really 10,000 hours of perfect and mindful practice. Imperfect practice gives you the opportunity to get really good at being bad!
When you do what you've done, you get what you've gotten!.
Many artists share the romantic notion that art is manifested intuitively, but those who approach it this way ultimately discover that, at best, it's a hit or miss proposition. Great artists rarely have bad days.
A self-taught painter is one taught by a very ignorant person.
Those who seek instruction will most likely get saddled with rules. Don't cross the street when the light is red: cross the street when the light is green, is a typical rule. However, don't cross the street when cars are coming, is a truth. Rules preclude your ability to make decisions and think for yourself. Why stand on a street corner waiting for the light to turn green when no cars are coming? Learning rules is the hallmark of rote learning which centers upon memorization without the conveyance of understanding. Sadly, it's the way most things are taught. Unless a student happens to be so precociously talented, rote learners never become more than second rate copiersh. Following rules is constraining.
The Artist is he who detects and applies the law from observation of the works of Genius, whether of man or Nature. The Artisan is he who merely applies the rules which others have detected.
If you understand the underlying principles or truths, there is no need for rules. Learning to be an artist is best accomplished through mindful learning – the ability to relate new information to prior knowledge is how understanding is formed.
Don’t follow in the footsteps of the ancient masters; seek what they sought.
A partial list of Marvin's former students include such notable artists as: Martin Wittfooth, Brian Donnelly (aka KAWS), Dorian Vallejo, Billy Norrby, Kathleen Speranza, T.M. Davey, Daisuke (Dice) Tsutsumi, Lori Early, Chris McGrath, Joseph Q. Daily, Brenton Cottman, David Terry, Julia Griffin, Lianna Soman, Tristan Elwell, Nicole Mone, Phillip Singer and Jocelyn Henry. This list clearly demonstrates the lack of an identifiable footprint. Each of these artists manifests the underlying principles of Old Master's Intelligence in their own unique way.