My first Flash Mob- at the Governor's Invitational Gala

In front of my paintings

Last Saturday night at the Governor's Gala Event at the Loveland Museum, just as things seemed to be at a lull, a beautiful tenor voice broke into song in the middle of the gallery. Then Carmen sang in response with the chorus joining in. It was so much fun and the Loveland Opera Theatre sounded so good. What a wonderful surprise. I heard one older gentleman in cowboy boots tell the tenor afterwards that "it wasn't Merle Haggard, but he enjoyed it just the same." My friend, Jeannie, took a video with her phone but it was too large to load here unfortunately.

The show looks great and you can tell a lot of thought went into the hanging of it. Lots of variety of styles and subjects. I think it is worth your while to get up to it as a field trip/outing. I saw a brew pub a few blocks away...for an 'arts and crafts' date.

On the easel: Inspired by drive down I-70 from Vail

Vail Pass Descent, 30x30, oil on linen

Last Thursday and Friday I was in Vail for the FBLA (Future Business Leaders of America) State Conference. On Thursday I judged the Graphic Design competition and on Friday I helped in headquarters. The storm reports for Friday-Sunday were getting more and more horrendous so it was recommended I leave sooner than later. When I left Vail it was not only snowing and hailing but also thunder clapped. Hitting Vail Pass it was clear, although not sunny. This image is coming down from Vail Pass. Just before getting to Frisco I hit a white out. That was quite terrifying and took all my concentration. I slipped in behind a semi-tractor trailer and prayed he could see better than I could.

I wanted to get this painting started as not only is part of a new series I want to do, I wanted the freshness of the memory from the drive.

My first thought was to do this painting 24x24 but after looking at that size decided it was too small. Even 30x30 is looking a bit undersized but I don't want to go out and get a larger canvas when I have so much stock on hand. Plus, this is a good size for me. I must admit though, the more I work on these larger for me sizes the smaller they are tending to become.

This one started as per my usual approach of very thinned down paint color to just get the canvas covered and the big shapes blocked in. Then I go with a bit thicker paint and correct the drawing if that is needing to be done. There usually is some adjustments. Then I really start to lay on more color and paint. This is as far as I got but I am quite pleased with it thus far. I love this stage in the development. I could start paintings all day long. Just don't ask me to finish them...until I am good and ready.

Blockin Pelican develops into struggle

Pelican Block in, 24x24, oil on panel

Pelican structure, 24x24, oil on panel

Loosely blocked in on the slick oil gesso I had put on the Masonite, makes for a very thin coverage of paint in the first photo. I am now building up paint layers. I added that sea green color to the sky to be under and behind the darker blue gray clouds that are building up in the sky and will pop the pelican's head out. I solidified the river's light color but I will be adding the darker edges of the waves that are rippling with the wind.
 I am still undecided whether I will leave the trash can in that is peaking out behind the tail feathers. I thought it might be a good balance to the beak but know am not so sure I like it. It seems to be competing instead of complimentary. There were two figures on the bridge that I have so far left out. One figure is fishing and has his back to the viewer; the other is peaking out from behind the pelicans shoulder and looking over his shoulder at the viewer. My husband said to take them out but I am not yet convinced they don't belong.

Pelican Drawing Correction

The Pelican's head, neck and beak just felt off to me so I had to redraw the whole thing. The only part I did not move was the back of the head and neck. The bird's body didn't seem able to support the head. I think the proportion's are better. I finished blocking in the feet and legs, too. Good drawing is so important to the whole painting's success. I was convinced I should take out the trash can but now I am waffling on it...again.

Those nice straight lines that I like so much will most likely be softened once I get down to really laying down the color. The slick surface forces me to layer, which is a good thing. I like having the depth of color. I still struggle with the good coloring book syndrome of 'keeping within the lines.' Which for me translates to cover everything flat within those lines, ie not allowing the underlying colors to come through. It is a challenge for me but I have been working so hard on that aspect I think I got it. It is my yin and yang fighting! In one sense I like the rigid Mondrian linear quality against the organic shape of the Pelican. Then I think, flatten down the Pelican to a more abstract linear image to go with the other lines...Then, no, soften edges! I am still not sure which side of me is going to win the fight on this particular painting.

Governor's Invitational Gala Tickets now on sale!

The Gala Event of the Governor's Invitational Art show and sale is fast approaching. Saturday, April 23 is the day of the Gala. I am not sure if there are any tickets left but you can always check via the website.  350 artists applied for the 55 spots. For some reason, I thought there would be more artists applying for this show. The exhibit will be up from April 23 - May 29, 2016 if you get a chance to get to Loveland to see it.

Drove up to drop off the paintings Tuesday. I meant to take a few photos but I get caught up in the moment and forget. It was a very easy drop-off using the loading dock area at the back of the museum. Two people checking you in and many hands moving the paintings out of the drop off area.

I talked to one of the main organizer's and he said that there is a big surprise planned for the Gala evening. I had complimented him on the Sponsor's Evening that was held last Friday at the Embassy Suites in Loveland. There was a dance artist using parachute type 'clouds' that she manipulated while she danced to the live music. The cloud of fabric hung from the ceiling with quite an array of wires. She had three handles she would use to move the fabric to the music and her movements as if it were a giant marionette. I, again, just am not yet tuned to using my phone to take photos, so no photos. We will just have to wait and see what this surprise will be.

On May 7 there will be a plein air event in conjunction with the Governor's Invitational. 50 artists will be participating in a prescribed area around the museum with the auction to start at 2 pm. My friend Jeannie Paty and I will be participating. Hope to see you around!

Museum Exit

Museum Exit, 24x18, oil on panel

I saw this scene as I was walking out of the National Museum of Ireland. I immediately thought it was an abstract painting with all the colors and repeating shapes. And the buildings were catawampas on top of it. I had gone to the National Museum to see the 'bog' people. There is so much in this museum it is a shame I was already on overload and so really did just go to see what I wanted to see. The floors were beautiful mosaics and I had to walk past all the Celtic gold jewelry to get to where I wanted to go. The gold work looked amazing as I glanced at the display cases. I had already been to the National Gallery of Ireland to see art for a few hours, which I enjoyed very much. The two museums are very close which is why I headed over to the National Museum while I was in that part of Dublin. I had walked over from where I was staying which was across the river.

In this painting I was trying to get movement through color. There is the yellow that creates the most obvious movement; followed by the reds and then the blues. The image provided a good start to this structure as is, but I did force a few color notes as well. While working on this one I kept toying with making it much more abstracted in a Diebenkorn approach. Now that I have this one done I am thinking of doing it again, same size, with that more flattened, layered color block approach. Not sure if the figures would be included; that is still to be determined.

Orange is the New Red Exhibit at Framed Image

Orange is the New Red 2016 Exhibition and Sale Our Entire Stock of Photo Frames is 25% off. Hurry while stock lasts! The new exhibition and sale Orange is the New Red From March 1 to April 30   "Wash Park Cosmos" by Deborah McAllister, Oil, 12"x9' $400 Our Artists Stephanie Aguilar Leslie Allen Roger Ambrosier Heather Arenas Deb Bartos Tricia Bass Susan Bell Linda Petrie Bunch Carole Buschmann Pat Carney Rita Cirillo George Coll Dwight Davidson Aimee Deneweth Victoria Ekelund Ken Elliott Bev Endsley Amy Evans Alix Evendorff Sheri Farabaugh Jane Ford Tracy Haines Joanne Hanson Susan Haskins Jeanne Hougen Wes Hyde   Lela Kay Kate Kennedy Diane Koch Sarah Lewis Kit Hevron Mahoney Deborah McAllister Katherine McGuinness Linda Mooney Kristen Moore Rodgers Naylor Dawn Normali Paul Nutting Marilyn Quigley Jennifer Riefenberg Jennifer Robinson Nancy Rynes Janet Sacks Susan Schulte Sarah Van Beckum Eldon Warren Mary Williams Amy Winter Anita Winter Lora Witt Nancy Wylie   "Lets Tango" by Kate Kennedy, Oil, 30"x30", $900 "Two's Company" by Bev Endsley, Oil, on Canvas, 11"x14", $875 "Poppy Peak" by Joanne Hanson, Oil, 18"x24", $1185 "Times Three" by Tricia Bass, OIl, 12"x16", $900 As featured in this month's Western Art and Architecture "The Color of Sunshine" by Jeanne Hougen, Oil, 16"x8", $230 "Feathered Finery" by Pat Carney, Oil, 11"x14", $800 "Snowy in Red" by Susan Bell, Oil, 12"x12", $650 "Ordered Chaos" by Victoria Ekelund, Oil, 24"x24", $1920 "Mystique" by Lela Kay, Oil, 40"x40", $3400 "Shazam V" by Alix Evendorff, 48"x72", $10500 "Wind is Blowing" by Janet Sacks, Oil, 19"x19", $493 "Spring's Here" by Janet Sacks, Oil, 19"x19", $400 "Daylilies from David" by Leslie Allen, Oil, 24"x18", $1720 "Rooted in Red" by Aimee Deneweth, Oil, 8"x10", $350 "The Color of Poppies" by Jennifer Riefenberg, 18"x24", $1250 "Fall Fire" by Nancy Wylie, Pastel, 9"x12", $525 "Dinner at 9" by Sheri Farabaugh, 12"x16", $1275 Learn about our Artists   Tricia Bass "African Daisies" Oil, 12"x10", $680 "As a landscape painter, the concept of being paid to paint in the great outdoors in the magnificent west constantly brings a smile to my face. With oil painting, I feel as if I have discovered a wonderful gift!  Although I love studio work, there's nothing like just being out there, with all your senses engaged and amazed! " To learn more about Tricia visit www.triciabass.com Bev Endsley "Twos Company" Oil on Canvas, 11"x14", $875 "Beverly has used the time she has spent living in the east, Austin, Texas, Santa Fe and Colorado to explore differing styles of art. She has studied with such masters as Quang Ho, David Leffel, Mark Nelson, Kevin Weckbach, Sherri McGraw and numerous other artists to pursue her love of oils, watercolors and sketching." To learn more visit Bev's website www.beverlyendsley.com Website Facebook Twitter Pinterest LinkedIn We think about art differently, We design differently, We frame differently; Our clients expect a difference Copyright © 2016 Framed Image, All rights reserved. You are receiving this email because you opted in to get information from Framed Image Framing and Gallery. Our mailing address is: Framed Image 5066 East Hampden Ave. Denver, Co 80222 Add us to your address book unsubscribe from this list    update subscription preferences

Irish Fishing Boats - Howth

Howth Harbor, 16x12, oil on linen panel

As seems to be my modus operandi these days, a bunch of paintings I have been working on were wrapped up this past weekend after a month of nothing to report. So many are 'in progress.' This little guy started out last August at a workshop I attended as a study for a bigger painting. I did a very simple block in to see if how the shapes would work. I have not gotten to a larger version since then so I opted instead to finish the block in. It was a lot of detail for such a small work in my mind, so I had to do work on it in bite size pieces. I started first to correct the drawing, which was not off by much, thankfully. I then started from the top and worked my way down. It took about a month of working in stages to finish it not being in any kind of hurry and enjoying the leisurely pace.

I liked this image for the composition and for the repetitive shapes and colors. The reds and oranges move you through the painting and the gray brown harbor walls frames it nicely keeping the eye moving.

Howth is out on a spit of land that juts out north of Dublin called Howth Head. The train took about a half hour to get there from the city. We had a lovely lunch on the harbor listening to the sea gulls and watching the boats coming and going. Howth  has a large hillside which we walked up and found a wonderful view of the harbor from a church ruin. The clouds had rolled in by then and as you can see below, gave a very moody image with the church and the bare trees. It was two years ago I was there this month. Howth has a great hiking trail that runs around the hill the abbey is on which gives you views of the Irish Sea. FYI, we did not see many tourists, yet I found the town very picturesque. It was a bright but overcast day and we were blessed with a rainbow as we took the train back to Dublin early that evening.

Unloading the boat

Fish chowder and fresh Irish bread

St Mary's Abbey, Howth

Writing this post reminds me of how many great images I have from the afternoon spend walking around this town.