Quiet Impact: Learning From Gwen John and Vuillard (Online Workshop) Fall 2025 w/ Stacey Gledhill
October 1 to October 15 (Wednesdays) 10:00 AM to 1:00 PM, Eastern Time
**All sessions are live and will be recorded, students do not have to be present. All recordings will be available to students for 3 months after the final session, after 3 months the recording will be deleted.
Please check your email spam/junk folder for your Zoom invite.
DEMO: https://youtu.be/UAvfJESN7_4
Workshop Description
Both Gwen John and Edouard Vuillard worked primarily indoors in Post-Impressionist Paris, creating scenes that, while described as "quiet", possess an undeniable excitement and mystery that has resonated for a century. From John's serene, precise tonal compositions to Vuillard's vibrant and intimate interiors, their enduring impact serves as a powerful springboard for us to boldly push the boundaries of our own artistic endeavours.
Workshop Outline
Week 1 -
Introductions
In this session, we will delve into the distinctive styles and impactful contributions of both Gwen John and Vuillard, exploring what makes each artist's work unique. We will also discover contemporary painters who draw inspiration from the Post-Impressionist movement.
- 10 min break -
Stacey will do a painting demo (approx 1.5 hours) Questions throughout are welcome.
Receive assignment for the week.
Week 2 -
Feedback on previous week's assignment.
In this session we will focus on tone (value) and how an understanding of tone can anchor your process and liberate your colour choices.
- 10 min break -
Stacey will do a demo (approx 1.5 hours). Questions throughout are welcome.
Receive assignment for the week.
Week 3 -
Feedback on previous week's assignment.
In this session we will zoom in on brushwork and discover how conscious mark making is vital for keeping our painting 'alive'. We will find methods to loosen control of our strokes.
- 10 minute break -
Stacey will do a demo (approx 1.5 hours). Questions throughout are welcome.
Receive final assignment
Workshop Materials List
We will paint in oils. Beyond that, please use whichever brands, colours, brushes and surfaces you are comfortable using. Below are my preferences.
Paints (oils)
I use:
Titanium white
Unbleached Titanium (Michael Harding)
Warm Light Yellow (Michael Harding)
Yellow Ochre
Cadmium Yellow or a Medium Yellow
Permanent Orange (or similar mid orange)
Permanent Orange
Alizarin Crimson
Ultramarine Blue
Burnt Umber
A palette. Either wooden or glass with grey card underneath, rectangular shape size 12 x 16" or larger.
A palette knife
Linseed oil (optional)
White spirit - Gamblin Gamsol, or other odorless white spirit of your choice, in a clean jar with a lid. Plus an extra clean jar with lid.
Surfaces - Prepared wooden panels, stretched and primed canvas or linen, or prepared cardboard, in a variety of sizes. 16 x 20" is a good place to start.
Brushes - Hog hair filbert shape in a variety of sizes. I like size 2, 4, 6, 8 x 2 of each
Paper towel or rags
Standing easel and small table to lay out your materials.
October 1 to October 15 (Wednesdays) 10:00 AM to 1:00 PM, Eastern Time
**All sessions are live and will be recorded, students do not have to be present. All recordings will be available to students for 3 months after the final session, after 3 months the recording will be deleted.
Please check your email spam/junk folder for your Zoom invite.
DEMO: https://youtu.be/UAvfJESN7_4
Workshop Description
Both Gwen John and Edouard Vuillard worked primarily indoors in Post-Impressionist Paris, creating scenes that, while described as "quiet", possess an undeniable excitement and mystery that has resonated for a century. From John's serene, precise tonal compositions to Vuillard's vibrant and intimate interiors, their enduring impact serves as a powerful springboard for us to boldly push the boundaries of our own artistic endeavours.
Workshop Outline
Week 1 -
Introductions
In this session, we will delve into the distinctive styles and impactful contributions of both Gwen John and Vuillard, exploring what makes each artist's work unique. We will also discover contemporary painters who draw inspiration from the Post-Impressionist movement.
- 10 min break -
Stacey will do a painting demo (approx 1.5 hours) Questions throughout are welcome.
Receive assignment for the week.
Week 2 -
Feedback on previous week's assignment.
In this session we will focus on tone (value) and how an understanding of tone can anchor your process and liberate your colour choices.
- 10 min break -
Stacey will do a demo (approx 1.5 hours). Questions throughout are welcome.
Receive assignment for the week.
Week 3 -
Feedback on previous week's assignment.
In this session we will zoom in on brushwork and discover how conscious mark making is vital for keeping our painting 'alive'. We will find methods to loosen control of our strokes.
- 10 minute break -
Stacey will do a demo (approx 1.5 hours). Questions throughout are welcome.
Receive final assignment
Workshop Materials List
We will paint in oils. Beyond that, please use whichever brands, colours, brushes and surfaces you are comfortable using. Below are my preferences.
Paints (oils)
I use:
Titanium white
Unbleached Titanium (Michael Harding)
Warm Light Yellow (Michael Harding)
Yellow Ochre
Cadmium Yellow or a Medium Yellow
Permanent Orange (or similar mid orange)
Permanent Orange
Alizarin Crimson
Ultramarine Blue
Burnt Umber
A palette. Either wooden or glass with grey card underneath, rectangular shape size 12 x 16" or larger.
A palette knife
Linseed oil (optional)
White spirit - Gamblin Gamsol, or other odorless white spirit of your choice, in a clean jar with a lid. Plus an extra clean jar with lid.
Surfaces - Prepared wooden panels, stretched and primed canvas or linen, or prepared cardboard, in a variety of sizes. 16 x 20" is a good place to start.
Brushes - Hog hair filbert shape in a variety of sizes. I like size 2, 4, 6, 8 x 2 of each
Paper towel or rags
Standing easel and small table to lay out your materials.
October 1 to October 15 (Wednesdays) 10:00 AM to 1:00 PM, Eastern Time
**All sessions are live and will be recorded, students do not have to be present. All recordings will be available to students for 3 months after the final session, after 3 months the recording will be deleted.
Please check your email spam/junk folder for your Zoom invite.
DEMO: https://youtu.be/UAvfJESN7_4
Workshop Description
Both Gwen John and Edouard Vuillard worked primarily indoors in Post-Impressionist Paris, creating scenes that, while described as "quiet", possess an undeniable excitement and mystery that has resonated for a century. From John's serene, precise tonal compositions to Vuillard's vibrant and intimate interiors, their enduring impact serves as a powerful springboard for us to boldly push the boundaries of our own artistic endeavours.
Workshop Outline
Week 1 -
Introductions
In this session, we will delve into the distinctive styles and impactful contributions of both Gwen John and Vuillard, exploring what makes each artist's work unique. We will also discover contemporary painters who draw inspiration from the Post-Impressionist movement.
- 10 min break -
Stacey will do a painting demo (approx 1.5 hours) Questions throughout are welcome.
Receive assignment for the week.
Week 2 -
Feedback on previous week's assignment.
In this session we will focus on tone (value) and how an understanding of tone can anchor your process and liberate your colour choices.
- 10 min break -
Stacey will do a demo (approx 1.5 hours). Questions throughout are welcome.
Receive assignment for the week.
Week 3 -
Feedback on previous week's assignment.
In this session we will zoom in on brushwork and discover how conscious mark making is vital for keeping our painting 'alive'. We will find methods to loosen control of our strokes.
- 10 minute break -
Stacey will do a demo (approx 1.5 hours). Questions throughout are welcome.
Receive final assignment
Workshop Materials List
We will paint in oils. Beyond that, please use whichever brands, colours, brushes and surfaces you are comfortable using. Below are my preferences.
Paints (oils)
I use:
Titanium white
Unbleached Titanium (Michael Harding)
Warm Light Yellow (Michael Harding)
Yellow Ochre
Cadmium Yellow or a Medium Yellow
Permanent Orange (or similar mid orange)
Permanent Orange
Alizarin Crimson
Ultramarine Blue
Burnt Umber
A palette. Either wooden or glass with grey card underneath, rectangular shape size 12 x 16" or larger.
A palette knife
Linseed oil (optional)
White spirit - Gamblin Gamsol, or other odorless white spirit of your choice, in a clean jar with a lid. Plus an extra clean jar with lid.
Surfaces - Prepared wooden panels, stretched and primed canvas or linen, or prepared cardboard, in a variety of sizes. 16 x 20" is a good place to start.
Brushes - Hog hair filbert shape in a variety of sizes. I like size 2, 4, 6, 8 x 2 of each
Paper towel or rags
Standing easel and small table to lay out your materials.