This summer, I saw an opportunity to join the Met Copyist program at the Met Cloisters and I submitted a proposal for it. I made a few sketches to help me decide on the proposal, and the sketch shown is the one that stood out from the others.
The Met Copyist Program—just so you are aware—is one of the oldest running public program by the Met Museum, but the program never included the Met Cloisters. This fall program is the very first of its kind.
Some weeks ago, I received a voice mail from the Met that I was accepted to the copyist program!
As you can imagine, I am so excited for this opportunity to paint at the Met Cloisters. In the coming weeks, I will document my progress so stay tuned!
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When the Met Museum reopened its copyist program after closing it for 2+ years during the pandemic, I was invited to join the program.
Date: Friday, August 14, 10:00am-4:00pm (w/ 1 hour lunch break)
When paint tubes were introduced, artists didn’t wait long to take them outside. En Plein-Air is a beautiful way to capture the world around us because camera lenses still can’t replace the unique way each of us see the world.
This workshop will focus on using a minimum outdoor color palette as well as ideas for painting when traveling. The class will start with a brief instruction on how to begin the painting session. Once students are settled in, the instructor will work with each student based on their chosen medium.
Each student can choose to use oil, acrylic, or watercolor for this workshop. Bring your own materials if you have them.
Material List
Small sketchbook & pencil (HB, B2)
PRIMED Canvas or Panels – 9″ x 12″ and 12″ x 16″
Oil PAINT: Recommended Brands: Vasari, Winsor Newton, or Rembrandt: (1) Titanium White, (2) Yellow Ochre, (3) Burnt Sienna, (4) Cadmium Red or Pyrrole Red (Also known as permanent bright red), (5) French Ultramarine Blue, (6) Cadmium Yellow* & Viridian* (For plein-air workshop)
Brushes: 2 Set of Assorted Size Filbert or Flat Brushes* – Size 2, 4, 6, 8
Painting Mediums: Gamsol (Odorless Mineral Spirits), Linseed Oil
Other Items: Palette Cups, Palette, Palette Knife, Cotton Rag & paper towels, Ivory Soap or Murphy’s Oil Soap
For centuries, artists have turned to oil paint for its richness, versatility, and luminous depth—and it remains one of the most celebrated mediums for creative expression today. In this workshop, you’ll discover the beauty and possibilities of oil painting while learning how to work with a thoughtfully limited color palette to create compelling portraits and landscapes.
Through guided instruction and hands-on practice, you’ll explore how to mix colors, build layers, and capture light, form, and atmosphere. Whether you’re new to oils or looking to strengthen your skills, this workshop will help you develop confidence and a deeper appreciation for this timeless medium.
Materials List
PRIMED Canvas or Panels – 9″ x 12″ and 12″ x 16″
Oil PAINT: Recommended Brands: Vasari, Winsor Newton, or Rembrandt: (1) Titanium White, (2) Yellow Ochre, (3) Burnt Sienna, (4) Cadmium Red or Pyrrole Red (Also known as permanent bright red), (5) French Ultramarine Blue,
Brushes: 2 Set of Assorted Size Filbert or Flat Brushes* – Size 2, 4, 6, 8
Painting Mediums: Gamsol (Odorless Mineral Spirits), Linseed Oil
Other Items: Palette Cups, Palette, Palette Knife, Cotton Rag & paper towels, Ivory Soap or Murphy’s Oil Soap
Thank you NoMAA, Artists Unite, Columbia University Medical Center Neighborhood Funds and MTA for this opportunity to exhibit my painting, the Quince in Bonnefont Cloister Garden, inside the 181/184 St. subway elevator.
Some months ago, I found a tarot card when walking around the city. I liked the design and colors of it.
Oil on Panel – 36” x 24” inches
Following is a color study for the larger painting above. Here, I hadn’t thought of the tarot card, but a dead cardinal that I saw earlier this year, which I also found when walking across a street.
This exhibition showcases 3 of my recent paintings together with works by 40+ artists who won grants and scholarships in 2024.
As the recipient of the Xavier Gonzalez and Ethel Edwards Spanish Travel Grant, I traveled and experienced Spain. This exhibition will include 2 plein air paintings from Spain.
I am also including a portrait of Katie, which is one of my favorite paintings of mine.
So I had prepared this linen about 2 years ago, thinking I will cut it to make smaller canvases, but ultimately, it was destined for this painting of a rare quince tree in New York City.
September 2025
I had been meaning to paint the Met Cloisters but never got around to it until this September, when I saw it covered behind these massive —and green—quince fruits. According to Deirdre, the fruit color turns golden in late October.
For more information about this magnificent trees, read The Golden Quince by Deirdre Larkin.
My trip to Spain began in July. The planning for this trip had begun more than a year ago when I received the Xavier Gonzalez and Ethel Edwards Travel Grant in 2024.
As soon as I received the grant, I knew I wanted to paint in Spain, so I began to prepare itinerary as well as a plan to bring my painting materials.
Painting in Pyrenees. It began to rain so took a long break to paint a tree.
Traveling with simple art supply is a one thing, but traveling with oil paint and necessary chemicals takes another level of planning.
And, if I were to paint portraiture, I would just bring my minimal palette, but I had to bring additional colors to paint the nature, adding cadmium yellow and shades of greens and blues. I also packed lavender spike oil instead of odorless mineral sprit.
I test drove a few different pochade boxes in preparation for this trip and have used all of them for a year, and then eventually choosing one that I carried all over Spain. I also walked 100+ Kilometers carrying this through El Camino, but I will save that story for another time.
Costa Brava
Because I was staying in small hotels and guest houses, I quickly found that I couldn’t use the lavender spike oil for painting. It smelled too strong, and there wasn’t a good way to keep my paintings indoors.
Once I got back to Barcelona, though, I was able to buy some odorless mineral spirits. That was nice—I like this European version of spirit better than the American ones.
Catalonia truly is a haven for painters and outdoor enthusiasts. Its mountains, rivers, ocean, and manmade buildings and monuments stimulate imagination.
And, if all the eye candy is not enough one can definitely be inspired by fresh food or variety of cured meat, which all can be readily packaged for painting in the Spanish wilderness.
And because the wild Spanish sun stays lit for additional hours than the one from New York City, I felt energized and didn’t feel tired at all during my stay.
This portrait was completed from April 21st through May 9th. I painted a small head study on the first day and quickly decided that I would need the all remaining days to paint this portrait.
24 inches x 36 inches
The following image shows initial development of this portrait. Many changes came after this stage. Because this painting is completed from a live model, I adjust her pose and color constantly until I am satisfied with how the entire figure works with the composition.
