Click below to watch the recorded livestream
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Jeffrey T. Larson (1962) was born in Two Harbors, MN and raised in the Minneapolis, MN area. Between 1980 and 1984, he studied under Richard Lack (1928-2009) at the prestigious Atelier Lack also located in Minneapolis. At this time the Atelier was one of the very few studio programs still existing in the world whose traditions and training methods reach back through Impressionism to the 18th-century French Academies. He deepened his knowledge in anatomical studies at the University of Minnesota, bronze casting and finishing at private foundries through years of personal studies in museums across both America and abroad.
Jeffrey and his wife, Heidi met when he was head instructor and assistant director (1984-1986) at Atelier LeSuere. Since then, he has painted professionally full-time.
In 1990, they bought and renovated an old school in northern Wisconsin near the shores of Lake Superior where they lived, worked and raised a family.
His work has won numerous first-place awards in both national and international fine art competitions, including: the Grand Draper Prize by the Portrait Society of America,
Art Renewal’s Center International Salon, and the Artist’s Magazine.
He has had over 20 one-man exhibitions in multiple galleries throughout the nation. He’s placed more than 750 works in private and public collections. In 2016, the Tweed Museum of Art exhibited his work with a 25 year retrospective.
In 2016 he and his wife purchased a historic old stone church in Duluth, MN and, along with their son Brock, renovated it and founded the Great Lakes Atelier of Fine Art, (GLAFA).In 2017, British filmmaker Joe Hawkins, in conjunction with East Oaks Studio, created an hour-long, Catalyst Award winning documentary featuring Jeffrey’s life and artistic journey.
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Medium: Oils
Skill Level: All Levels
Duration: 3 Hours
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Jeffrey Larson Live Stream
Jeffrey Larson’s Materials List
Jeffrey Larson’s Reference Image
Jeffrey Larson’s final painting (image)
If you need us to re-send this to you, please contact us.
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How to approach a still-life painting from start to finish
How to use the limitations of your palette to capture light effectively
Fundamental classical-atelier skills
Practical & conceptual takeaways to continue beyond the recorded video
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This video will be available to re-watch at your leisure until 10th of June 2027.
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Yes! As soon as you purchase, you will have access to Jeff’s materials list, so you can paint along from home.
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We do sell some of them, yes! We have listed them below.
*Worldwide shipping is available, please email us if your country is not available at the checkout.
Jeff Larson’s materials, available from our online store…
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Titanium White No. 1 is the most brilliant white in my range, suitable for crisp, cool, opaque, light shades. If you want a powerful mixer that lightens , then this is it. Although not subtle, this white is the most suitable for a bright, fresh palette. It forms a strong and durable film when cured. PW6 is an inorganic pigment.
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Inorganic – No. 113 is an obviously beautiful mid-blue. The discovery in the 1820s of a Sodium Sulphosilicate compound, which had appeared as a mysterious blue deposit on soda-ash furnaces, was a liberating moment for financially challenged artists everywhere. Up to then the only available version of this compound was the often-unobtainable Lapis Lazuli ore, mined in Afghanistan. Ultramarine has a high tint power, and our chosen shade produces strong green shade blue hues and makes wonderful violets with Magenta and the red Lake colours. It is also useful in greens and greys. The only chemical weakness is a recorded sensitivity to atmospherically borne acids, which can bleach it out. Ultramarine Blue is one of the more difficult paints to make, as it forms an intractable runny syrup when first ground into oil, which must then be stabilized with a small amount of wax.
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Inorganic – My Cadmium Red is a powerful, orange shade red with the usual cadmium characteristics of high tint power and opacity. This red presents warm, almost fiery hues when mixed with a more transparent white.
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Organic – After many years Michael Harding was able to find a variety of this pigment that had a reasonable drying speed. It may interest some of you that Michael has PV 23 samples which he made in the late 1990s that still have not dried!! Deep Purple has tremendous use in all aspects of painting but should be used with caution by new artists as it has a tint power only matched by the Phthalocyanines. However, please do not be daunted by this description as when combined with whites it produces remarkable shades. Also, its slight addition to transparent yellows, such as Indian Yellow, can result in some extraordinary results that one can only describe as dark yellow which as a concept can be a little strange.
Organic, Natural Earth – An impure, amorphous Carbon in Calcium Phosphate, Ivory Black is no longer made from burnt ivory scraps but from charred animal bones. It is denser in shade and cooler than Lamp Black, with stronger tint power. Ivory Black, the blackest of the blacks, is the most frequently used black in the range.
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Inorganic – Sometimes known as Barium Yellow, as it is Barium Chromate. It was introduced into painting after the Lead Chromates, circa 1820. Unlike Lead Chromates, though, Barium has proven permanent and non-reactive. Most colourmen consider this yellow obsolete, and Michael Harding is probably the only one still making it. By itself, it’s an acidic looking yellow with weirdly green overtones. Its low tint and covering power mix with Magenta and the cooler reds to produce modulated greys artists sometimes seek for certain passages of flesh painting. This is the only yellow chrome paint that doesn’t discolour.
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Inorganic – The deepest of the Cadmium range, this red has distinct bluish undertones that produce lovely purplish hues.
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Organic, Natural Earth – So named because it was originally derived from the soot of oil lamps, this is pure Carbon and probably the first pigment our ancestors ever used to decorate their caves. Lamp Black is a soft, slightly warm shade whose surface gives it a greyish aspect. It’s probably not the best choice for unmixed underpainting because of its tendency to move while drying, but this can be remedied with the addition of good-drying Earths. Lamp Black tends to dry with a matte finish, which can be compensated for with the addition of a little stand oil.
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Organic, Natural Earth – Raw Umber is one of the fundamental Earths used as an imprimatura pigment to draw out compositions as a ground, as many Rubens sketches prove. Depending on the degree of transparency, it exhibits greenish undertones.
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Inorganic – Cadmium Sulphide is a ‘tangy’, bright, high-tint power yellow. It’s an inorganic pigment that lightens and increases the opacity of warm mixes without overthrowing them. The Cadmium range of pigments was introduced into production between 1840 and 1890, as costs permitted, and it has proved the most artistically reliable of all the metal compounds discovered in the 19th-century.
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Organic – An absolutely beautiful warm red with a very unique nature when mixed with or glazed over whites it produces a truly shocking shade of pink.
Added after much demand, this very permanent popular pigment capable of making completely exciting pinks with a vivid undertone Michael is providing artists with Quinacridone Rose. This is a modern organic colour perfect for vivid still life painting of flowers, fruit or in portrait paintings. This unique colour makes very exotic pinks that may appeal to the Plein Air painter for skies, fields, flowers and sunlight to name a few. Michael has always been a great fan of quinacridone colours for the use in his own paintings and find them to add a difference that cannot be achieved through other pigments, it gives me that burst of colour he enjoys!
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Inorganic – This is a fantastic colour with an incredibly small pigment particle size that gives it great, clean transparency, ideal for glazing. Transparent Oxide Brown is one of my favourite colours for all-around use in my paintings.
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Organic – Invented in 1935, Chlorinated Copper is one of the first synthetic organic pigments to be accepted as reliably permanent. It is sometimes seen as a modern replacement for Prussian Blue, but its unmixed colour is slightly more cyan, and in hues, it exhibits a unique range of throbbing, intense, greenish blues that are quite distinct from Prussian Blue. Having one of the highest tint powers in my range, this paint will blow any mix apart; if you wish to avoid doing so, add it incrementally and with caution! Its metallic content makes it a great drier, and like Prussian Blue, it shows a tendency to bronze upon curing. Again, use it with caution if you are a beginner.
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Inorganic – This oil paint is a warmer version of Cadmium Yellow Golden, giving a transitional colour more powerful, vivid colour than those obtained by mixing Cadmium Reds and Yellows. Cadmium Yellow Deep is often used to warm the mid-tones and lights of some flesh painting.
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Organic – Alizarin Crimson is the oldest synthetic, organic lake introduced in 1868, and the only lake of the coal-tar lake range to have survived in use until the present. Before the end of the 19th-century, other Lakes were found too impermanent, and some Amerian authorities frown on Alizarin because its lightfastness (II-III on the ASTM scale) doesn’t match that of more recent organic red pigments. But its clarity and subtly beautiful bluish undertones are unique; since its introduction, portraitists have prized its range of cool, rather smoky hues, which are well suited for Caucasian tones. If you have concerns about using Alizarin Crimson, try mixing transparent oxide red with magenta for “look-alike” oil paint, or use Alizarin Claret.