ART OF THE MASTERS Workshop

Hello, Artists,

gilbertsunnewsarticle6-2016

We are planning a workshop the week of November 14, 2016, which is our only opportunity window for quite a few months. Can you make it? We will also have a Free Prep Day on November 7, a week before the workshop, in order to help you get a wonderful start. The cost for the 5 days is $489.

Art of the Masters Workshop
When: Nov. 14-18, 2016
Where:  Gilbert, Arizona
Time: daily, 9:00 – 5:00

If you feel undecided, maybe now is the time to get off that fence and embrace your true art self. We promise that you will get more step-by-step art instruction in one week with us, than you will get anywhere else, even in workshops that cost more than twice what we charge. We also give you helpful handouts (most art classes don’t) because we want you to be able to remember and continue working on what we’ve taught you. To us, the most important thing is continuing the legacy of the Old Masters, and we are passionate about passing on their wisdom and techniques to others. We would love to have you with us!

And like Maestro Frank Covino always did, we offer $100 off the cost of your tuition for each of your friends that sign up for the class.

Below is a sample of first-time student drawing (24″ x 30″), in preparation for painting.  Amazing, huh!

P1110792

Here are things needed for the Free Prep Day:

Materials for board preparation, graphing, and drawing:
Ampersand Gessobord brand surface
metal yardstick and ruler
ultra-fine Sharpies, various colors (black, blue, and red are probably enough)
General’s charcoal pencils, soft
kneaded eraser
High quality photo of Old Master painting to work from, printed on 8 1/2”x11” glossy photo paper, one grayscale, one color–Art Renewal Center is an excellent online museum source– https://artrenewal.org/pages/search.php
blending stumps (tortillions)
Exacto knife
spray workable fixative
clear tape
acetate

Other helpful items:
transparent 18” triangle
India ink and sable liner brush
artist’s white tape, removable

Please respond below, and we’ll get right back to you!

Marsha and Karen
Art of the Masters

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CARESSING A FOOT

I just completed this commission, The Apotheosis of Love, on the occasion of a wedding, and my patrons loved it.  It went on a plane to Boston:

PaintingMarshasTheApotheosisOfLoveGlazedCompletedRtchdP1110668

Here it is, framed, with brass title:

PaintingMarshasTheApotheosisOfLoveFramedGlazedCompletedRtchdP1110668

I especially addressed the front foot–I studied the subtle shadows that make it work–or not.  In the first foot picture below, the toes, nails, and veins still need completion, but the most important area that needed altering was on the top front.  It was just slightly too dark–not even half a value–but what a huge difference it made when I lightened it ever-so-slightly!  I am attaching a “before and after,” with the original model, just so you can see what I mean.  Here is the model:

PaintingRefApotheosisFeet

Here, the top front half looks flattened and scooped like a spoon because its value is too dark, even though I followed the model:

ApotheosisFeetStillNeedCompletedToesNailsVeinsCoveredWflesh

and here is the corrected version:

ApotheosisFeetCompleted

Yes, the overall tone of the pictures are different because one was taken at night, but it is the VALUE difference that counts.  The foot, with toes, nails, and veins, is completed in the second picture.  I changed nothing on the drawing itself.  Just the slight value change is all that mattered.

I will eventually come up with a step-by-step to share, but even then, it is mostly just a lot of work, time, and careful observation, stepping back six feet and comparing it to the model, squinting, looking at it through a mirror–you have to pull out all the tricks!  And even when you think you’ve nailed the drawing and the underpainting, the slightest color shift matters, even when the color values you are applying match the value of the underpainting perfectly.

Regarding the importance of slight color shifts, I have a theory that I can find no information about.  Perhaps it already has a name, but I am going to call it something like “How Color Shifts Value Perception.” I wonder if anyone else has observed this phenomenon?  Have you? It would probably be a boring topic for anyone but an artist.

I’m designing another painting that has a tight time limit for completion.  My Aunt Goldie will be 95 years old  in July, and I want to do a painting of her, quilting, since she has been an award-winning quilter all her life.  I have the references, we’re picking up the precut board tomorrow, and I’m doing a square format (24″ x 24″).  This is one of those rare occasions when traditional formats will not work, due to the length of the quilt frame in relation to her body.  I hope to have the drawing finished by the end of next week.   I’ll post it when I can.  There is only one hand showing in the reference, complete with thimble and needle, so it won’t be a good candidate this time for my step-by-step model.

Giclée prints from The Apotheosis of Love will be available soon, and I will write more on its conception in a later post.

Best wishes to you,

Marsha

PAINTING WHITE TO PLEASE THE HUMAN EYE

Since Aristotle was the first person we know of that gave serious, objective thought to the rainbow and rainbow color theory, it behooves us as artists to contemplate it as well. This instruction is written as though the artist is new to the concepts of painting in spectrum white color, and approaching the process for the first time. Thus, I apologize in advance if what follows seems overly simplistic, but these details may prove helpful to some.

Firstly, two important points should be mentioned here:

1) When mixing the greyscale, this is how to get a true, neutral set of greys; otherwise, they will tend toward blue: adding just the barest touch of raw umber to the black pile of paint on your palette is important. Preferably use mars black, as it is generally less blue than ivory black. Then lighten a small bit of it to check that you have not added too much umber—this will make it look dirty if you have, and you do not want the whole pile polluted.

2) Although the tube colors for white spectrum are customary for the purposes of demonstration, they are still somewhat flexible. For example, you may find that you have manganese violet in your paint box but not cobalt violet; or you may find that your garment is in a warmer light setting and you would prefer using a violet commensurate with that. It is okay.

It Always Goes Back To Values

However, despite guides and formulae, you must still understand why you are choosing to paint with spectrum white, and be able to determine your darkest and lightest values in the three situations/conditions outlined below: *Light, Shadow, and Sunset. After determining the situation, you look at the garment and think like this: “My darkest dark is a value 3 so, since purple is first on the rainbow spectrum (following their order) and comes out of the tube at value 1, I will lighten my purple with white until it is a value 3. Then, I can tint some grey with it, which should result in a purple-ish white value 3. The next color in the spectrum is ultramarine, so I will lighten that color to a value 4, and then mix it with a value 4 grey,” and so on, up the spectrum.

Remember that, ultimately, we don’t want the whites on our paintings to be white, but we want to portray a colorful rainbow spectrum that viewers perceive as white, thereby adding an almost otherworldly glow and sparkle. However, avoid excessive color in the greyscale.  We want the viewer to remark, “What a vibrant white dress!” not, “Look at all the colors in that dress—what is that supposed to be?”

Paint Mixing

SpectrumWhitePaletteP1110237

Situation 1:  Here are the Munsell/rainbow spectrum colors in the light, by name, from dark to light, and their oil paint equivalents:

  • (*1) Purple —Cobalt Violet (or Dioxazine Purple, or Ultramarine Blue+Alizarin Crimson Perm.)
  • (*1) Purple-Blue —Ultramarine Blue
  • (*3 or 4) Blue —Cerulean Blue (or Phthalo Blue+Phthalo Green)
  • (*1) Blue-Green —Viridian Green (or Phthalo Green)
  • (*5) Green —Cadmium Green (or Hansa Yellow+Viridian)
  • (*8) Yellow-Green —Phthalo Yellow Green (or extra Hansa Yellow+Viridian)
  • (*9) Yellow —Cadmium Yellow Lt.
  • (*7) Yellow-Red —Cadmium Orange
  • (*4 1/2) Red —Napthol Red Lt.
  • (*1) Red-Purple —Alizarin Crimson Permanent (or Phthalo Rose)
                –Titanium White
                –Mars Black

*numbers indicate the value of the color, directly out of the paint tube

Situation 2:  The oil paint colors to use for spectrum white in shadow, dark to light, are:

  • Alizarin Crimson Permanent (or Phthalo Rose)
  • Cobalt Violet (or Dioxazine Purple, or Ultramarine Blue+Alizarin Crimson Perm.)
  • Ultramarine Blue
  • Cerulean Blue (or a mixture of Phthalo Blue+Phthalo Green)

Situation 3:  Finally, although it may seem strange to start in the middle of the spectrum with Cerulean as the darkest value, the list still follows the spectrum order. The oil paint colors to use for sunsets, seascapes, or snow, dark to light, are:

  • Cerulean Blue (or a mixture of Phthalo Blue+Phthalo Green)
  • Ultramarine Blue
  • Cobalt Violet (or Dioxazine Purple, or Ultramarine Blue+Alizarin Crimson Perm.)
  • Alizarin Crimson Permanent (or Phthalo Rose)
  • Napthol Red Lt.
  • Cadmium Orange
  • Cadmium Yellow Lt.

Here is the resulting color chart, and the explanation of each row of the chart:

PaintingSpectrumWhiteColorChart        

Situation 1
Row 1, Greyscale, V3-9
Row 2, each color lightened to match respective grey values
Row 3, the result of mixing greys with respective color values
Situation 2
Row 2, lightened to match grey values 5-8
Row 3, the result of mixing greys with respective color values
Situation 3
Row 2, each color lightened to match respective grey values from row 1
Row 3, the result of mixing greys with respective color values

A note here—Sometimes you will need half-steps in your values, so keep in mind that just because you have only 4 colors to use for shadows (for example), does not mean you necessarily have only 4 values to address in your white shadows. You may have 5 or more values in your shadows, so you simply spread these four colors to a broader value range, commensurate with the needs of your painting. The same holds true for the other two situations outlined above.

We must also keep in mind the concept of “reflected light” as it relates to white objects and how they will be affected. Everything that is near your white object or garment, whether it is an apple or a curtain, will be reflected somewhere in that white object or garment, so a way to handle those reflected lights might be to gently glaze the reflected light color on top of the painted spectrum white object after it dries. Of course, the handling of this will be very painting-specific, and the way you accomplish it for one painting, might not be the same for the next, but it is something to keep in mind.

Now What? Analyze which situation applies to your painting, then paint it from dark to light using these instructions.  In a previous post, I have painted a quick example on the use of spectrum white that might be a useful reference.

*A big “thank you” goes to Charlene Higley for differentiating and fine-tuning these three conditions.

HOW CREATIVE PEOPLE SUCCEED

I rarely re-post work by someone else on this site, but I read an article by a best-selling author, Jeff Goins, called The Unfair Truth About How Creative People Succeed.  In it, Jeff posits some insightful ideas about creativity, luck, and being in the right place at the right time, and I would love to hear your own insights and views on the subject.  Here is the text:

The other week, I was invited to a dinner hosted by a friend. Those attending included people I’ve admired for years. Halfway through the dinner, I silently asked myself, “How did I get here?”

For years, I heard people talk about their influential friendships and subsequent success, and I would seethe with envy. It seemed unfair. Of course those people were successful. They knew the right people. They were in the right place at the right time. They got lucky.

Years later, I would discover that success is born of luck (I don’t think any honest person can dispute that). But luck, in many ways, can be created — or at very least, improved.

The truth is life is not fair. For creative work to spread, you need more than talent. You have to get exposure to the right networks. And as unfair as that may seem, it’s the way the world has always worked.

The good news, though, is you have more control over this than you realize.

Creativity: A Systems Approach

What makes a person creative? Of course, as human beings we are all endowed with the ability to create. But what is the difference between that kind of “little c” creativity and the world-changing “big C” creativity that changes industries and leaves a legacy for generations to come?

In his decades-long study of creativity, Mihaly Csikszentmihalyi describes what he calls a “systems approach.” Since creative work tends to be subjective, he posits a model that includes three systems. They are:

  • The Domain
  • The Field
  • The Individual

In order for a work to be considered Creative (in the sense that it offers some kind of enduring work the world remembers), it must satisfy all three of these areas. Here’s how it works.

First, an individual must master her craft in a given domain (art, science, mathematics). Then, this person must offer the creative work to a field of influencers in that domain who are trusted experts. Finally, the gatekeepers decide if the work is worth being accepted as authoritative into the domain.

That’s the systems approach to creativity.

And as much as I initially winced at the word “gatekeepers” when considering what makes creative work succeed, once I started reading biographies of famous artists, scientists, and musicians, it made a lot of sense. Talent is only part of the equation. The rest is network.

Hemingway, Paris, and Enduring Work

When he was just a young man in his early twenties, Ernest Hemingway moved from Chicago, Illinois to a poor district in Paris. He had just returned from a short stint of serving with the Red Cross in World War I and wanted to pursue a career in writing. There was just one problem: he didn’t have much exposure to other writers.

Who would teach him?

In Chicago, Hemingway met Sherwood Anderson who encouraged him to move to Paris to meet Gertrude Stein, who led a community of writers, poets, and artists there. Plus, it was cheaper to live in Paris, and Hemingway could live modestly while still having time to travel and write.

In Paris, he met Stein, as well as Ezra Pound, James Joyce, and many others who would shape his work for years to come. This included a connection via F. Scott Fitzgerald to Scribner’s, the publisher that would later publish his novels and change the course of his career forever.

Before that decade in Paris, Hemingway was a writer of some notable talent and a pretty good journalist. But after those years immersed in the creative work of others, he was a household name.

Due to the connections created through that community, Hemingway became one of the most famous writers of the 20th Century. It’s inconceivable such a development could have happened anywhere else. Not because there was something special about the Left Bank at that time, but because without a network, creative work does not endure.

Without a network, creative work does not endure.

In other words, without Paris, there is no Hemingway. But what does that mean for mere mortals like you and me?

Finding Your Own Paris

Are we doomed to failure if we don’t live in the right place at the right time?

Of course not. But networks matter, maybe more than we care to admit. Vincent van Gogh’s work matured much more quickly once he met the French Impressionists. And why wouldn’t it? He now had a field of gatekeepers who both critiqued and validated his work.

Whether we like it or not, we all need some kind of objective standard against which to measure our work. And although van Gogh did not sell much of his work in his lifetime, it was the tenacity of a well-connected sister-in-law who eventually brought his paintings to market. In fact, most of the great art the world has ever seen came about not through a single stroke of genius but by the continual effort of a community.

Great art does not come about through a single stroke of genius, but by the continual effort of a community.

Networks. Partnerships. Creative collaborations. This is where enduring work originates, and, incidentally, is how we get works like The Lord of the Rings and The White Album. Creativity is not a solitary invention but a collaborative creation. And communities create opportunities for creative work to succeed.

But how do you apply this approach if you don’t live some place like Paris, New York, or Rome?

Well, of course, you could move. According to Csikszentmihalyi, it’s better to move somewhere new than it is to will yourself to be more creative. And now, it’s easier than ever to transplant yourself someplace inspiring, even if temporarily. I did this eight years ago, relocating from northern Illinois to Nashville and unknowingly implanted myself into what would become a hub of creativity, technology, and entrepreneurship. I’m glad I did.

But you could also let go of your excuses and realize there’s a network available to you right now, wherever you are. This may come in the form of an online mastermind group or a series of events you attend, maybe even one you organize yourself. The truth is there are connections everywhere and always more resources available to those willing to look.

A Seat at the Table

Five years ago, I decided to do something radical — well, radical for me at least. I let go of my cynicism and began reaching out to influential bloggers and authors, people I had watched for years and wanted to know. I asked them to meet me for coffee. And here’s the crazy part: most of them said yes.

Even though I was a shy person, I met these heroes of mine and followed up with them, doing everything I could think of to help them. In some cases, it just meant buying their coffee. In others, I would interview them for my tiny blog, realizing that even the most influential people don’t mind talking about themselves.

I tried to be the kind of person these people would want to invest in — following every piece of advice they gave, doing everything they told me to do, and not questioning a single word of it. And at some point, I got lucky.

It’s naive to say success doesn’t involve luck. Of course, it does. Crazy stuff happens all the time, stuff we can’t control that sometimes works in our favor. At the same time, luck is not completely out of your control. Luck can be planned, anticipated. Although I can’t tell when or where luck is going to come from, I do know the more you put yourself in the company of greatness, the more likely some of that greatness will rub off on you.

So if you want a seat at the table, the process might look something like this:

  1. Find a gatekeeper. For Hemingway, this was Sherwood Anderson and eventually Gertrude Stein. These were the people who held the keys to the kingdom, and every domain has at least one. Find someone who is connected to the people you want to know, and be strategic in reaching out, tenacious in staying in touch, and intentional in demonstrating your competency.
  2. Connect with other people in the network. Stein introduced Hemingway to other writers in Paris who could help him, but he was also relentless about meeting with them. He used to spar with Ezra Pound on a regular basis, boxing him and learning how to write terse prose in the process. If you show the gatekeeper you’re willing to learn, he or she will likely introduce you to others and keep investing in you.
  3. Help as many people as possible. This is crucial. It’s not just who you know, it’s who you help. People remember what you do for them a lot more than they remember how clever you were. In spite of his reputation as an alpha male, Hemingway did this, too — helping Stein get her work published, encouraging Fitzgerald when he suffered from creative blocks, and bringing attention to the work of the Left Bank.

Of course, every person’s journey is their own. But what I am now more certain of than ever before is that success in any creative field is contingent on the networks you are a part of. The question is, will you embrace the power of networks, or will you keep thinking those people are just lucky?

Luck comes to us all. But those who recognize it are the ones who succeed. Every story of success is really a story of community, and the way you find yours is by reaching out and taking advantaage of the opportunities that present themselves — whether that’s in Paris, Chicago, or your own hometown.

SHARING A NOTE FROM FRANK COVINO, DECEMBER, 2015

Hello, Fellow Artists,

Here is a picture of Frank Covino’s famous copy of the Mona Lisa, taken by our friend and Arizona Renaissance Art Guild member, Val Maugham, and another photo from the blog:

CovinoMonaLisaCovinoMonaLisa1

Charlene wanted to share with you all, this heartfelt message from Frank about the beautiful scrapbook Pat McKinley assembled and sent to Frank at Christmas time to cheer him through his treatments. 

In addition, the pictures below were taken at the November 2015 Covino workshop we held, sadly, without Frank.  He was scheduled to teach us, but he had the heart attack shortly before and then the cancer was discovered, so we went ahead with it anyway; the room was already reserved, and we had a good workshop, quoting “Frankisms” to each other.  We watched his videos part of the time (see the monitor) and painted for the remainder.  We weren’t always all there at the same time, but a few sample pictures are posted below.

Here is the note from Frank:

Good Morning Charlene…

Words cannot express the joy I felt when thumbing through the photo album that I received from Pat.  Every photo of every painting brought back the memory of its development. While I may have guided the students, the artwork is by their hand, and the sophistication of their achievements gives credence to all of my guidance, in preserving the Classical Academic tradition. I believe that God will bless the Mormons for perpetuating admiration for the Classics throughout the recalcitrant 20th century.
While I may feel weak and impotent through this crisis, there is light at the end of the dark tunnel, and, with prayers from so many of my students and my family, I look forward to my full recovery. The album of photos that Pat has organized has helped to relieve the pain and debilitation of the Radiation treatments, while my month of succumbing to the after-effects of the brutal blood thinner drugs has passed.  The drugs really made me loopy…cold…unsteady…and dizzy… especially since they denied my regular Vitamin and Mineral schedule. Most debilitating has been the lethargy that ensued, from laying in a hospital bed for so long.  My body is used to being more active; I long to get back to the gym. The muscle developed from all those hours of exercise in the gym is wasting, rapidly, and I am beginning to look my age.
I’ll write to Pat, since I don’t have her e-mail, but please extend my gratitude to all of the students who participated in the creation of this wonderful album.  Every photo has brought back precious memories.
Sincerely,
Frank
P1100758P1100777
P1100764  P1100778

FRANK COVINO OBITUARY, 2016

Maestro Frank Covino’s obituary has been published on the Perkins-Parker Funeral Home site and quoted below:

Covino Portrait1

https://prod2.meaningfulfunerals.net/fh/print.cfm?type=obituary&o_id=3608351&fh_id=12898

Perkins-Parker Funeral Home


Frank G. Covino
(October 16, 1931 – February 16, 2016)

U.S. Veteran

Born to Italian immigrant parents in 1931, Frank Covino discovered his love for art at an early age. By 1950 he enlisted to fight in the Korean war, with a promise of paid college education. Extensive casualties awarded Air Force Sergeant Covino and his Battalion the prestigious Syngman Rhee Presidential Unit Citation, a distinguished medal of honor.

Upon discharge, Frank enrolled at Pratt Institute, earning his Bachelor and Master of Science degrees in Art Teacher Education in 1959. By 1960, Frank was hired by Norman Rockwell to teach the portrait course for The Famous Artists School in Westport, Connecticut, before establishing his own Academy of Art in Fairfield, Connecticut, in 1963. Twenty-four years later, Covino closed the doors to his Academy and took to the road, where he continued to conduct seminars in major cities from coast to coast. In 1995, Frank led 15 art students on a precedent-setting trip to the Louvre in Paris, where they each completed a copy of an Old Master.

Over the course of 5 decades, Frank was commissioned to paint a wide range of portraits, including British Prime Minister, Sir Harold McMillan; retiring President of RJR Nabisco Corporation, Ross Johnson, the notorious subject of the year’s top selling book, “Barbarians at the Gate“. Frank’s life-sized portrait of singer Dinah Shore was dramatically unveiled during the popular national television show 20/20, and was displayed for years at the Mission Hills Country Club in Palm Springs. Covino was also commissioned to paint a large portrait of film actress, Gloria Swanson and another study of Marvin Gaye. In the 1980’s the World Wrestling Federation commissioned Frank to sculpt the original bronze Slammy Award.

Frank has authored three major art books: The Fine Art of Portraiture, Discover Acrylics With Frank Covino, and Controlled Painting. His latest and final book, The Left Brain Alternative, is set to be released later this year as an eBook. He has also produced 12 instructional art videos.

Stationed in the Rocky Mountains before his Korean deployment, Frank discovered a passion for skiing. After he survived the war, he pursued the sport relentlessly, becoming a ski instructor in 1955 and continuing to teach for 22 years, guided initially by his mentor and close friend, Olympic ski champion, Stein Eriksen. Stein invited Frank to participate in a clinic held at Sugarbush Valley, from which would develop the new Stein Eriksen Ski School. Over the years, Frank and Stein collaborated on a nationally syndicated newspaper column entitled “Ski Tips From Stein Eriksen” which Frank edited and illustrated. Together they invented the “Chalk-Talk”, a popular audio-visual presentation that involved ski instruction narration by Stein supported by live action sketches, which Frank drew on an overhead projector. In 1975, Frank was asked by Digest Books to collaborate with Olympic Gold Medal Champion, Jean-Claude Killy, which resulted in the book “133 Ski Lessons by Jean-Claude Killy. Frank’s three ski instruction manuals, illustrated by the author, were published by Digest Books in the seventies, culminating in his most significant ski book, “Skiers’ Digest “ in 1976.

In 1999 he co-authored the popular health and fitness book, “Rage Against Age” with Dr. Charles Anderson. An avid body builder and health enthusiast throughout his life, Frank decided to enter the Vermont Regional Bodybuilding Championships, and took home two Silver trophies and a First Place Gold for the Super Senior Division at the advanced ages of 79 and 80. Frank loved life to the fullest. His many adventures also included bareback bronc riding in the Federal, Wyoming rodeo; skydiving; heli-skiing in British Columbia; surfing; horseback riding and kayaking.

Frank leaves behind the love of his life Barbara; his son Mark; daughter Cameron; his sister Carol; his brother Lee; his sister in-law Geri; as well as cousins, nieces, nephews and extended family. Frank was predeceased by his beloved brother Bob. The family will hold a celebration of Frank Covino’s incredible life in June at a date and time to be determined. For more information, please visit: http://www.frankcovino.com In lieu of flowers, memorial contributions may be made to the Mad River Ambulance Service, PO Box 305, Waitsfield, VT 05673, or the Mad River Valley Community Fund, PO Box 353, Waitsfield VT 05673. Assisting the family is the Perkins-Parker Funeral Home and Cremation Service in Waterbury. To send online condolences please visit http://www.perkinsparker.com or the funeral home Facebook page.

FRANK COVINO, LONG-TIME FRIEND AND MENTOR, HAS PASSED

Covino Portrait1P1070431PaintingWorkshopCovinoFrank4-2015

Dear Artists and Friends,

It is with ineffable sadness in our hearts, that I must report this news.  Our friend and long-time art teacher and mentor, Maestro Frank Covino, passed away suddenly on Tuesday, February 16, 2016, after being pronounced “cleared of cancer” just last week.

If I may use a bold simile, his loss feels like looking up at the mountains in Sugarbush, where Frank worked hard to build the home he loved, and seeing that the grandest of summits has disappeared from our sight.

Here is a note from his wife, Barbara Covino, that you will all want to read:

Subject: It is with a deep abiding sorrow in my heart that I write this letter…forgive the delay but it has taken time to believe this is true…

Beloved friends and family , one and all,

After two days of profoundest shock, and countless tears I realize I must write you.  It is with a heavy, heavy heart that i must inform you that dear Frank has passed away unexpectedly on Tuesday night, February 16th.  It was quick and he did not suffer–a death we would all prefer–but he had been progressing so well, it was a gut-wrenching shock that still is unbelievable.

I truly cannot imagine a world, or a life without him…32 years of happiness and adventure.  Life was never boring with him!!! What an amazing talent, a brilliant man with a wealth of knowledge, a gentle and sensitive man who had to excel in everything he did, and was thus an inspiration to all who knew him.  He encouraged others to strive for excellence and to believe in themselves, giving them the tools to create a positive reality in their lives, whether it be art or health.  We all can repeat that golden maxim: IT’S NEVER TOO LATE TO AMELIORATE! Wise encouraging words, those.

But he was more than the sum of his parts; he was a genuine force of nature, a real Renaissance man, but above all else, he had a kind heart and a very great soul. We all loved him so; there will never be another Frank.  But I know it is now time for each and every one of us who was touched by his life, to take that spark and pass it on.  He gave us wings and it is time for us to fly…Make him proud!!!

I am too choked up to continue writing.  God Bless each and every one of you who had a place in his heart…family, friends, students….He loved you all sincerely and without guile….

We are in the process of collaborating with the family and planning both a smaller family funeral as well as a larger set of celebrations of his life and legacy open to all who loved him–one in Vermont and one on Long island.  As soon as the Covino south clan and Mark and Jennifer and I hammer out the details, I will email you all, soon as can be done.

We are going to give that wonderful man a send off he won’t soon forget!!!

Love and blessings , Barbara Covino

PS: PLEASE FORWARD THIS to everyone you can think of. It has grown into a cast of hundreds, and forgive the delay but it has taken time to believe this is true.