by Janet Hewitt, Guest Blogger
Cindy Briggs makes watercolor paint come alive. For 25 years, she’s been teaching students how to make it sing for them as well. She is one of the latest additions to the roster of gifted artists sharing their talents with students in Smithsonian Associates studio arts classes.
Normally, at this time of year, Briggs might be roaming the globe teaching outdoor workshops in some of the most beautiful spots on earth. The plein air paintings in her online gallery would give travel agents a run for their money.
So where’s her favorite spot to unpack her brushes? “My favorite place in the world to paint is the Amalfi Coast of Italy. It’s so dreamy to stay in Positano and have an amazing experience every day visiting villages on the sea.”
But there are many other spots that have caught this artist’s eye for color and charm. “In Venice, every time you turn a corner you see a plethora of potential paintings. I’m fond of Provence, after living there recently. I love the charming hilltop towns and beautiful countryside. Carmel-by-the-Sea is a favorite destination in the U.S. It’s like going to Europe for the architecture and atmosphere, and the sea beckons me.”
This prolific artist paints cityscapes, landscapes and portraits—as well as watercolor sketches of everything that catches her eye. Her studio and home base is in Northern Utah but her art reflects someone with a well-stamped passport.
This year, however, her paintbrushes have been grounded by Covid-19. It’s put a stop to travel, making online classes the norm. And that has made her extensive catalogue of reference photos, from prior roaming, even more valuable, as the inspiration for her work and classes.
Her subjects range widely from the mountains of Zion National Park, to centuries-old Cinque Terra passageways, Tuscan sunflowers and colorful portraits. (See her work at www.CindyBriggs.com)
“Landscapes, cityscapes and seaside scenes are probably the subjects I paint the most. I love the landscapes of Tuscany, European villages, intimate cafes, windows and doors, and the seascapes of California, Portugal, Italy and Spain,” she says.
Briggs will be teaching an online portrait class for Smithsonian Associates in February 2021. The class, called “The Portrait Simplified,” breaks down the inside skinny on how to paint a watercolor portrait. “I share how to diagram and draw facial features, mix colors, and capture the face with blended and layered color. I’ve taught this approach over the years, and many students go on to paint more of their own portraits.”
She will teach another Associates’ class called “Sculpting with Watercolors.” She describes it as a class about capturing light and shadow in a watercolor portrait of a sculpture of Michelangelo or Leonardo di Vinci from Florence, Italy.
Plus, she’s teaching two sessions of “Quick Sketch Watercolors,” and the December workshop is already sold out.
“It’s a popular class for all levels because I’m teaching concepts that help you see as an artist and create with more freedom. It’s fun for watercolor sketchbooks because you can draw and paint on the go. Students discover how to easily draw with flowing lines and paint with flowing colors as they develop a better understanding of the relationships of shapes, values and colors,” she says.
But many would love to know more about how teachers are able to teach something as tactile and sensual as painting, over a medium as sterile and remote as Zoom? We asked Briggs to share her thoughts.
Q: How has the pandemic affected the way you teach painting classes?
A: I started teaching my online programs two years ago [before joining up with the Smithsonian Associates], so I’m very comfortable working with Zoom, recording and editing videos. . . . I have a series of four online programs with recorded teaching videos, with bonus paint-along webinars for each program. My community of 400 active online students comes from Hong Kong and Australia to Sweden and throughout the U.S. and Canada. The organizations I work with have all gone online and I’m enjoying the ability to give everyone a front row seat.
Q: How does it feel to be asked to join the Smithsonian Associates Studio Arts Program as an instructor?
A: It’s an honor to be asked to teach with Smithsonian Associates. The professionalism, the high caliber of the teachers in the program, the history of the organization and the opportunity is very meaningful. It’s fun to connect with new students, to work with people from around the world, to get their insights and share new creative experiences. Plus, my family thinks it’s really cool!
I'm so grateful for the gracious volunteers that help me through each workshop. The volunteer(s) are such a meaningful part of my class. They help the students get ready when they sign in, greet everyone, manage technical issues, and keep an eye on things to see if it looks like someone may need extra help. When I have a volunteer, I can sign in early, get set up and focus more on my students throughout the session.. It's so reassuring to have a volunteer that watches over the group to make sure everything goes smoothly.
Q: When did you teach your first art class?
A: My first workshop for adults was actually in France about 20 years ago. After gaining recognition in the Seattle area, I was invited with my best friend, Theresa [Goesling], to teach a workshop in Provence. Since then, I have been leading numerous plein air and studio workshops, and returning to Europe almost every year to conduct workshops. Most overseas workshops have been with Theresa in Spain, Italy, France, Greece, Croatia, and Switzerland, with trips planned for Belgium and Spain over the next two years. Conducting my own workshops in stunning locations closer to home, from coast to coast, also has kept my calendar full.
Q: Did you know right away that teaching was for you?
A: I come from a family of muses. Four generations of women in my family have inspired others through teaching art, music and writing. My aunt and mentor, Ellie Weakley, has taught workshops for decades. I was inspired to follow in her footsteps after watching her paint in her studio and traveling with her on plein air painting trips to Taos, Carmel-by-the-Sea and Paris. My grandmother first showed me how to paint roses when I was 14 and we painted together until she was 94. As a family, we have all exhibited, and conducted workshops and events together. My teaching today reflects a lineage of creativity, in an atmosphere of encouragement and inspiration. My students become like family.
Q: What is your favorite medium and why?
A: Watercolor is my favorite medium because it gives me a lot of flexibility. I can create a painting in minutes or hours, days or even weeks. . . . I love the immediacy and spontaneity of watercolors—you can sit and paint a watercolor and let the colors just flow out of you. [And then] in just minutes, you can pack it up and go. The inherent qualities of watercolors; the way the luminescent colors move, mix and mingle makes each painting a new and surprising experience.
Q: How long did it take you to get comfortable with watercolor painting?
A: I had an immediate connection with watercolors. I started painting with my family when I was young and have since put many miles of paint on paper. With a foundation in fine arts, a degree in Design and Art History, plus working for 15 years as an Advertising Art Director in Los Angeles, San Francisco and Seattle, I’m always considering composition, color and lighting. Exhibiting in galleries, museums and international juried exhibitions keeps me current and active in the arts world. Painting with my aunt and many notable artists along the way has helped build confidence and expand my skills. I constantly challenge myself to push my own boundaries, try something new, take workshops and experiment because I don’t want to get too comfortable. Then, I share what I learn with my students so they can see the process unfold, simplified so they can achieve similar results.
Q: Who are some of your favorite artists?
A: Some of my favorite artists are: Mary Cassatt for her intimate impressionist portrait paintings; John Singer Sargent for his subjects, design and loose brushwork; Nicolai Fechin for his beautiful portraits, lost-and-found edges and brushwork; Joaquin Sorolla for capturing the light; and Andrew Wyeth for his wide open watercolors, sensitivity and determination.
Q: What is the most satisfying thing about being a teacher of art?
A: The most satisfying thing is helping my students discover the joy of painting. Every “aha” moment is a celebration and fuels me to keep teaching.
Inspiring and motivating . . .Cindy Briggs' enthusiasm and well-stated responses to questions has me off and running to get some instruction on Zoom....
Thank you! Sara
Posted by: Sara Schrock Hemphill | 02/23/2021 at 01:18 PM
Hi Cindy,, your Joy of watercolors really comes through in your previous interview it is exciting to paint with you. If we,re not sure about something, we can ask you right on the spot. When I am done with a class with you, I am happy and
exhilarared. Meredith Bohne, near Boston
Posted by: Meredith Bohne | 02/14/2022 at 03:47 PM