July, 2015

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  • NBMAA Acquisition, Cape Sounio

    Received news today that my 2011 studio painting ‘Poseidon’s Temple at Sounio’ has been acquired by the New Britain Museum of American Art for their permanent collection.  The New Britain is one of the only museums today in the states that supports and exhibits living ‘traditional’ painters.  They were kind enough to include a painting of mine from a private collection in their 2013 exhibition ‘A Joint Venture’ and speaking from that, I can say it is a very humbling experience seeing your painting hanging next to your heroes.  I’ll be happy to visit this older picture of mine in their collection sometime, it will be in good company.   Painting is, in essence, trying to connect yourself and place yourself within not only the context of ‘today’ but the historical lineages through which you feel grounded- so a painting being placed next to artists that you consider masters make that concept crystal-clear.


    Sounio, 90x120

    Poseidon’s Temple at Sounion, Morning 35×47″


    Painting the monuments is an ongoing project for me- perhaps because I have 2 architects in the family, I’ve always been attracted to painting architecture.  It is surprisingly difficult to obtain permission to paint the monuments in Greece-  Ruins in Italy and Spain can be a bit difficult to gain access to with an easel, but the Greek historical commission has passed some law specifically banning any tripods, probably because of professional photographers coming and using the ruins as subject.  Thankfully, now my Greek is much better and I can hold my own, arguing my way in at times.  Still, if you bump into the right guard they are just so happy to have an artist come and work.


    Below is the color sketch that I painted on site- I also did drawings, took photos and just spent hours looking at the thing.  My wife’s grandparents live just down the street from Sounio so I’m able to spend time there when I’m in Greece.  Though it looks a bit rough, I spent three mornings trying to paint this little color sketch, sitting down, with my easel weighted.  I still nearly lost the painting over the cliff at one point.  It was incredibly windy.


    Sounio, morning 30x40

    Poseidon’s Temple at Sounion, Morning 12×16″




    Cape Sounio 11×14″


    I was able to make it back to Sounio to paint again this past winter, the above  sketch was the result.  It was in my show at Sloane Merrill earlier this year, perhaps it will become a studio picture as well at some point.


    Though this will be the first public collection in America to have one of my paintings, though the Museum of Landscape in Plyos, Ivanovo, Russia has one of my pictures in exchange for my trip there back in 2013.  No idea if it has since been exhibited in the museum there, though I would love to find out.

  • Demonstration at the MFA Boston

    On two Sundays in October I will running a class and artist demonstration at the Museum of Fine Arts in Boston- I was asked to coincide my talk and demo with their upcoming superstar show, ‘Class Distinctions in the Age of Rembrandt and Vermeer”.  Of course, to speak on artists of their caliber, two of my biggest heroes at the museum that I grew up visiting is a huge honor, and I’m very much looking forward to it.  I will have some examples of my work out, a live model from which I will be painting a portrait and a table of materials that would have been used by Dutch 17th-Century painters.  This will be half-talk on materials and process, half demo, and I will be answering questions throughout.  It’s free and open to anyone who comes to the museum on October 11th or October 25th.


    Screen Shot 2015-07-31 at 12.53.18 PM


    Join Leo Mancini-Hresko for an artist demonstration focusing on techniques of 17th century Dutch portrait painters. Learn how to successfully capture the sensitivity and nuance of the subject. Afterward, visit the exhibition “Class Distinctions: Dutch Paintings in the Age of Rembrandt and Vermeer” Gund Gallery (LG 31) and explore how artists represented the different social strata in the Dutch Republic.

    Leo Mancini-Hresko studied at the Florence Academy of Art and after graduating in 2005 continued on as an instructor and subsequently became the director of the school’s drawing program for sculptors.  Additionally, Mr. Mancini-Hresko  taught regular courses in plein-air landscape painting and artist materials until leaving the school in 2011. He relocated to his native Massachusetts and now paints and teaches from his studio in an old mill building in Waltham, MA using traditional artist materials, often his own hand-ground paints, prepared canvases and oils.

    This is an ongoing program. Come anytime and stay for as long as you’d like.


    Click here to be taken to a link on the Rembrandt and Vermeer show


  • A couple of Paintings

    View from the Mill 28x36

    View from the Mill, 28×36″ 2013


    Often, I don’t get a chance to properly photograph paintings until they’re leaving the studio.  I have a toddler, and his schedule trumps mine- when I get to the studio I either have a backlog of painting or emailing to do, and photographing work often waits.  Here are two that I shipped off to their new homes this week.  The above winter scene was one of my favorite ‘New England’ views shortly after I had moved back to the states and was becoming increasingly interested in American Impressionism.  Though it may look rapidly painted, this is a very layered painting, easily worked 20-25 sessions on it.  My wife finally grabbed me and said it was done, and time to stop.  She was right, I still think of it as one of my favorites.



    Natalie Sketch 24x24

    Portrait Sketch of Natalie 24×24″ 2015

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