Capturing the intricate beauty of a landscape, whether it be the subtle shadow cast along an early morning path or the sharp reflection made by a fish piercing the surface of water, then transferring that image onto a lifeless piece of canvas is a challenge many artists will attempt but few will conquer.
In their quest towards an understanding of the intricacies of the medium, a group of area ladies have been meeting on a regular basis. Each has developed in the art form on her own but all have one thing in common, to enhance their abilities through instruction and experience.
Those abilities were enhanced beyond their imaginations when, with a little luck, they commandeered a well known artist to pay them a visit.
The artist was William (Bill) McCullough and his visit changed their lives as well as their concepts of the world around them.
McCullough, who has a residence in Kingstree, also spends his time in Charleston where he has an established studio on 53 Cannon Street and a home in the village of Pougnadoresse, France.
His reputation as an established artist began in the 1960s as a student at the National Academy of Art and Design in New York City. McCullough studied under acclaimed artists and apprenticed under Robert Brackman and John Koch. He has taught painting at Gibbs Museum Studio School and has earned national as well as international recognition for his works.
Bill’s trademark style as a painterly landscape artist was the theme of the three day workshop. As day one unfolded, McCullough suggested points of interest for each artist. Easels sprung up along sunny paths and shaded avenues around a private home as the students prepared to interpret their subject.
As painting commenced, McCullough would make his way to each artist, answering questions, exchanging ideas, exploring styles, and interjecting his personal thoughts. While some artists have been known to be deprecating and impatient, Bill was an enduring guide.
“I am amazed at Bill’s patience. It didn’t matter what we asked, he would answer it,” said the group’s apprentice June Stuckey who’s first night was a rough one. “I was so nervous knowing I was going to be working beside him I couldn’t sleep.”
Several members of the group have had the privilege of watching Bill at work while others have enjoyed studying under him. Veteran artist Ellen Bass attended school with Bill in the 1970s. She has painted with Bill on many occasions but recalled a story about an outing that included him and fellow artists Peggy McGill and Mike Mouzon.
“We were painting at Gilland Park and Mike was trying to make his paint stretch further. We’ll never forget what he did to improvise. He added toothpaste to his paint.”
Accomplished artist Kelly Atkinson and her husband Ernie had commissioned Bill to paint a landscape of their farm. Kelly didn’t want to disturb the master but wanted to watch him. “He told me if I wanted to paint by him to bring my box and canvas,” she recalled. “I was thinking, I’m not going to do that! I couldn’t possibly disturb him.
But because he is so approachable, I later did go to the other side of the pond and work a while.”
Sheryl McCutchen, hostess to the event, began her ascension into the world of painting through a challenge. “I had always wanted to paint but was afraid to take that first step,” said McCutchen who’s early medium was water colors. “A friend of mine, Lucie Ann Smunk, asked when are you going to stop talking about it and do it? In response I said thank you very much and here I am.”
The final day of the workshop concluded at the home of Duane and Glenda Shuler with Bill presenting a demonstration applying techniques to create water. While poised at the edge of a pond and surrounded by his apprentices the artist played a silent concerto, parlaying a simple paintbrush into an instrument conveying color, light, and shadow into a striking composition.
The session transfixed his pupils. “It has been a true gift for Bill to spend time with us,” said Ondra Hanna, a 1999 graduate in art and who specializes in portraiture. “Where I try to be so exact in portraits, he has taught me to be more painterly, to block in shapes, what you put there counts.”
Even accomplished artist Dottie Arnette, who has a degree in art and over 50 years experience with oils, now has encompassed a new interest in acrylics. “I have learned so much during these three days. He is so easy to talk to, he’s funny and he answers all of our questions.”
And it didn’t matter what questions the apprentices threw at McCullough, he followed by answers that all could convey to their own abilities. “Simple and complex questions are the same,” said Bill as he dabbed bits of blue mingled with white to the canvas. “There is nothing really simple about it but there are things that are logical and that is something most people just don’t get.”
Which brought up a story about a discovery McCullough made in an antique shop in France. As the master was purchasing a set of antique brass medium cups the clerk, who was not aware of the vessels’ use until Bill provided her with an elucidation, asked if he was a painter. He responded yes and as he opened the door to leave she called out to him “Now don’t fall off the ladder.”