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Teaching, by Thomas Nash

It is Nash’s exposure to so many varied approaches to realistic painting (see Background) that makes him uniquely qualified to help other artists who might be struggling to reconcile what at times would appear to be contradictory advice. While still busy with portrait commissions in the late seventies Nash began teaching classes one day a week by popular demand, in his studio in Atlanta. He found that not only did he enjoy it, but also that it was very good for him, sharpening his mind and helping him to see what areas of his own painting needed attention. “I am very proud that some of these same students from over twenty five years ago are today good friends and successful artists in their own right.”

In the early 80’s Nash conducted a series of workshops, which included an informative workbook for all the participants. He then focused on his own work for nearly ten more years before returning to teaching in 1993 with a series of groundbreaking workshops throughout the USA. He was a pioneer in using video cameras to allow the class to see the palette and the painting simultaneously on television screens, even for groups as small as twenty people. He wore a cordless microphone as he assisted artists throughout the painting room, so that others might benefit from common challenges. At the same time, he was sensitive enough to use the mute button when the advice was more personal. The hand made, hundred-page book that all Nash workshop participants received has to this day never been published. It is not uncommon for Nash to hear from one of those artists that they still turn to “the book”. Many have gone on to win honors and major commissions of their own.

Recognized as a strong proponent and champion of portraiture, Nash is often asked to speak at portrait painting seminars and conventions. Numerous invitations have led him to twice show his work on stage at New York’s famous Carnegie Hall and to demonstrate the art of portrait painting to standing room only audiences at the Art Student’s League of New York and in other forums. On October 15th of 2005, after a long absence from teaching, Nash will conduct a one-day painting Academy for the Portrait Society of America in Norcross, Georgia.

Why I Teach, by Thomas Nash

The teaching part of my life has been on and off. Every time I sharpen my skills and try to organize everything I know so I might teach others, it only makes me more acutely aware that learning is a never ending task and brings into focus for me, just what I need to work on to be a better artist. It’s ironic that my efforts to teach others often drive me back to the studio eager to wear my student cap rather than the teacher cap. My wife sometimes has to remind me that while I may not know everything, I do have a lot I can share and there are plenty of artists who would benefit greatly from my efforts.

That is why it is so gratifying and reassuring when I receive a note like the following from fellow artist Rich Nelson who felt I had made a difference. I reprint this letter with his kind permission. I hope all teachers get many chances to feel the satisfaction of knowing their efforts are appreciated and that they can change people’s lives.

—Thomas Nash

Here's Rich’s story:

In 2001 I was earning a good, if somewhat unfulfilling, living as an advertising illustrator in Detroit. I had been studying anatomy, drawing, and painting figurative work since the beginning of my college career 15 years earlier. I was beginning to do some portraits and had entered the PSA competition only to be stunned to win a Certificate of Merit for a study of one of my favorite models Diana In Red Chair done from life. This was my first encounter with the PSA, and I decided to go to the Annual Meeting in Chicago. I was feeling very much like a fish out of water there, knowing not one soul.

During these events there are various break out sessions, and I had signed up for a talk on being a portrait artist by a fellow named Thomas Nash. What I heard in that next three hours ( scheduled to last an hour and a half I think) truly changed my life. Here was a dedicated artist painting beautiful pictures with integrity and commitment. His hard work was paying off; he had painted Newt Gingrich and built a beautiful home and studio with his lovely wife Donna. What really struck me was his respect for art, artists, and art history, and his appreciation and respect for his clientele and career that had come through hard work and dedication.

And he was from Michigan!

On the drive home to Detroit I was jotting down notes to myself like "if not now, when?" and "paint my entire family from life"...

Within a year I had wrapped up my illustration career and secured representation by one, then two, then three portrait agencies as well as seeking work on my own. I've continued to win some awards at the Portrait Society and in different magazines. In Spring of 2004 Kim and I brought Luke, Lily, and Sam to the little town of Tryon, North Carolina where I had a pretty nice studio of my own finished out in the back. There I work on portraits and still life, and get out to paint the beautiful Blue Ridge Mountains. I have about 3 or 4 shows of my gallery work a year, complete 20-30 portraits, and have been doing a lot of charcoal portraits and a bit of teaching as well.

It is a ton of work, but the process of working energizes me each day. It is a HUGE gift to be able to make art in a way that satisfies you and supports your family. And it's been great to get to know so many terrific artists as colleagues and friends.

We feel so blessed to be living out our dream, a dream that really began coming together in a hotel conference room in April 2001.

Rich Nelson

Thank you Rich for your kind words. You make it all worthwhile.

Tom
 

  © 1998-2007 Thomas V. Nash