I have to admit, I'm no longer a daily painter. I think that's a good thing. My goal has been to paint larger with more interesting compositions. I've been playing around with the idea of painting interiors with an approach of expanding on the still life theme. It has to be colorful but not fussy or detailed. Like taking a step back and including more of the space. Anyway, this painting took me several days and I'm happy with the outcome.
True to alla prima painting, I painted one section at a time and as a result, it took me a while to complete. I'm happy with the result; it's full of light and color and all areas of the canvas are activated.
Preparing for an art exhibition
includes many steps and lots of planning. It's been two years since
my last OA show. During that time I sold paintings, but also saved
paintings for this exhibit. I'm thrilled to be showing with two
other experienced and talented artists. We met and worked together on
our postcard and divided up other responsibilities. We promoted the
show within the last two weeks by sending out postcards and ecards.
Here's a short list of what went into
my getting ready:
Images of paintings were saved on my
computer and online.
The paintings were framed and
referenced with an inventory list.
Food and beverage lists were made up and
soon I'll be shopping and cooking.
Hostesses were assigned and some
Paintings were readied for
Our paintings will be hung tomorrow and numbered and price lists printed.
I plan to arrive early on Sunday to set up, and then enjoy my friends and family.
If I forgot anything, no matter, at
this point my goal is to have fun.
This bowl came all the way from a Florida thrift, which I visited with my mother a couple of weeks ago. A trip to the thrifts always ends with something new to paint. The bowl's colors were pretty, but subtle, and I tried to capture its airiness. I added an orange and plate and got circles within circles.
The month is almost over and I've had only two posts. The reason is that I've changed my focus from painting small and often to working on a larger piece and teaching. I'm giving myself time to explore this new opportunity of teaching, which I really enjoy.
Below is my still life set-up including a hobnail bowl a friend Michelle Winnie gave me.
I generally simplify my objects when painting and this bowl is far from simple.
The textures and colors of this bowl were complicated. I tried to suggest its' texture by putting only a few of the hobnails located on the outside of the bowl. To add more would have been too fussy. Instead, I concentrated on getting the look of glass.
The low light in winter makes it difficult to photograph paintings. Some artists have figured out how to set up lighting indoors. Here's an article Lighting Tips for Indoor Photography that's simple enough for even me to understand. I haven't tried it yet so today I shoveled my deck and used the Carol Marine method of photography. See Carol Marine's FAQ and scroll down to How do you photograph your paintings?.
I've been painting a lot of fruit and dishes as usual. Glass is the most fun and challenging of still life objects I have in my studio, except for metal. I've been more selective about activities other than painting and that's made a big difference in my being focused. I teach two days a week and love it.
It's amazing to me that by combining red, blue and green as well as other mixtures, you can get awesome blacks and grays. Inspired by a value study seen online it has become part of my first session when teaching.
It suddenly became sunny in the northeast; I'm happy and I'm painting bright colors. It's still January but I like to believe spring is around the corner. In this painting, I simplified each object, used large brushes, and limited my brushstrokes and also my colors to a few mass tones.
Every time I feel myself tightening up I wipe off my painting (in this case yesterday's painting), take out a bigger brush and start again. I have no choice in the matter. I get a feeling in my gut that something is wrong and I know from experience it's the painting, not me or something in my life. In almost all cases, I feel better once I redo it.
This painting was fast and loose, which worked out well since I've been busy organizing the Oakroom Artists' Winter Exhibition. The show was hung yesterday. There were lots of people helping out and I want to take this opportunity to thank them all. It's a great show with beautiful art and worth a visit.
It's taken me awhile to complete this painting. I worked on the colors of the wooden cutting board and the bottom of the leeks. It's done and I'm pleased.
My concern was how to make the bottom of the leeks interesting. I wanted the viewer's eye to roam the painting without getting stuck at the textured ends of them. Vegetables have such beautiful color and interesting shapes, I don't know why they get the short straw in painting genres.
I spent the evening thinking about what I'd like to paint.
The idea came to me in object and color combinations. I was inspired by paintings I've seen in the past in magazines, in museums and those of my favorite contemporary painters. I wanted the challenge of painting several objects on a larger
20 x 16 horizontal canvas and not my usual 10 x 8.
It took a while, I had to buy the produce and gesso a canvas.
I put things in and took them out and did a lot of rearranging.
It actually took a lot of time.
This was my original layout. It ended up with too many items.
It was too busy and awkward.
I liked this layout with the canvas vertical, but in the end, I didn't like the knife in for foreground. It was too heavy and it reminded me of a slasher movie. Although I liked the way it led the viewer into the painting.
I took the knife out. I squared up the image in photoshop to fit a 12 x 12 canvas and the perspective worked. I liked the foreshortening of the leeks. I could see this still life as a finished painting.
I drew it in and started with the hardest object to paint and those were the leeks. I paint from life with smaller paintings and also use a photo reference for larger work.
The next session I might have to touch up what I've already painted and then go from one object to the next in the painting process.
I went to Florida for 10 days to visit my mother and my husband met us there so we could all be together for Thanksgiving. It was wonderful to be with her. She's 93, vibrant and so sharp. We had a great time. Thanks mom. I couldn't not draw every day. Above are two of my drawings. The hand was inspired by the article The Drawing Board in this month's The Artist Magazine.
I'm back from vacation and happy to be painting again. Today these three red delicious apples were painted larger than life with a 1" bright brush. I pushed the darks and tried to get the shape in as few strokes as possible.
I've changed my mind about these red shoes, actually about the background color. The painting is now more about the shoes and less about the message.
It's a good feeling when you've realized your vision. My goal was to reference Wayne Thiebaud in this painting. He always made me think of the objects and people isolated in his paintings in a personal way. Likewise, I hope these shoes and their background makes you think of the wear on the shoes and the woman who wore them.
Below is an art show I'll be participating in through November, opening this weekend at the Uncommon Grounds in Saratoga Springs, NY.
Clear colored glass, plastic solid Melmac dishes and plum. That's what this should be called except that title is a little too long and descriptive. In the meantime, I'm in the process of deciding what paintings to submit for three local shows next month.
Here's the ecard to the Oakroom Artists' 60th Anniversary Exhibition which, should be wonderful.
I've been drawing lately. Both drawings are on 18 x 24 inch white sketch paper. The boxes above are an idea for a painting that I have been playing around with in my head. I love the simplicity and clean lines. The bottom drawing is of a Wayne Thiebaud painting called Boston Cream 1962. He's a favorite painter of mine whose work always inspires me.