Matisse and Munch: Color Connections

Barbara Fugate received her MFA in painting from Miami University of Ohio. She has exhibited in Kentucky, Washington and New York and is published in “The Best of Drawing and Sketching” by Terry Sullivan, “Landscape Painting” by Mitch Abala, and “Contemporary Drawing” by Margaret Davidson. Barbara teaches at Gage Academy of Art, and conducts art workshops in Washington and abroad. “Drawing and painting is about discovery, revealing a reality that is ever more authentic and genuine to me. What is most inspirational is the transient nature of life; things dynamic, moving, and in transition.” –Barbara Fugate
6:30-9:30 P.M.
Live Model
Gage Capitol Hill
For the first class meeting: bring one painting sketch canvas (pad/canvas paper) and one stretched canvas. Apply a colored ground of a warm reddish-brown on both the stretched canvas and the sketch canvas/paper. Bring one smaller canvas/paper for a painting sketch and one larger (24×36” minimum) canvas. On BOTH of these, please apply a COLORED GROUND of a WARM REDDISH-BROWN color (for example: a mix of burnt sienna with sap green). The colored ground should be thinly applied and opaque, NOT thick or textured. Be sure this ground is DRY when you bring it to class. Use acrylic paint if needed to be sure the ground is dry.

BASIC PAINTING COLORS—OIL or ACRYLIC: Please have the following requested colors (color names vary according to brand)

  • Titanium White
  • Zinc White
  • Mars or Ivory Black
  • Hansa Yellow Hansa Yellow Deep (or) Permanent Orange Permanent Red (or) Organic Vermillion Permanent Blue (or) Ultramarine Blue
  • Phthalo Blue Dioxazine Violet (or) Violet (or) Carbazole Violet Viridian (or) Phthalo Green Sap Green
  • Olive Green
  • Raw Umber
  • Yellow Ochre

OPTIONAL COLORS (these are all interesting colors for mixing skin tones):

  • Perinone Orange
  • Quinacridone Coral
  • Cobalt Teal Blue
  • Pyrrol Scarlet
  • Pyrrol Orange
  • Perelyene Maroon
  • Indian Yellow
  • Quinacridone Orange or Red


  • 1 PAINTING PALETTE KNIFE: I recommend the long-medium sized diamond shape.
  • 1 SCRAPER for cleaning your palette
  • 1 PAINTING PALETTE: glass, Plexiglas or paper–a good-sized one please (14″X20″ or larger is good). Acrylic painters—you may want to use the “Stay Wet” palette to keep paints moist
  • PAPER TOWELS (I recommend “Bounty” or “Viva”)
  • Cotton rags (cut pieces from a cotton t-shirt)
  • 1 CONTAINER FOR SOLVENT OR WATER (GAGE provides oil paint solvent) Bring lids for to help contain fumes for oil painter’s solvent
  • PLASTIC BAG to hold used paper towels while you’re painting
  • MASKING TAPE to hold down your painting-sketch paper or boards for our quick painting sketches on your drawing board—unless you bring stretched canvas for your painting sketches
  • FOR ACRYLIC PAINTERS ONLY: I recommend you have a Matte Medium to thin paint and/or RETARDER or GLAZING medium to EXTEND THE DRYING TIME of your paints–and have a SPRAY BOTTLE to keep paints wet


  • HOG HAIR BRISTLE (variety of sizes, rounds/filberts/flats). Stiff brushes (not soft synthetic) are best for this class
  • Have at least TWO SIZES of each type of brush (HOG BRISTLE PLEASE) FILBERT / ROUND / FLAT (large and small, such as a #8 or #10 and a #4 or #2)
  • 1.5 inch thin flat brush (chip brush)— very inexpensive brush found at hardware stores or some art stores (I’ll have an example the first class—not needed the first meeting)

NOTES ON BRUSHES: Bring a variety of brush sizes and shapes you already own: flats, brights, angles, fans, filberts, and rounds. (HOG BRISTLE is recommended).
Total For the Course:

  • 2 MAIN CANVASES and 2 painting sketch supports (smaller pad/boards)
  • 2 MAIN stretched CANVASES—24”x36” minimum size. You may go a bit larger than this if you want. No square shaped canvases please
  • Approximately 2 PAINTING-SKETCH SUPPORTS for the whole course (gessoed canvas-paper or canvas pad)–size: 16” x 20” or 18” x 24”

Note on the painting sketch canvas/paper: You may use a “canvas paper pad” sold at art supply stores in a pad or gesso thick watercolor or printmaking paper. If you are priming thick paper, be sure to tape it all the way around (all edges) to a heavy board first, then gesso and allow it to dry completely before removing the tape. (or leave the tape on and bring the board and paper to class). Taping securely on all edges before priming prevents buckling.

You will make figure paintings in the manner of Henri Matisse and Edvard Munch using the vibrant palette of each artist. Fugate’s course compares and contrasts these two artist’s paint application technique and color combinations, as well as composition designs: Matisse’s color harmony and use of pattern versus Munch’s often dissonant color and narrative design.