Change the text and add your own content, including any information that is relevant to share.
Painting with Rachel Li
SOLD OUT
$850
USD
Rachel Li
INSTRUCTOR
October 22nd -- 26th
DATES
10:00AM - 5:00PM
TIME
Intermediate/Advanced (Application Based)
LEVELS/AGES
August 15th (free)
DEADLINE TO APPLY
This five-day workshop will explore the portrait as a dialogue between visual language and technique, where form and expression unfold in tandem. Working from life, students will engage in a 19th-century methodology of oil painting – one that is rooted in truthful observation, naturalism, and the subtlety of light and shadow.
The application-based nature of this workshop is intended to foster an environment of intensive learning and higher-level discussion. The skill level is intermediate to advanced.
In place of a detailed linear drawing, we’ll start with a broad tonal block-in with oil paint, allowing the image to emerge organically through value relationships. This initial ambiguity encourages students to conceptualize the subject as a whole, establishing spatial relationships before refining detail. Through a layered, indirect painting method, we will move from the massing of major tonal structures to the nuanced articulation of form, light, and edge quality.
We will explore foundational techniques integral to 19th-century painting practice, including the ébauche, grisaille, glazing and scumbling – each method offering a unique approach to building form, light, and shadow.
As the image takes shape, the goal is for the portrait to become not just a likeness, but a narrative – an arrangement of light, structure, and color that reflects both the subject and the painter’s perception. Each session will guide students through a clear, step-by-step method that supports both technical growth and personal expression.
SCHEDULE
Day 1: Two hour demo in the morning, focusing on capturing likeness using broad value
distribution. Discuss materials. Individual critiques in the afternoon.
Day 2: Two hour demo in the morning, continue to explore form through value blocks and shapes. Individual critiques in the afternoon.
Day 3: Two hour demo in the morning, continue to discuss form, structure and color. Individual critiques in the afternoon.
Day 4: Individual Critiques.
Day 5: Two hour demo in the morning, discuss finishing a painting and continue to refine details. Individual critiques in the afternoon.
Unique to this workshop at NSMA, your classes are set against the serene backdrop of rural New England in autumn, with access to the museum’s renowned collection of contemporary realist art along with select 19th-century paintings by artists like John Singer Sargent, Dennis Miller Bunker, and Andrew Wyeth. Let the tranquil surroundings and inspiring artworks enhance your experience as you hone your skills in portraiture.
NSMA’s permanent collection includes multiple paintings by Rachel, which will be made available to students for viewing and study during the workshop.
A private dinner will be hosted at the museum during the workshop for all attendees, Rachel, and the NSMA team.
$850
USD
SURFACE
Claessens 13 Double Primed Linen Stretched on Wooden/Aluminum Stretcher Bars
You can also prep your own linen. Stretch Belgium linen on stretcher bars, apply two coats of Gamblin PVA Size on surface, apply 4-6 coats of Golden Acrylic Gesso in white, sanding in between layers for desired texture. This same method can apply to wooden panels as well.
(For both methods apply a thin layer of colored oil paint at the end for better adhesion, dilute the paint slightly with Gamsol, leave to dry for a few days)
Your surface should be 18x24" maximum
OIL PAINT (Michael Harding Brand)
Recommended but not necessary:
• Cremnitz White No.2 Series 3 (lead white in walnut oil)
• Genuine Naples Yellow Light
• Cadmium Orange
• Cadmium Red Light
• Yellow Ochre Deep
• Burnt Sienna
• Alizarin Claret/Crimson
• Viridian
• Kings Blue Light
• Cobalt Violet Deep
• Ultramarine Blue
• Transparent Oxide Red
• Raw Umber
MEDIUMS
NSMA will include mediums listed below in the workshop. You are welcome to prepare these ahead of time, but it is not necessary.
• Venetian Medium (Rublev Brand)
• Galkyd Lite (Gamblin Brand)
• Gamsol Odorless Mineral Spirits (Gamblin Brand)
• Walnut Oil
• (Make one mixture of 1/2 Gamsol and 1/2 Walnut oil, make another mixture of 1/2 Gamsol and 1/2 Galkyd Lite)
BRUSHES
• Rosemary Series 33 Sable Round (size 2, 4, 6, 8, 10)
• Imperial Professional Chungking Hog Bristle FAN (size 2)
• Silver Goat Hair Mop Series 5518S (size 10, 12)
OTHER
• Paper Towel Roll
• Palette Knife
• Oil Medium Container
• Brush Washer Jar
• Brush Soap (Jack’s Linseed Studio Soap)
• Triangle Make Up Sponge
• Reducing Lens
• Palette (Recommended but not required: gray glass palette)
Below is a list of recommended hotels in Amherst for residence during NSMA workshops. AirBnbs are also available closer to the museum in towns such as Shutesbury, Leverett, Orange, Athol, and Wendell, and can be cheaper alternatives to hotels. For both hotels and AirBnBs, we recommend booking far in advance for better prices and to secure your spot. For more guidance on housing options, contact info@newsalemmuseum.com
Rachel Li (b. 1995) is an oil painter best known for her figurative work. Through intensive study at New York City’s Grand Central Atelier from 2011 to 2018, her practice is rooted in a dedication to truthful observation and traditional techniques, which she uses to explore timeless human themes with honesty and depth. Her work engages in an ongoing dialogue between historical tradition and personal experience, drawing inspiration from masters such as Botticelli, Rembrandt, Mancini, and Sorolla. She learns from these masters an understanding of how light and shadow define form and how color conveys emotion, weaving these elements into a visual language that feels both personal and timeless.
Rachel’s paintings are held in private and public collections across the world. She currently lives and works in New York City.
Painting with Rachel Li
$850
USD
SOLD OUT
$850
USD
This five-day workshop will explore the portrait as a dialogue between visual language and technique, where form and expression unfold in tandem. Working from life, students will engage in a 19th-century methodology of oil painting – one that is rooted in truthful observation, naturalism, and the subtlety of light and shadow.
The application-based nature of this workshop is intended to foster an environment of intensive learning and higher-level discussion. The skill level is intermediate to advanced.
In place of a detailed linear drawing, we’ll start with a broad tonal block-in with oil paint, allowing the image to emerge organically through value relationships. This initial ambiguity encourages students to conceptualize the subject as a whole, establishing spatial relationships before refining detail. Through a layered, indirect painting method, we will move from the massing of major tonal structures to the nuanced articulation of form, light, and edge quality.
We will explore foundational techniques integral to 19th-century painting practice, including the ébauche, grisaille, glazing and scumbling – each method offering a unique approach to building form, light, and shadow.
As the image takes shape, the goal is for the portrait to become not just a likeness, but a narrative – an arrangement of light, structure, and color that reflects both the subject and the painter’s perception. Each session will guide students through a clear, step-by-step method that supports both technical growth and personal expression.
SCHEDULE
Day 1: Two hour demo in the morning, focusing on capturing likeness using broad value
distribution. Discuss materials. Individual critiques in the afternoon.
Day 2: Two hour demo in the morning, continue to explore form through value blocks and shapes. Individual critiques in the afternoon.
Day 3: Two hour demo in the morning, continue to discuss form, structure and color. Individual critiques in the afternoon.
Day 4: Individual Critiques.
Day 5: Two hour demo in the morning, discuss finishing a painting and continue to refine details. Individual critiques in the afternoon.
Unique to this workshop at NSMA, your classes are set against the serene backdrop of rural New England in autumn, with access to the museum’s renowned collection of contemporary realist art along with select 19th-century paintings by artists like John Singer Sargent, Dennis Miller Bunker, and Andrew Wyeth. Let the tranquil surroundings and inspiring artworks enhance your experience as you hone your skills in portraiture.
NSMA’s permanent collection includes multiple paintings by Rachel, which will be made available to students for viewing and study during the workshop.
A private dinner will be hosted at the museum during the workshop for all attendees, Rachel, and the NSMA team.
SURFACE
Claessens 13 Double Primed Linen Stretched on Wooden/Aluminum Stretcher Bars
You can also prep your own linen. Stretch Belgium linen on stretcher bars, apply two coats of Gamblin PVA Size on surface, apply 4-6 coats of Golden Acrylic Gesso in white, sanding in between layers for desired texture. This same method can apply to wooden panels as well.
(For both methods apply a thin layer of colored oil paint at the end for better adhesion, dilute the paint slightly with Gamsol, leave to dry for a few days)
Your surface should be 18x24" maximum
OIL PAINT (Michael Harding Brand)
Recommended but not necessary:
• Cremnitz White No.2 Series 3 (lead white in walnut oil)
• Genuine Naples Yellow Light
• Cadmium Orange
• Cadmium Red Light
• Yellow Ochre Deep
• Burnt Sienna
• Alizarin Claret/Crimson
• Viridian
• Kings Blue Light
• Cobalt Violet Deep
• Ultramarine Blue
• Transparent Oxide Red
• Raw Umber
MEDIUMS
NSMA will include mediums listed below in the workshop. You are welcome to prepare these ahead of time, but it is not necessary.
• Venetian Medium (Rublev Brand)
• Galkyd Lite (Gamblin Brand)
• Gamsol Odorless Mineral Spirits (Gamblin Brand)
• Walnut Oil
• (Make one mixture of 1/2 Gamsol and 1/2 Walnut oil, make another mixture of 1/2 Gamsol and 1/2 Galkyd Lite)
BRUSHES
• Rosemary Series 33 Sable Round (size 2, 4, 6, 8, 10)
• Imperial Professional Chungking Hog Bristle FAN (size 2)
• Silver Goat Hair Mop Series 5518S (size 10, 12)
OTHER
• Paper Towel Roll
• Palette Knife
• Oil Medium Container
• Brush Washer Jar
• Brush Soap (Jack’s Linseed Studio Soap)
• Triangle Make Up Sponge
• Reducing Lens
• Palette (Recommended but not required: gray glass palette)
Below is a list of recommended hotels in Amherst for residence during NSMA workshops. AirBnbs are also available closer to the museum in towns such as Shutesbury, Leverett, Orange, Athol, and Wendell, and can be cheaper alternatives to hotels. For both hotels and AirBnBs, we recommend booking far in advance for better prices and to secure your spot. For more guidance on housing options, contact info@newsalemmuseum.com
Meet your Instructor
Rachel Li
Rachel Li (b. 1995) is an oil painter best known for her figurative work. Through intensive study at New York City’s Grand Central Atelier from 2011 to 2018, her practice is rooted in a dedication to truthful observation and traditional techniques, which she uses to explore timeless human themes with honesty and depth. Her work engages in an ongoing dialogue between historical tradition and personal experience, drawing inspiration from masters such as Botticelli, Rembrandt, Mancini, and Sorolla. She learns from these masters an understanding of how light and shadow define form and how color conveys emotion, weaving these elements into a visual language that feels both personal and timeless.
Rachel’s paintings are held in private and public collections across the world. She currently lives and works in New York City.
Rachel Li (b. 1995) is an oil painter best known for her figurative work. Through intensive study at New York City’s Grand Central Atelier from 2011 to 2018, her practice is rooted in a dedication to truthful observation and traditional techniques, which she uses to explore timeless human themes with honesty and depth. Her work engages in an ongoing dialogue between historical tradition and personal experience, drawing inspiration from masters such as Botticelli, Rembrandt, Mancini, and Sorolla. She learns from these masters an understanding of how light and shadow define form and how color conveys emotion, weaving these elements into a visual language that feels both personal and timeless.
Rachel’s paintings are held in private and public collections across the world. She currently lives and works in New York City.