Join Charles Harrington in the watercolor instruction
video, Acrylic Landscapes, the Watercolor Way, and learn
how to utilize the unique advantages of acrylics including the ability to layer opaque,
translucent and transparent effects. See how Charles combines the subtle color shifts
and luminosity of watercolor painting with the durability of acrylics.
Charles Harrington (continued)
Charles returned from architectural design and illustration to academia,
earning a Master of Architecture degree from Oklahoma State University. Upon
graduating, Charles accepted a faculty position with the School of Art and
Architecture at Louisiana Tech University, teaching architecture courses as
well as drawing and water-media painting. Finally he was able to indulge in
both of his passions — fine art and architecture — in the same venue. Charles
taught for 23 years before leaving Louisiana Tech in 2003 to pursue fine art
full time. He now devotes his time to painting, writing, and conducting painting
workshops.
Charles Harrington is a signature member (DF) of the American Watercolor Society and the International Society of Acrylic Painters (formerly the National Acrylic Painter's Association). His work has been shown in the American Watercolor Society, National Acrylic Painters Association, The International Society of Acrylic Painters, The National Society of Painters in Casein & Acrylic (Silver Medal), The American Artist's Professional League, Allied Artists of America, Watercolor USA, Arts for the Parks top 100, and numerous regional exhibitions. Publications include American Artist Magazine's Watercolor 88, Watercolor Magic's Autumn 1996 edition, and Artist's Magazine's February 2005 edition.
His first book, Acrylics: The Watercolor Alternative, was released by North Light Books, August 2005.
Artist's Statement
“After years of hearing and reading artist's attempts at discussing their
own work, I am inclined to agree with Jean Cocteau when he said, “An artist cannot
speak about his art any more than a plant can discuss horticulture.” In
a majority of cases there seems to be a great disconnect between the words
and the work. The most articulate and the most revealing statement an artist
can make about his work is the work itself. The work will either confirm
or contradict the words and ultimately speak louder than the words. In view
of this, I approach verbal statements about my own work with caution and
a great deal of difficulty.
“I am convinced that works of art are windows into the very soul of
the artist. Through these windows one may come to understand the artist.
Jackson Pollock stated it this way, “Every good painter paints what
he is.” Pablo
Picasso declared, “Painting is just another way of keeping a diary.” If
these respected artists are correct, then reading the “diary”
should be the most reliable way of getting to know the artist.
“Another point that is so subjective that it is often difficult to
identify is that all paintings do not reach the level that can be considered
art. Assuming that the painter has a good grasp of design theory and has
a reasonable mastery of his or her chosen medium, there is still an element
that often makes a painting simply a pretty picture and not a work of art.
I believe that this is best expressed in the words of St. Francis of Assisi, “He
who works with his hands is a laborer. He who works with his hands and his
head is a craftsman. He who works with his hands and his head and his heart
is an artist.” Many paintings
are conceived and executed by the hand and the head alone. They are missing "heart."
My desire for my own work is that I can keep the heart involved.”
Charles Harrington
Creative Catalyst Productions Inc.
