Painting in the Garden - Always an Adventure

Yesterday was a beautiful day. We have had smoke from the fires in Alberta Canada since last week creating a very gray environment. Finally, the air was clear and the temperature was perfect. The iris in my garden have not looked this good in years. In Denver, the weather conditions definitely determine what the garden is going to look like, or not, in any given year. I have not been outside painting, with the exceptions of my field sketches, yet this spring. And here it is almost June! 

All is going well for awhile until about an hour into it. I am enjoying being outside and in the flow. The occasional distraction of my puppy charging the fence barking as people and dogs walk by. THEN, a house a block away and down the street, which has been under construction for the past two years, started using a high power washer to wash the new black brick that this compound was built with. You think, down the street a block, what is the problem? It is the short block, and it is a busy street that slopes up to my house. So this street acts like a megaphone into my property when there is noise going on there. Another monstrosity, being built two doors down, and called THE PRISON by neighbors on the block, has not been half as disruptive as the one further away. It is like a microclimate situation. Living in a neighborhood that has been under constant construction the past 6 years, you would think I would be immune to the noise by now. It is not so. I don't think myself a sensitive type, but I am becoming very reactive to it, which serves no purpose, yet drills into the brain and psyche nonetheless. I had to quit working on the painting, thinking I would set up again today and finish what I could before my afternoon appointment. 

No. This painting was not destined to be completed outside. At 4 PM a wicked fast and furious hail storm blew through decimating my iris, among many other plants. Shockingly, the Particular stems I picked were the least damaged. I believe because the tree above provided some shelter. Iris in other parts of the garden were not so lucky. The good news is, that the buds withstood the assault, so not all is lost.

As of yesterday, not finished

Iris before I started

Noon light is bluer

Iris after the hail-could be worse! Morning light is red!

In the two photos of the iris, you can see part of THE PRISON. Thankfully, that piece of work is finished.

Struttin' his Stuff - Giant Blue Heron

Blue Heron - Strutting, 6x6, oil, available

 I did 3 sketches from life of this Blue Heron, as he hung around the beach in Pensacola FL a few years ago. He just kept walking back and forth and up and down! One sketch I cannot find, it was pen and ink- very different from this pencil sketch and the other is much like this one below, except the legs are too short in it. :-0   Finally did this small oil painting. It was intended to be submitted to the Randy Higbee 6x6 show in December, but it wasn't where I wanted it to be by the deadline. I have had this post sitting here as I tried to find the pen and ink drawing, but alas, I have given up. 

The colors of this bird, though 'blue,' are really quite varied. Such an elegant creature!

pencil sketch

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.

Eggplants as inspiration

 These eggplants were the last I harvested from my garden before the temperatures dropped. I decided to memorialize them as I wasn't sure I would be able to eat them all. I set them on my dining room table being to lazy to go up to my studio as well as wanting a different venue.

#1

Here they are in front of my seat at the dining room table

#2

Then I went to the chair across the table and did the reverse view. I must be easy to please as I had so much fun doing these.

#3

Deciding I did not want to move the set up, I left it up and did this painting at the table. I did not have any clean 9x12 panels so I grabbed a panel with an old painting on it that was not worth saving. I like painting over old paintings anyway. This was painted in less than an hour. 

#4

Of course, I then had to do the other side too! The painting below is the one underneath #4. It had been varnished, which tends to absorb the paint on top of it which you can see in the top of the new painting. The whitish effect from the varnish. I liked the red 'swirls' coming through from below. These paintings are done just for the pure joy I get from doing them to see the effects. I could have spent more time totally obliterating the painting beneath. This was done in less than an hour too.

These acorn squash and peppers were also the last harvest from the garden but way back in the day. I want to say 20 years ago.

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.

New Little Studies - winter fruit

It has been too long since I have paid much attention to writing a blog post. I am not one for making excuses so I won't start now. I do have a possible explanation, however I don't think anyone is really interested in that!

Suffice it to say, I am here, it is a new year, and I hope to be back at my easel more than I have been this past year plus. Everything seems to be taking longer as I have worked on a number of paintings all year and can't seem to make much progress as in getting them done. I was able to get some small studies done over the holidays and it really was a struggle at the start to compose from life. It started with fruit my sister had thoughtfully brought with her from her yard in southern California. Who knew that is all it took to get me motivated? I am going to try and remember the order I painted these, but don't hold me to it.

Lime Persimmons, 6x9, oil on canvas, available

My sister had brought with her limes, lemons, and persimmons. I picked this lime as it still had a leaf attached. I believe I painted this first as the limes were going to someone else. As I painted the leaves visibly dried before my eyes. I tried to do them in a limited time frame although I did not set a timer as I would normally do when going for a quick sketch. There is an under painting showing through as I paint over old paintings. I don't paint this small normally anymore, but the size is perfect for doing these exercises.

Persimmon Pair, 6x6, oil on panel, available

Still trying to get that leaf in before it broke off, I did another little painting of a couple of persimmons. Two is what worked for the square format. I still used the same blue mat board and red rice paper to offset the orange. 

Stacked, 9x6, oil on panel, available

I wanted to see if I could stack the persimmons as there enough to pick from to find what might work. Who would have thought a smaller one would be on the bottom with the largest in the middle, but that is what worked. No toothpicks or other assistance needed. Just wanting to have fun as I got to know persimmons as a subject. 

These were all painted over old paintings. I don't usually do well with allowing the layers to come through but this time I did as I worked quickly trying not to think about anything much. 

Next my sister had brought home some pears to put in the pear walnut salad we do for Christmas Eve dinner so I had a new subject to paint, and I have always enjoyed painting pears.

Pearishable, 6x9, oil on linen

The Bartlett's refused to stand on their own, so reclining it was to be. I propped the one on top of the other for visual interest and to get a circular composition going. I changed to a purple paper and the wood from the table for this one. This was my sister's favorite of those I did while she was here, so it went home with her. It was a gray day out and so the light is more subdued in this one.

Pear Trio, 6x8, oil, available

One more before the pears became salad for our consumption. The Bartlett's still refused to stand up. A stubborn pair. Different lighting on this one which brightens up the study and adds reflected light onto the paper. This is the only one of this group that was done a clean canvas. Very different feel.

There are two more but I forgot that I hadn't taken their photo yet. So, another post to come to follow up to this sojourn at my easel to have a bit of fun.

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!

Rock Study

On this Rock, 11x14, oil on panel

I went up painting this past week with a few old friends and now some new friends, as well. One of the women offered her garden in Evergreen, about a 30" drive from my house. Even though it is not that far from Denver, it was still lovely to get out of the city and into the foothills. On top of offering us her property to paint on, she also fixed us lunch!

Her garden, being at a higher elevation, had plants blooming that left my garden in the past few weeks. ie her Iris were at their peak and mine peaked at least two weeks ago. At any rate, there were these lupines growing in the crack of where the yellow straw meets the dark under-hang of this boulder. I struggle with rocks for some reason. I found out that I am not alone in this as none of the women I was with like to paint rocks...They all painted flowers or a path including flowers. I decided to take this opportunity to just study rocks. To do this, I was looking at them abstractly. Looking for shapes, values and color. Whether the lupines found their way in or not was not a concern of mine. It took everything in me not to wipe this study off as has been a recent pattern of mine. I don't want more paintings lying around. I will normally take a photo and then wipe the slate clean. I won't say I am glad I kept this painting but there is something about it I like. It is strong graphically, I give it that! And I may add the lupines. TBD.

The panel I used here had been painted on so many times prior to this one that the texture was almost a hindrance.  It did slow me down. This may be the last time I can use this particular panel. So be it.

Waterlily in progress

Here is where I ended up yesterday. I keep saying I really like the block in process and continue to hope that I can maintain the abstract quality and yet I rarely "succeed" in my own mind in doing that. It isn't that I don't like the finished product, but I can't seem to keep the under painting from adding that certain something that is in the block in. On this one the windows are showing through at the top giving it a grid pattern that continues here and there down the painting.

The image below is where I started to photograph the progress. I turned the unfinished painting underneath to its side so the the face wouldn't distract me.

Continuing to block in the greens around the water lily so as to get a better feel for the pattern I was wanting to get. ie a circular yet not a halo effect. Still leaving the orangish color of the figure's skin to help keep it from feeling too green.

Adding the darks of the water and more outlines of the lily pads to prepare for finishing the whites of the lily.

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

To have Thanksgiving or Drat! My Dog Ate the Painting I just bought!

There are many things to be thankful for. This year it is that I have never heard of "the dog ate my painting" until now. That isn't quite the correct assessment, but the dog did chew this painting. A friend of mine's husband came to my art open house a few weeks ago and found a little plein air I did one spring day at Rocky Mountain National Park about 10 years ago. I had carpooled with an artist friend as we delivered art to a gallery in Estes Park. Why waste a trip to Estes Park when you can paint in the park?? What does it matter that it is frigid cold and snow is fast approaching? This particular friend never lets such trifles stop her. So we hauled our gear out into a field and went to work. So that is the back story on the painting...
Now here is the story of the dog chewing this painting. It has to be shared just because it is a unique story. So, my friend was having an acupuncture appointment in her home, when the acupuncturist remarked that it looked like her dog had gotten into something and was chewing on it; maybe a piece of paper? except it didn't sound like a piece of a paper. She replied nonchalantly would he mind checking on the dog to see what it was? He remarked "it is a painting, I think" She jumped up off the table, needled like a porcupine to find that indeed it was a painting, the one her husband loves so much. She is so upset about this that she took it back to the frame shop where we had been the day before to see if they could fix it. She didn't even want to tell me! Of course they can, but to pay to remove the canvas remount it and repaint was not worth the cost of paying for that conservation. So I told her I would repaint it.

The back, so you can see the damage

The front

I don't know. I think it is a fun story. In fact, yesterday I had the thought to see what I could do to make the original painting work without the conservation costs as the dog chewing the painting adds to the story in such a unique way. I own a book press, so I soaked the board, which is a soft particle board of some kind, and put it in the book press last night. It made a difference to the 3D teeth marks on top. The surface is now flat which softens the puncture holes. This morning when I took it out of the press, I noticed that some of the fiber board was above the line, so to speak, or sticking up above the straightness of the canvas. I just rewet it and pushed the fibers down to be aligned with the canvas edge and stuck it back in the press. I am thinking this painting should be framed as is. But I think it might also be possible to rebuild the corners and match the sky if required.
My new painting is almost done as well, so there will be a choice.