Friday, August 1, 2014
Wednesday, July 30, 2014
Monday, July 28, 2014
Saturday, July 26, 2014
Back to the Queen Anne's Lace. This time I not only played with the lace work of the horizon where the flowers meet the sky, but I also used flowers to lead you through the field. My question ..how little do I need to paint and still read field?
Friday, July 25, 2014
Tuesday, July 22, 2014
Monday, July 21, 2014
I disappeared for a wee bit. I met my bestfriend in the world, Leah, in Maine. We stayed in a cottage that we picked because of the wonderful field across from it. There was a path through the field that led to a small beach. Sweet. This is one of my pastel studies done one sunny afternoon. I will post more this week, including a super moon study.
Monday, July 14, 2014
1. a BestBrella #196AB-Z
2. A clamping device for a spotting scope -for attaching the painting box
3. painting box- your choice
4. another clamp- holds the bar that is used to attach the spotting scope
5. cloth bag with rocks if needed for counter balance
This system will transport your pastel or oil box, umbrella, extra easel, camp chair, water, food, and supplies, best of all you can push it with one hand.
Mike's work is beautiful. Here are a couple he created when he was in Washington.
|pastel painting by Mike McMullin|
|pastel painting by Mike McMullin|
|My friend Christine(right) made her version and we used when we were painting on Whidbey Island. Nice.|
Wednesday, July 9, 2014
My dusk-a thon continues. I am considering this to be simply a learning process, not expecting anything from each small painting. At most I may spent 20 minutes on a single one, usually going on to do another (since the light changes so quickly at dusk.) This was done at 9:00pm at the train station.
Monday, July 7, 2014
|pastel on Uart|
Did you know that police worldwide quell rioting mobs with water cannons enriched with purple dye? The semi-permanent purple "tags" protesters for later retribution by the police. In the last twenty years, protestors in Hungary, Indonesia, Israel, and (most recently) Uganda have all been purple soaked.
It seems to be a shrewd move by police, but as Slate's Explainer's column explains the tactic can backfire. In 1989 , a group of anti-apartheid protestors marching on Cape Town's Parliament were ordered to stop, then soaked in purple dye. A protestor seized control of the purple dye cannon and turned in on the reigning National Party headquarters and the historic, whitewashed Old Town House nearby. "What about the purple people?" implored a Cape Town editorial the day after the "Purple Rain Protest." Graffiti on the Old Town House provided an answer that became the rallying cry of the ant-apartheid movement: "The Purple Shall Govern!"
If you want more stories and mini factoids about color check out the book,
ROY G. BIV -an exceedingly surprising book about color by Jude Stewart
Wednesday, July 2, 2014
|pastel on uart|
"For a painter gray is the richest color, the one that makes all the others speak." Paul Klee
You see is when you look at the great beauties in art (my bias) In the later part of his life George Inness was the master of grays. He uses only a small piece of pure chroma surrounded by neutralized color (grays.)
Monday, June 30, 2014
Wednesday, June 25, 2014
Monday, June 23, 2014
Saturday, June 21, 2014
1. Kiyochika, Master of the Night- Freer/Sackler Gallery, Smithsonian- free
The gallery displays master printmaker, Kobayashi Kiyochika beautiful woodblocks. Dawn, dusk and night are the focus of his woodblock prints.
3. Life keeps getting better with a exhibition of Degas and Cassatt, National Gallery of Art - Smithsonian, free! This exhibition demonstrates the affinity between both artists. A perfect friendship Degas and Cassatt, engaged in intense dialogues, challenged each other and shared their many experiments with new techniques. The show includes sketches, paintings and prints.
4. Andrew Wyeth: Looking out, Looking in, National Gallery of Art- Smithsonian- free! Spare and elegant, these paintings are free of the narrative element associated with the artist’s better-known figural compositions. The abstract qualities of his work are therefore more readily apparent, and Wyeth emerges as an artist deeply concerned with the visual complexities posed by the transparency, symbolism, and geometric structure of windows.
5. And last in between exhibitions be sure to visit the Smithsonian's Folklife Festival- June 25-July 6. It's free as well and right on the mall smack between the Freer and the NGA. Art, performances, hands-on demonstrations and great ethnic food.
Wednesday, June 18, 2014
Trouble is, my work is normally not place specific. Instead it's more about the feeling and the vibration of colors makes the feeling. So here I have my first satisfactory study of "poison ivy island." It's a pastel, about 9"x12". Wish me luck!
Sunday, June 15, 2014
My idea this time was to see the layers. Make it more about the surface. The watercolor below with thin layers of pastel is topped by marks of pastel.
Friday, June 13, 2014
Working in a series is one of the most important tools we artists have to nourish growth. Most times artists build series around a theme: river paintings, window paintings, still life with waxed paper, or cityscapes, just to name a few. Sometimes it's around a format, like all squares. The one thing that binds these ideas is that each painting in a series builds on the next painting. The process takes the artist down a path of discovery.
Series can just shout out to us, others whisper, some you have to find. My river series has been ongoing for many years. I love that river and have still not exhausted its possibilities.
Here are four ways to find your next series.
1. Line up your ten favorite paintings. Analyze them. What did you do in those ten that was so successful. Write it down and be ready to build on those ideas.
2. Choose a new format and stick to it. Do you want a more peaceful painting? Choose an elongated rectangle. Look at the Japanese woodcuts. Try diptych or more.
3. Find a new surface. If you normally work with a sanded paper try making your own surface. If you paint on smooth canvas try wood with a vibrant surface pattern. Take yourself out of your comfort zone.
4. Make an exploration of color. Limit your palette to certain color harmonies.Make many small studies (3x4) before moving into bigger work. take yourself out of your color rut.
When you have a series begun make certain to keep all of them out to view each day. Number them on the back. Look and grow with the previous work.
One of the most exciting and inspirational series I have seen is Marla Baggetta's Variations. Here is a link to the book she made about it. Wow!
The most important thing about a series is the fact that it drives you and you can't wait to get back to it.
Monday, June 9, 2014
The rocks are a perfect resting point from the greens. The oranges and violets make it sing better.
BTW Three of my most talented young students had their first show at my studio yesterday. They have been working for 3 years and their dedication is obvious in their work quality. For this show they not only created the work but they learned how to frame it and wrote their first artist's statement.
Thursday, June 5, 2014
Recently when my teenage class was outdoors painting the common cry was, "There are too many greens!" Or, "Greens are boring, what do I do?" Greens are incredibly tricky. In order to make a painting full of warm and cool greens to work you have to search for the other secondary colors that will complement green. That brings us to violet and orange. The famous Richard McKinley says, "The secret to green is orange and violet is its friend." So when looking at those endless greens out there now, think...where can I see violet? How can pieces of orange in my greens and around enhance the green?