Lilacs

Day 3 -mostly done-thinking the 'vase' is too prominent

Wednesday of last week (May 10, 2023) everyone on our morning walk was talking 'hail!' So, I came home, covered my vegetable garden plants (we here in Denver know not to plant before Mother's Day-but who listens?), cut some lilacs, iris and hellebores, 'just in case' to bring inside. If nothing else I could enjoy the heavenly scent of the lilacs, or possibly even do some sketching of the flowers on the grey day that ensued. It did rain for 24 hours straight, but thankfully, no hail here. The area where I live has been called  "hail alley."

Sketch of Lilacs

Friday, so two days into the cut flowers shortened life, I decided to paint one of the vases full of lilacs. Being still overcast outside the arrangement was under artificial overhead light. I went and found an unclean previously painted panel, 24"x12" and proceeded. Sometimes, the first run on a used panel is the toughest, especially if the painting was varnished, as this one had been. I could not find a photograph of the painting so I am surprised it was varnished. Despite the effort put in by me, who knows how long ago, to remove the varnish and then sand it, it still lingers. The first flush of new paint means it is absorbed by the old varnish so I must remember to go darker and lighter in value to combat this phenomenon. It doesn't seem to matter - it all ends up monotone.

From Nicotiana to Lilacs- starting the block in- carving out shapes

Day 1-Black almost covered - allowing this layer to dry a bit

Saturday is not so gray and the sun actually shines forth from time to time. But in keeping with what I had started, I turned on the overhead lights. My thought was even if I don't finish the study, it has been fun painting from life and fighting the substrate at the same time. Today's effort felt less like a wrestling match and more fluid and easy. 

Day 2- Big shapes defined

Day 2 before quitting for the day- Lilacs holding up so far 

Day 3 Sunday is just to finish the vase. Which is really for drinking wine, I believe. I inherited it from my parents and is from the 60's when we first moved to Germany. I am not sure what it says on it but I believe it has to do with cultivation of wine.  It does have a handle but I have ever only used it for a vase.

Kevin Weckbach at Gallery 1261

I apologize in advance for not getting this out while the show was up. However, it appears to still be up on Gallery 1261's website. I went to the opening two weeks ago and was there early enough to get a chance to talk to Kevin, although not for long. He posed for his girlfriend to take this photo, so I did likewise. For those who don't know, I consider Kevin my mentor. I took his year long master painting class more than once, and though it has been many years since then, his teachings stay with me - at least most of the time.

There are so many good paintings in this show, I am surprised it did not sell out. In my opinion, he is one of the best painters of our time -based on my limited knowledge of all artists of our time. His use of color and his strong values that show up in his paintings are rarely rivaled. He paints so abstractly yet the abstract shapes pull a scene together so succinctly.

The depth!

Detail-so abstract

Detail-the blue of the river! 

Look at the brushwork! The colors!

Detail of water in the light from painting below

look at the color in the shadow side of the snow!

Wow! pure blue. The warm and the cool- no one does it better

Photos don't do justice to the vibrance of Kevin's work.  He continues to inspire me.

Sargent at the Legion of Honor

 

Detail from Landscape below

Detail from Landscape below

Spanish Hills-details above

Stunning light!

A familiar one

I am a late in posting about this exhibit, but there is still a month or so left if you happen to be in or near San Fransisco before May 14th, 2023. I was there last month, working a visit to the Legion of Honor into visiting family. It is funny how I manage to do that! (It was a rainy day or else we would have also taken the trail along the cliffs from the Legion of Honor) This is my third out of state trip to see a John Singer Sargent Exhibit  (two were in NYC and Brooklyn). This one focused only on his time in Spain. https://www.famsf.org/exhibitions/sargent-and-spain  He was so prolific there has been very little overlap in going to see his works. Thankfully, he had the ways and means to paint as much as he wanted, and we are all the richer for it. 

Sargent sure had a way with color and light. Some of these paintings positively glowed from across the room. Thankfully the day we went it was busy but not crowded so one could see both close up and from across the room. And take ones time. These are just a few examples of what caught my eye. The landscape was atypical for Sargent in my experience, but so rich in color and nuance. The last three above from the fountain to the girl walking down the street, show the continuity of his palette and how he can make the light around the fountain dance as well as light up the street from a distance or bring to life the Alhambra using very similar color mixes yet achieving very different effects.

The only disappointing aspect of this exhibition was the 'swag' being sold. The postcards chosen for reproduction did nothing for the paintings they represented and usually postcards are the better than what is printed in the books.  I tend to buy coffee mugs as I travel, and the only mug was of one of my least favorite paintings in the show, a pomegranate tree. Even my old iPhone captured the light dancing around the fountain with the beautiful reflected light! This is the third exhibit (Alice Neel at the deYoung Museum in SF and recently here at the Denver Art Museum) I have gone to in the last few years where the quality has decidedly gone down in the Museum gift shops...I can't figure that one out. Cost more, quality sadly lacking. What could possibly be the excuse? I noticed I wasn't the only one walking out without buying anything, not that I believe that to be unusual...

Bosc Pears Turned Around

 

The Conversation, oil, 6x8, available

Side by side with initial blocking in

The same basic set up as with the blue background except I turned the pears to another angle where they would still stand up on their own and used some of my scrap paper to change the background color. It sets up a more intimate pose for these two pears to continue their conversation. I had found a clean 6x8 panel which I didn't realize I had as I rarely paint this size anymore. This was the next day and already the pears are ripening quickly. This one I think I can call "the Conversation." 

What is it with painting Pears?

A question that was asked of me by a student I have been working with. I have done MORE continuous line drawings with more pears, being as they are currently in season. And those drawings turn me to my easel to paint them. I suggested to him that he try drawing pears to see why so many artists like to paint pears to see where it leads him. I have my own theories about why I am drawn to pears.

I am not going to include the line drawings in this post, just a progression as I painted over an old plein air landscape. You can see I set the pears up right at eye level on my easel. Nothing fancy at all. In fact, using the 2x4 is rather tippy and I had to be careful the painting and 2x4 didn't end up on my palette! But then, why not add a little adventure to the whole thing? Since I used a red background before I decided to use a piece of blue mat board this time.

Set up with 6x8 old painting

blocking in the pears with a lime green

Blocking in with blue background and brick

Bosc Pears- further blocking in

Bosc Pears, next to set up

Bosc Pears, Still looking for a Title, 6x8, oil

I had thought to name this little study "the Conversation." Yet it almost looks like the Pear on the left is listening closely while the pear on the right is maybe a bit forward in what it has to say. The stems are intimating a heart shape now that I look at it differently. A title is not coming to me. Any help with a title would be greatly appreciated. I have used "Tete a Tete" before.

These fun studio studies keep me from getting too serious in my studio works since I don't get outside and paint as much as I used to. I do think it is important to paint from life whatever that  looks like. These don't take much of a time commitment as I do try to keep moving and not think too hard about it. Just observe.

The Pears have it

Last week a bag of little red pears were on a manager's special of $.97 for 3 pounds! How could I pass that up? The first thing I did with them was to do some continuous line drawings. I started doing continuous line drawings because it is a good reminder to look at what you are drawing not at what you are doing so much on the paper. I had done some eggplants and clementines the week or so before and had so much fun doing them, so I am trying to do some every day or so. 

Here are the pear sketches. As with the eggplant, I ended up doing a painting. Each of these sketches takes about 5 minutes or so. No more than 10. So really no excuse not to do something every day.

#1

I don't always add the shading but it helped to keep my pencil on the paper to do so with this set up.

#2

I thought I had done more than one from this perspective, but I only have one. I know I thought about it. It gets the creative juices flowing to play around with the set up.

#3

I did lift my pencil to do the solo pear but otherwise each section was done without. I dumped these out on the table to see what it would look like.

#4

The drawings lead to this little 6x6 painting. Which was great fun to paint.

#6

Then I sliced them all up and dried them~ dried pears are the best and still so beautiful.

Wow! How time flies...I had not realized I had been gone so long. It has been a struggle for me to write as I feel that with so much information pouring in from everywhere, who needs one small artist's thoughts on any given topic, even on art. However, I made a decision to attempt a come back for my sake and hopefully yours as well. 

Here is a painting I finished up this spring. It was started a year ago but I could not seem to work on it much until finally it called me back to the easel to getter done.

Just an Illusion, 30x24, oil on panel SOLD

Here is the block in almost finished. I wanted to see if I could get the warm yellow transitioning to cool shadows in the white house. I think that is what initially stumped me for this was about where this painting sat for so long. I would venture into the tree on the side and the foreground and even into the reflections in the windows, but not that daunting white clapboard. Once I got started on it though, I ran with it and gotter done. This painting was submitted to the Framed Image show, on blues and greens, and it sold in the first week the show was up. That is very gratifying.

I had done a poor sketch of the doorway to capture the warmth of the light even in shadow at the time I took the photo reference for this painting. I had also done another study on the back of the property to get a grasp of the feeling I wanted to remember of the whole. My on-site sketches are just that - to instill a memory of what caught my attention. I don't usually show these sketches but here we go...I did this first as this is what I came upon as I was walking around during the Georgetown Plein Air event. (of which I did not participate) I try to do these very quickly and think about the shapes. Essentially, a block in. But as you can see, the shadow side had a warmth to it that I did not want to forget.

Then the quick grab some basic info before meeting friends for lunch:

I bought this linen oil pad for just his purpose and I find it is working out well for me since I really don't plan on doing a completed painting most of the time. It does get awkward so I added a binder clip after this trying day to hold the pad pages from flapping in the breeze as I try to paint.

This years Georgetown Plein Air is the end of this month, so I am going to plan on going up to paint again with a few friends. Seeing what catches other artists eyes if always fun to observe and inspire.

Plumeria

Plumeria, 12x24, oil on linen,  available

While staying at an AirBnB on one of the keys off of Sarasota, Florida, this lovely Plumeria greeted us at  the bottom of the stairs from our apartment. I am intrigued by how organic life is and the patterns created. The greenery felt like it was in motion to a tune I couldn't quite hear. I so enjoyed painting this for that reason. It made my heart sing as I worked. The flowers were like a second, softer melody. More support than out front. As I write this, someone playing the piano came to mind and how one hand can play one part while the other hand doesn't something different yet supports the other. I always look for patterns while composing a painting, but never before had one produce music!

Cherry Creek Art Gallery Fall Invitational

 Hope y'all can come! 

Please join us for this Special One Night Art Show of Colorado 

representational and abstract artists at the B-Spot in RiNo Art District,

2750 Blake Street, Denver Colorado, 80205

Friday, October 8^th

5:00 – 9:00

PARKING

Free parking at the B-Spot and on the street.  

$5 parking lot available 1/2 block north of B-Spot on Blake.

MAKE A NIGHT OF IT!

Visit “Events” on our website to find 

a list of nearby restaurants:  www.cherrycreekartgallery.com /events

PLEASE RSVP  

http://evite.me/X6EvVdNYtE

or

art@cherrycreekartgallery.com

Reflecting

 

Reflecting, 24x24, oil available

 

Here is another fresh off the easel. As often happens when I am working on so many simultaneously, a few come to completion about the same time. This one I relate to in that I can sit and watch water for ages, be it the gulf, a brook, a lake or the ocean. Yet it seems like a short time only has passed. Even though I am more likely to walk a beach, I am often pulled to just sit still in silence, watching and listening. I saw this man doing just that one evening and the skimmers flying by just added to the story.

Where I want to be right now

 

Sunset Over the Gulf, oil, 18x36 available

Jimminy Cricket! I thought I had posted this painting 2 months ago. Who'd have thought I would be this far behind...there really are no excuses except to say I have had a pinched nerve in my neck that makes my whole arm tingle and feel asleep ever since the 24" snow dump the end of March. That repetitive motion of a snow shovel is what did me in. It is better, but it is now settled into my fingers and thumb on my dominant hand. Gardening is not helping this situation. Nor is being at my easel or computer. 

Back to the place I would like to be right now. It is hot and dry once again in Denver after a most plentiful moisture filled Spring. For which I am very grateful. Still, I would much rather be on a beach with a gentle wind in my hair as where I was on the Gulf of Florida a number of years ago. I can almost get myself there by looking at this painting. There is something so magical about sunrises and sunsets. No two are alike and they are just so fleeting. A transient light show. I love them! And why I like them over the ocean or a body of water is that they are just out there with nothing to impede them. Full of Glory.

It took me a year to finish, which is not that unusual. I get excited by the initial block in and then I freeze up. I must wait patiently until my heart moves me back to the place I need to be to finish it up. Which is again, why I have so many paintings going at once. 

This is only one of many sunsets or sunrises I have been motivated to paint lately. I posted this sunrise in March and I sat down today to write two posts on recently completed sunsets discovering I have been negligent in getting this one posted. I have one more of the Gulf, totally different from this one and another from my trip to AZ this past Spring. 

Stay tuned! I will be doing my best to stay on schedule of posting every week.

Cathedral Rising

 

Cathedral Rising, 18x36, oil Available-contact me

This one has been a long time in the making. It is hard for me to fathom that I have been working on this painting for 2 years!! I just could not make it work for me despite many friends and family telling me it was fine. One would not think such a 'simple' scene would be so hard for me to get right. It is because it is so straight forward that I felt it had to be a certain way. Can't tell you how I studied snow, and the light on the snow at a certain time of day. No two days are the same conditions but to get a feel for it. I still did not delineate details, going for an overall sense of a bright, yet crisp winter morning.

I clearly remember this morning. My walking buddy and I were at Washington Park in Denver bright and early. It was one of those crisp but beautiful blue sky winter day. As the sun was rising. Hardly any one else at the park. It was magical. We walk the park every day, most always in the early morning. I know this park so well, yet some days it takes your breath away. 

Lone Tree

 

Lone Tree, 14x11, oil

I needed something fun and simple to work on and so I went browsing through my phone to see if I could find anything on it that fit the bill. I came across this lone bare tree taken in the Fall of 2016 in Sedalia Colorado. It was exactly what I needed. I picked up a plein air painting I had done in the fall of the Boat House at Washington Park which was no great shakes, turned it on its side, and went to work. I let some of the color come through from the boat house painting which can be very difficult for me to do. There was more I wanted to do in this painting initially, but this is one time I actually stopped myself before going any further to leave more of the under painting elements come through and add to the interest.

The story behind the tree. I was in Sedalia for a 2 day silent retreat. My first time doing a silent retreat. I knew no one else there and we were not to talk to anyone outside of our group meet ups a couple of times per day. I went wandering around the vast property there as I meditated. I was going through divorce and I think this tree captured how I felt. Alone, bare, stripped down to the bare skeleton. A time for reflection and rebirth. Solid, buffeted by the winds, yet still standing.  Maybe this is why I was able to stop before I normally would. To remind myself that I am still a work in progress - that some of the old is still showing through but that is what brought me to where I am today.

Wildflowers Revisited

Years ago, when my children were young and we were getting them started on hiking, I began to draw and paint wildflowers during our many pit stops along the trail. It was a way to help me learn the names of the 100's of flowers that are found in the Rocky Mountains. This year is a banner year for wildflowers and I decided to pick up where I left off in 2003, the last drawing I did and when I had put together a little book of my drawings.
My first attempts to draw small after drawing with a paintbrush on large canvases seemed difficult for me. I felt the drawing was way off and stilted.  The relationships were off between the leaves and the flower.

potentilla, false start

Cinquefoil (pontentilla) 2003

I redrew flowers I knew I had done before just to see how much my style might have changed in the intervening years. I would say it has changed quite a bit! To me I think the older version would be better for keying into and identifying the flowers in the field.

Low Penstemon, 2020

This low penstemon I did the other day I had to lay on my belly to see it at eye level. I made sure that there was no flora that I would crush, just a dusty dry gravel. The trail was running between the flower and me.

Low Penstemon, 2000

Here is another one I thought I had done before and I wanted to see which was the 'better' of the two. Lo and behold, I had not done it before! This is called Butter and Eggs and I thought it was a Golden Pea. Obviously, it has been awhile since I have seen the golden pea! They are alike in color, height and similar in structure. Otherwise, very different.

Butter and Eggs, 2020

Golden Pea, 2000

I had a good illustrative style going after doing so many every summer back in the day. I need a bit more practice before I will use any of my newer drawings. They are too different and need some refining. The one exception might be this Sego Lily. Amazingly, this is one I had not done before. They were in two colors, white and pale pink. I think I prefer the drawings without doing them in pen. I will leave them done in pencil in future. Your thoughts?

Sego Lily, 2020

I am enjoying using this renewed interest to get me up hiking in the high country. It has been a long time since I have gone hiking this much and it has been good for renewing my soul, if not yet my drawing ability!