Along the Arno

Along the Arno, 6x6, oil on panel

This is not my normal style but for some reason this little scene called for something different. And it is hard for me to paint this small anymore where once it was very comfortable.
The texture comes from two things. I gessoed the panel with a paint roller which gives it a kind of knobby texture to begin with. And second I had painted this scene already. Then decided I didn't like it so painted over it again. I do like the painted over effect so I am happier with the newer version. I also decided to use colored pencil instead of trying to paint the lines I wanted.

The story here is about the buildings. I do love the way the buildings in Italy are orderly yet jumbled. Florence has a lot of hills so it almost appears as if buildings are built upon buildings. The flower boxes are ubiquitous as well. It is one way to add color and get your hands in the dirt in a place with very little garden space.

Then and Now

An acquaintance/collector contacted me today. Here is what her email said:

I haven't seen you in a long while but did want to let you know how much I am So So ...enjoying your partings in my home on - going - ly!  I just moved one from downstairs upstairs to my office to so that I can look at it as I work at my desk.  I thought of you and how much I wanted to let you know.  Much love to you and our old investment group too!... Love... M

I have attached a photo of the one I look at now everyday in a new way...

Painting Along Cherry Creek, oil

I looked in my art files to see if I could find the images for this painting and its name. I could not! It is from before the age of digital photography! Oh My. It is my only palette knife painting and painted plein air back in the day when I was just starting to paint outdoors. It is very gratifying to know that it is still being enjoyed after all these years.

Spring Reflected, 36x24, oil on linen

And here is a painting I just sold to someone who found me via Nextdoor! One never knows how you will be found. I had responded to someone months ago who was looking for local art to furnish their office. I was never contacted from that post. Last week I had a private message from new neighbors looking for local art to hang in their new home who had seen my response. They are so happy with their new painting and it just so happens to be of their alley! Isn't it amazing how things work out? 

Urban Garden

Urban Garden, 30x30, oil on linen, available

This painting has taken most of this year to get it where I like it and the camera likes it as well. Sometimes the camera "sees" things I miss. Or it will pick out a paint color that just jumps out of the image and becomes a bulls eye. Finally, it seems we both can agree, at least for the time being.

This scene is in Urbino, Italy, a medieval walled hill town in the Marche area of Italy. Which is adjacent to Tuscany. I had read that Marche was so much like Tuscany except less tourism and less money. So of course I had to go and check it out! We were staying in a resort town off season. But this resort town was for Italians. So not much English spoken here. While at the train station trying to figure out buses or even a taxi, for pity's sake, I heard English! This is after trying French, German and English with the ticket agent in the train station. There was  a young woman taking to two others in English. She was a student in Urbino and her brother and his girlfriend had come for the weekend to spend it with her. They were all from England. She said they would walk us into town and help us get oriented as my internet was not working and the map I had found online for this seaside town was so not accurate on any level. While walking us into town (lots of pedestrian streets) she said we should take the bus on Saturday to Urbino for the market. Flea market, antiques, and normal food market was something to go and experience. I had no plans as I often depend on serendipity when traveling, so market day seemed the perfect thing to do. Urbino was all up or all down, with barely any just flat areas except the small main square. I was quite taken with it. This is not my first painting from that day going to market.

Urbino Alley, 30x20, oil on linen, available

Here are paintings I did from the seaside resort area where we stayed in one of the only hotels still open. As is usual in seaside towns, you can tell the foreigners because they are not bundled up and they are in the water, if only wading...In October it was in the mid 70's and yet you can see this bicyclist has on a down jacket and scarf...

Racked, 20x30, oil on linen, available

Adriatic Evening, 24x24, oil on panel, available

I hope you enjoyed your little tour of the Marche area of Italy. It is just south of Venice as the crow flies. But by train you need to go West to go south! Be prepared for little or not English if you decide to venture here. I liked that aspect of our 3 days there, but I know for some it is not comfortable. It sure makes it an adventure.

Marbled Water

Marbled Water, 30x30, oil on linen, available

Last spring I was in Greece for a few weeks, staying mostly on a small, non-touristy island. Yes, there are a few still in existence. This was our first day on the island and we were checking out various coves and beaches to see what we liked for possible return visits. The beach here was tiny and there were locals living (illegal, I believe) in a few of the syrmata's (boat garages) so it wasn't a place we returned to after this initial visit. But sitting on the natural stone 'walkway' away from the beach and the locals was amazingly tranquil and rejuvenating for the soul. One of us even went swimming. I preferred to sit with my feet in the water being nibbled by small fish, until the jellyfish arrived. I was mesmerized by the patterns made in the water. I had never experienced anything like it before. As the light shifted so did the patterns and reflections. I took a series of photos as the patterns evolved until this marbled effect showed up. It was the last photo I shot in the series and my favorite. Suffice it to say, whenever near water I studied it and was continually enchanted by the way it was a living entity ever changing before my eyes. I hope to do more water scenes I encountered to show how distinct the different areas of the island were and how the light impacted the designs in the water. I have been to  many beaches around the world and have never seen anything like what I saw in the Aegean.
Enjoy!
If you have a better idea for a title, I am always open to suggestions. I lack creativity in naming paintings...

Have a Seat - View of the Aegean Sea

Have a Seat, 12x16, oil on panel   available

A few months ago I posted a painting of the Path less Taken. I mentioned in that post that my son suggested I do a companion piece so that we could all see what was at the end of the path and I included the block in of the new painting. I personally like the idea of the path leads where each individual decides what they want to see at the end of the path, but like so many mothers, I aim to please. So here is the scene where that path led. It is on the island of Milos in the Aegean Sea. The ice plant flowers were supersized adding a wonderful splash of bold color here and there.

Morning Mist on the River Yonne, Burgundy

Morning Mist, 12x24, oil on panel, available

Can you believe it?? I am posting a painting I did. Amazing I have the nerve after all those wonderful paintings I posted from the Laguna Art Museum the past few weeks. So be it. Thought it was time to get with the program. Lots coming off the easel at the same time!

Today's painting is a remake of a sketch I did, oh, 7-8 years ago. I was so happy with it but decided it  needed a facelift.

This scene is from a trip I took over ten years ago to Burgundy in France. My sister had rented a boat to do a river cruise on our own. There were 7 of us. I believe it was called a barge trip but really we had what I would call a yacht. We spent almost a week on the L'Yonne River. This stop was Joigny if my memory serves. I was usually one of the first ones up in the morning so I would go out and find a patisserie and bring home breakfast for everyone. Hence being out in the early morning fog that blanketed the river.  These boats were moored across from ours. It was interesting to see how many countries were represented by the boats. And yes, we saw many a working barge.

Laguna Beach Art Association Part 2

So. Last week I showed only one known artist to me and spent the time on the art and artists that were new discoveries. Then today a friend of mine sent an article on the healing properties of going to see art as an aid to healing! The title was "Take Two Emily Carr's And Call Me in the Morning." It is in fact being implemented in a certain place that will be revealed in another post. But, don't you just love it? It made my day.

First up today is William Wendt. I found out at this exhibit that he was a deeply religious man and he endeavored to do God's creation justice. I do think he succeeded as I always think of him as an amazing landscape painter.
These are not all stellar photos as sometimes the glare just could not be avoided. And I did not take photos of all the name tags. But my memory of who is who is pretty good.

William Wendt, The Mantle of Spring

His landscapes are always memorable to me. Rich in color, texture and composition. So much movement.

William Wendt

Laguna Beach. Gives you such a sense of place.

William Wendt

Below is one final photo I took of his and it was grouped with Nicolai Fechin. If that isn't high praise I don't know what is! I don't know that I have ever seen a Fechin 'seascape' before. He was a Russian Immigrant who came to the US around 1923. After living in NY for a few years he went to Taos where he painted the Taos Indians. I know him more as a portrait painter or painter of people more like. It is not known when he went to La Jolla exactly but around 1925 the tag said. A worthy artist to look into.

Nicolai Fechin top, Old Pier; William Wendt below

I did not get this artists name, but the painting below stood out in its overall simplicity yet boldness of use of Thalo blue green. This color is very strong and in the wrong hands can be overwhelming, but I was quite taken my how well he managed it.

Then there is Joseph Kleitsch, whom I have written of before. I went to the now closed Pasadena Museum of Art to see a whole exhibit on Joseph a year and a half ago. This was the last painting in this current exhibit and a fitting way to end a great show. On a lazy afternoon, strumming a guitar while a faithful companion sits patiently waiting.

Joseph Kleitsch

This is just a small taste of well put together group of artists that painted in and around Southern California 100 years ago. I once again urge anyone who is in the area to make the effort to see this exhibit that is up through January 13, 2019 at the Laguna Art Museum. Be prepared to feel a part of another time and place but in the company of some masterful artists. We are so blessed!

The Laguna Beach Art Association Exhibit

Last week I flew to SoCal. One reason was to see the Laguna Beach Art Association Exhibit at the Laguna Art Museum. Edgar Payne was one of the main founders of this art association which started in 1919. Here is a painting by Edgar Payne hanging in the exhibit. There was also a magnificent large painting from the Sierra Nevada's.

Here is my most favorite "new" artist for me. I had never heard of George Brandriff before but these two paintings are both by him and I love them for different reasons. The top one has such an amazing composition as well as being very luscious in paint application. The second one I thought had particularly well done abstracted shapes that made up the whole.

detail of the abstract handling of this painting, Sunday Reflection, 1929

Here is another new to me painter, Frank Cuprien. This painting that at first I did not really like. It took some getting used to. It comes off as so Yellow. But the longer I looked at it or tried to ignore it (both) the darn thing kept calling me back for closer inspection. And upon further reflection it too made me marvel. The foreground water is a light wash over a wonderful palette of soft pastel under-layment which is thicker in texture. I learned that Frank built a house on a hill overlooking the ocean and was known for just painting water. This painting is from 1930.

Detail from Poeme du Soir, Frank Caprien

Thomas Hunt, Newport Harbor Scene

I like this Thomas Hunt, another artist I had not heard of before, Newport Harbor Scene, as it is so graphic and simple. With the blue flag hanging down out of the top frame. Very 'edgy.' There was one other by him, also boats, although more abstract than this one.

I did not take a photo of the tag for the painting below so I do not have that information to share with you. I guess you will have to go see the show if you want to find out! It is up through early January I believe. And it is well worth a visit if you are in the area. I really enjoyed the exhibit very much. I took the photo because I liked the abstract shapes of the porch and laundry and the colors used (a wee bit of glare there). I also thought the palm tree rather lovely with the warm browns in there. Not something you see painted in on palm trees too often.

To round out this first post on this exhibition of newly discovered painters for Victoria,  I will close with Ruth Peabody. I think her style is more reminiscent of the time period in which she painted but I did like her work.

Ruth Peabody, The Cookbook

I found out about this show through American Art Review a wonderful magazine that highlights shows around the USA every two months. I find a show that interests me and then figure out if I can go. My sister moved to just north of LA last year so it was a perfect marriage to go see her and her new home and go see this show.

Cortona Italy

oil on linen panel, 15x30

Here is a scene from a trip to Italy I was on a few years back. It is in the Tuscan town of Cortona. One of the many walled used to be city states.  I was taken by the colors and the building block effect I saw as I came down a hill towards the main square. We were only there for a few hours, but in that time we went to a private wine tasting, the sprawling street market and explored many of the side streets away from the main tourist sections. Yes, there are still places in a small town to escape the disgorging of tourist buses. Even if that area seems to be shrinking daily. 

I have no name for this painting yet so if something comes to you, please let me know.

Rembrandt at the Denver Art Museum

Rembrandt - Painter as Printmaker is currently showing at the Denver Art Museum. I went to see the exhibit Friday morning with a friend. If I needed validation in redoing paintings, I got it here. This is one prime example of Rembrandt redoing a plate. As shown in the tag, the top one was the 3rd State and the bottom is the 8th State or rendition. It is like doing one of those puzzles as kids to find out what is different between two pictures. He made some major changes! There were many examples of such plate states. This particular one was larger than most and so much action going on.

To be fair,  Rembrandt often changed the plate for a client. So someone who may have liked the overall theme of this print may not have liked the crowd scene so it was removed. Or wanted more architectural details, so those were added. It was a fascinating display of an old world master. Some of his early prints were barely 1.25" x 1.25" and yet with remarkable detail and emotion. It was gratifying to see so many people there engaged in his mastery of his medium. And not just mastery but a leading edge on technique as well. I highly recommend going to see this exhibit. It is up through early January.

New Years Day-Roxborough

New Year's Day- Roxborough State Park, 16x20, oil on panel

So Here We Go Again. I had just decided to not do anymore 'before and afters' on my blog. Afterall, I consider myself a 'professional.' Professional artists don't make mistakes of such an egregious nature. Of do they? I know this artist does.

2 or 3 years ago version

But then last night I had a call from a dear friend of mine. She is also an artist and I value her input and her eye. As we were talking she mentioned how helpful she found my 'before and after' posts. That they contain valuable information. Jeez Louise. Now what? I laughingly told her how I had just vowed to do no more of those as I spent the last week or so excitedly redoing paintings I found to be flawed in one way or another. Some of them I wasn't even sure what it was that bothered me but I just knew they were  not for public consumption. I was telling how much fun it was to all of a sudden 'see' with such clarity what was wrong in a number of these 'face to the wall' paintings.

Here is one such failure. The bottom one was done from a photograph (yes, you read that correctly. A 3.4 x 5' photograph to be precise). This scene is from before digital cameras if you can even remember back that far. I came across it as I was culling my old morgue file. Before throwing this photograph away I decided to paint it. From a photograph. Like I used to. How we did that is so hard to fathom these days.

Let me start with the fact that the shadows are not united in form. Add to that the fact that the grasses are so bright against the purple and are not reading as they should; that some of those plants are in fact, in the shadows. If I remember correctly, I was in a hurry when I painted the original. Looking back I do see that the photograph is brighter like the original version is. So at least I got that right. That dark bullseye purple shadow in the middle did nothing but detract from the whole, drawing your eye right to it. How did I miss that?

In the new version my first step was to change the sky color. I darkened it down a wee bit in value and put some violet in it. Then on to unite that shadow shape and tone down the purple, adding value and temperature shifts within the shadow. Adding a variety of plants-they are not all grasses! In the plants I added greens and cooler yellows and some deep reds as well as keeping some of the oranges and warmer yellows. I remember that originally I wanted the deer to blend in to the scenery and now on this version I want them to stand out. Even though it is not overall as bright and sunny as the original, I believe the new toned down version reads better overall. And if I did not show the original you would not know the difference. It is always a crap shoot redoing a painting. Always someone who prefers the old vs the new. But though I may still decide to brighten it up and add more warmth to it I am much happier with it now.

The Path Less Taken

I am back! It has been awhile. It isn't that I haven't been painting. It is that I have been unable to believe that anything is finished...is that being stuck? Or is it just that I have been too distracted with other projects that this area of my life has suffered? If I am honest, it is both. It has been a summer of electricians, contractors, energy auditors and getting roommates. In all honesty, that is enough to keep anyone very busy.
Here is a painting I did last week; another one from my series from my trip to Milos, an island in the Aegean where I went this past Spring. This little seaside path to the sea is in Pollonia.

My son said he really liked it but he wants to see where the path leads. So I may just do a companion piece, but my thought is it leads to the sea and we all have our ideas about what that looks like. That being said, I must admit that the Aegean Sea is like no other I have encountered!

For me it is more about the journey than the destination. It is a sunny day with the threat of a cleansing rain, the island is abloom with spring flowers, and the sea beckons.

After adding the photo above, the image seemed too light. Some of that is from the lighting conditions when I took the photo. But it made me think it wasn't dramatic enough. I put the painting back on my easel this morning and redid the sky as I wanted the piece to have real feeling to it. The only other thing I did to it was to redo the dark hedges along the the horizon line. I wanted them to read more of a unit. Other than those changes the rest is the same. The photo below is darker, taken inside at my easel but is truer to the original than the washed out image above.

Looking for a Title, 12x16, oil on linen panel. Available. Contact me for information

After wrapping this up I blocked in the companion piece. It is the same size, same surface but I am going for a more abstracted landscape approach. Let's see if I can pull it off. I am happy with it so far. Here it is:

Roughed in companion piece

Clear Wine Bottle Still Life

Keeping in the theme of staying out of my comfort zone I started this still life the other day when my power was off. I was of two minds. Start abstractly but bring it around to a more finished completed painting or try and stop before I get too involved in it.

I grabbed a wiped off painted panel that still had the previous image on it, as you can see the tree in the off centered bottle. The roof line and buildings are still coming through. It was about at this stage that I decided to try to keep some of those elements. My hesitation was that I did not retain any of the under painted image on the left side. But somehow it doesn't bother me. Every time I walked by my easel I was just liking it more and more. I can't tell you how hard it was for me to just stop.

Here is where I ended up.  It was a fun exercise.

untitled at this point, 14x18, oil on linen panel

inspired by another artist's blog post

A blog post from Oil Painters of America came into my inbox the other day and the title caught my eye so I did open and read it. The title was Becoming a Better Realist Painter thru Abstraction or something close to that. I do believe that to be true but I wanted to see what this artist, Larry Moore, said about it. I found his article very well thought out and pertinent. Since I have not been at my own easel much this summer I decided to start doing some of his exercises to get the juices flowing. I started with the continuous line drawing. It has been a very long time since I played with that. Here are my attempts. The first two were with a sharpie pen, hence the spots on the following pages before I switched to pencil. His examples were more simplistic landscapes and I chose flowers in my garden. Flowers with one line is a challenge to be sure but it was a great exercise. The last one is of African Violets of which I had hoped to get some of the leaves in but I could not figure out without lifting the pencil. It is easy to paint yourself into a corner if you don't think it thru ahead of time and that is part of the challenge. As I wrote this I now realize a way to have done that but my logical mind got in the way. I just didn't figure that out until now...just do it! Go through the flowers or whatever it takes. That is part of the abstraction and letting go to see what happens. Happy shapes!

The next day I decided to play with abstract in oil. Here is my first go, where I painted over a plein air painting. It is not finished yet but you get the idea. The inspiration for this is from a photo a friend of mine from the 6th Grade when we lived in Orleans, France posted on FaceBook a few years ago. It was her father's collection of the different toilet papers from his jaunts into local toilettes. Who would have thought to do that? Pure Genius. I actually laughed out loud when I saw the photo as I remember all the different colors and textures most of those textures have never touched most American bottoms I can tell you that for a fact. Those shiny brownish ones were more like waxed paper than not. This is not something one forgets. I still have the horror of having to use what we called a "turkish" toilet and essentially consisted of a hole in the ground with two pads either side of the hole for your feet and only the shiny waxy toilet paper. One square at a time. I would say the average size was 4x4 or so. And no door. I could look outside to the parking lot. Not fun for a 10 year old girl. So who thought an abstract could bring back such fond memories? I always wanted to paint that memory she sparked. I still want to add some layers to it to see if I can pull of the translucent aspect of the waxier papers. The pink and blue were more like thin paper towels. None of these came on a roll.
on that note I will close for today...

oh what to name you? 12x9, oil

Depot Art Gallery

A week ago Monday I juried the "Summer Sizzle" show for the Littleton Art Guild that opened Friday July 13th. I am relatively new to being a juror. This is my third or fourth time being asked to jury a local show. I do enjoy it although I won't say it is easy. Some decisions are easier than others, of course. Each venue I have been asked to jury has a different process. I am not sure if I am just getting more used to it or that the people I worked with for this show were just easier to work with, but it seemed to go very smoothly and for that, I am grateful. I was also asked to give a few words for each of the pieces I rejected when I juried the show. I wasn't sure what that was about until I went into the room where they were all gathered and then it made sense. Of course those not accepted would like to know why. It is a good study in how to be gentle yet firm in your reasoning. The woman writing the comments down on a sticky note thought I was fair and succinct.

At the reception for the opening I was asked to come and give the awards and a few words about my choices. This wasn't difficult except for the fact that seeing the work hung on the walls gives one a whole new perspective versus jurying them as the line the floor along the walls! I saw some of the pieces I gave consideration to but then put aside; I began to second guess myself. Luckily, a number of members came up to me right away to thank me for such a great show. That it looked wonderful and they were pleased with my choices. Phew!

summer sizzle from two different perspectives

I was in a very equitable mood when I juried this show. I could have been a lot more harsh in my decisions to make a tighter show overall. But I instead asked how much room did they have to hang the show. IE about how many pieces could they hang in the space. I then asked how many roughly had been submitted. I then took out the the ones that I felt were not as good as they could be or did not fit the theme well enough. If there were obviously multiple pieces submitted by any one person I tried to keep at least one for the show even if the artist wasn't particularly up to snuff. I did reject more than the number I needed to, but not as many as I would normally have.

Picking "best of show" is so relative. The piece I thought was best of show really did not fit the theme of the show well in my opinion so I had to let it go. I could not even give it honorable mention and be fair to those whose work did fit the theme. In my words on my choices I made a point of saying why I thought it fit the theme and then said a few words as to why I picked it specifically for an award. Rarely is there an artist except the one who wins, who thinks the Best of Show is really that. I picked the painting above for the following reasons: It was well done perspective wise; It fit the show theme; it had a unique perspective and subject matter; it was fun and did not take itself too seriously. And it has good movement to it.

What a delightful portrait of a datura in sun-baked earth

Feral Cats of Milos

Milos Resident, oil, 20x20 Available

It was a new experience for me to be around so many feral cats while on the island of Milos. They were everywhere. Literally and figuratively. You heard the random cat fight but overall they seemed to mind their own business and leave you alone. Unless you were eating. Then they would sit ever so quietly and watch you. They rarely fought at the table, believe it or not. They seemed to know that there would be enough for all or nothing for any of them. The couple sitting at this table did not feed the ever hopeful cats. Here is but one example:

Here is another typical scene and yes this cat is On the table; her mother would not allow her near "her table." :

So, to honor all the beautiful wild cats of Milos, I painted this portrait. It may not be the last but I started with this one because the cat on the white wall reminded me of John Singer Sargent's paintings from Capri. He had dancers among the white walls but I had cats.

If anyone has an idea for a title for this painting, I would love to hear from you.

Painting the Figure

Sunday evening as I was preparing dinner a friend called me to tell me that the instructor of a week long figure workshop she had signed up for had just let her it was okay for me to substitute for her the first two days of the workshop. My friend was not able to take the whole week off from work. I offered to fill in for her if she wanted me to keep her abreast of what was going on and take notes for her. I offered because my friend spoke so highly of this instructor and she keeps inviting me to join her in these workshops, so here was an opportunity for me to get a feel for what she was saying. We had spoken about it a few weeks ago so when she called Sunday night I had quite forgotten about the whole thing. And the class started Monday morning.

I was able to make it work into my schedule although this week was not a prime time for me to be taking two full days away. What swayed me to go was the opportunity to paint from a model. I have not done that in years and years. Here is the portrait from Monday.

9x12 head study in oil

The instructor had us do a monochrome portrait in the morning. In the afternoon you could finish the portrait continuing with monochrome (5 values using burnt umber and white) or add temperature. I worked on top of my monochrome portrait adding temperature (not color). You can still see just the value on her collar bones and shoulders where I did not quite finish painting over the morning study. All things considered, I was happy with this portrait. Painting from life is a whole different ballgame. I really enjoyed the exercises. The model had such good bone structure too.

Tuesday we did another head study adding color. I wiped that one off as it was fine but nothing I cared to keep. In the afternoon we were to stay with temperature and value alone or add color. I added color. Her skin was so fun to paint. I would have like to have been able to 'finish' this piece but I was happy enough with it as is, until I dropped it on my garage floor face down when I was unloading the car. I had not photographed it yet, so here it is dried grass and all.

12x16 figure study in oil

An artist friend I had seen at the Summer Art Market a few weeks ago invited me to join her at the Arts Students League of Denver to paint long pose uninstructed. This little exercise was just the thing to get me to want to go to just paint from life and be among other artists.