The commission ledger
Every project opens a slip in the studio book. Each slip pairs a fixed brief with a tracked schedule, so a private work moves through the bench with a clear plan and a finished surface.
PRG-114
COMMISSION
Private Commission Paintings
A collector arrives with a feeling and leaves with an object. The studio scopes a private painting around surface, scale and palette, books sittings or supplied photography, and holds a mid-point underpaint review so the direction stays true before the finish develops. Materials, framing options and a timeline are all fixed on the slip before the first stroke. Whether the subject is a mountain view, a beloved dog asleep in the sun, a wedding pair or a house that held generations, the studio treats it as a small story worth telling well, and tells it in oil or acrylic on a surface chosen to suit the light it will live in. Rush delivery is only accepted when the drying schedule will still protect the quality of the paint film.
full service notes
PRG-214
PORTRAIT
Portrait Sittings and Studio Visits
Portraits live and die on a relaxed subject, so the studio never rushes the first meeting. Same-season sittings happen in the Carrigan Circle studio or on location, and each visit begins with conversation rather than a camera flash, letting the subject settle into a natural pose under the north light. The studio encourages two to three sittings for the face and a final glaze visit when the paint is dry enough to review character without hurry. Children sit best in short bursts, so the studio splits a child portrait across two gentler visits at no extra appointment fee, and grandchildren grown taller than the easel are welcomed back each few years to chart the family line.
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PRG-314
PLEINAIR
Plein Air Workshop Weekends
Easels travel to washes, canyons and historic city blocks where the light changes every twenty minutes. Across a weekend the group sketches four scenes and finishes two, and every painter leaves with a working method for translating atmosphere into honest color instead of copying it. Groups stay small so each easel gets individual attention, and the studio caps a field team near ten painters to keep the critique personal and the help easy to reach. Support gear, umbrella rigs and a covered pack rack make the weekend comfortable even on gusty ridge lines, and spring and autumn dates are published well ahead so working painters can clear the calendar before the season turns.
full service notes
PRG-414
CLASS
Kids and Teen Studio Classes
Young painters grip a brush the way they grip a pencil, and a class teaches them to trust it. The studio runs age-banded groups that build from mixing a palette to finishing a still life over eight weeks. Lessons reward careful observation, and every term ends with a small open wall so parents see the growth hung up and lit. Juniors from six to nine build confidence with big, joyful color; the middle band from ten to twelve layers in value and a first self-portrait; teenagers compose a real exhibition piece. Materials and aprons are all provided, class sizes stay near eight so the instructor reaches every easel each session, and learners who stay a season almost always book the next.
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PRG-514
FRAME
Frame and Finishing Coordination
A painting is only finished when it hangs well. The studio coordinates gesso-coated boards, archival varnish and moulding selection, then matches a frame that respects the surface without shouting over it. Wire, hanging hardware and delivery placement are part of the job, so a completed commission arrives ready for its wall on day one. Moulding is chosen from physical wheat and umber samples kept in the studio so you see the real grain before the wood is cut, and conservation backing protects the canvas for the decades ahead. Local delivery within the Salt Lake metro includes placement on the collector wall, level and lit, with a care card that explains simple dusting and future cleaning.
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PRG-614
SHOW
Seasonal Gallery Showings
Twice a year finished canvases leave the rack and climb studio walls for a seasonal showing. Collectors and new learners are invited to the opening evening to meet the work in person, discuss future commissions and watch a live palette demonstration. The calendar of showings is posted well ahead so the season can be planned around the studio, and each showing features a handful of new works plus a collector preview night before the public weekend. Pieces on the wall are offered first to returning collectors through a quiet reserve sheet, and the showing doubles as the launch of the next commission season, so requests placed that weekend are scheduled earliest of all.
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200+ finished pieces
A pledge made in pigment.
MAGSART LLC keeps a promise simple and straight: every work is underpainted, reviewed mid-way and finished with archival care. No rushed canvases leave the bench. A piece stays in the studio until it holds up from a distance and rewards a close look, then it earns its rack place and, in time, a collector wall.
On the rack
Six walls and a palette to prove the method. New finished canvases rotate onto the rack after every varnish day, and the seasonal showing is the first place they are offered.
The working method earns trust faster than any promise. When a private painting goes through the underpaint review, the collector approves the plum-toned under-drawing before any final color is committed, which is why so few canvases ever need more than a gentle second pass. Students who stay for a full eight-week term almost always book the next one, and portrait sittings are often returned to by the same families as children grow taller than the easel. The pieces below are the quiet record of that habit, each one dated, signed and ready to describe at a showing or over the phone at +19287193348.
Every canvas in the rack began as a plain conversation. A granddaughter wanted her grandmother silhouette saved before a far move; a couple asked for the canyon where they first camped to hang above their sofa; a school asked for a wall mural moment that told the story of a whole class year without a single spoken word. The studio treats each of those requests as a small promise, and every promise rides the same disciplined flow from first chat to final varnish so that nothing arrives as a surprise and nothing leaves looking rushed. When the light falls across a finished piece at a seasonal showing, the studio wants a visitor to feel the same quiet warmth the maker felt at the first sketch.