Posts Tagged ‘painting’

Large Landscape Works on Paper

April 11, 2017

I am always on the lookout for interesting art work … in person or out in the digital universe.  Recently, while trying to find examples of engaging artworks for my students to connect to, I came across the work of Michelle Lauriat.

Michele Lauriat, Phil's Hill (#3)

Mixed media, 90×55, from the Phil’s Hill series

 

Frankly, I was surprised and so very excited to find her large works combining drawing and painting on paper. I think my pleasure was so intense because she works much as I do in my sketching … but does so on such a larger scale. The work also reminds me just a bit of the image making path that I was on in my early 20’s.  So, I feel enthralled by the newness and freshness of her work while also sensing a degree of aesthetic kinship.

 

 

Mixed media, Echo Lake Series, 55×42

Ms. Lauriat’s pieces hover between drawing and full-bodied painting; making use of discrete but rich patches of color as well as subtle staining of the surfaces. Using copious amounts of negative space along with fields of color and value, she carefully articulates space/depth and a tentative feeling of solidity. While there is much visible evidence of early exploratory gestural mark making that she has left exposed and even foregrounded, there are also areas that she fills with marks and passages that hint at or describe perceived textures and also bolster the visceral activation of the surface design of her work.


I see Lauriat’s working method combining a decisively bold, and at times elegant, editing process with an eye for richly observed and rendered details from the natural world.  The results are exquisite combinations of mimetic accuracy and dramatic abstraction.

 

 

 

 

 

 

 

 

Her website is visually easy to explore and she blogs at … http://blog.michelelauriat.com

Enjoy!

 

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The Monument – An Ink and Watercolor Sketch on A3 sized paper

March 7, 2017

Tofan Gheorghe is an artist living in Dublin, Ireland.  Perusing his blog site reveals some very nice loose watercolors/watercolours! Having just posted a very different watercolor and ink sketch showing part of a local monument here in the States … it was nice to see another artist’s very different take on a similar subject.

Hope you enjoy his work and blog. JH

 

Tofan Gheorghe's Creative Blog

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Urban Sketches; Color or Not

February 14, 2017

This past week or so, I have been working on sketches, lots of sketches … and yesterday I executed a very quiet one.

I had walked through town, past the shops and restaurants along the pedestrian mall, across and under the railroad tracks a few times, and even as far east as the old coal tower. I visually explored, looking for new ways to see the familiar sites. I tried to look deeply; I sketched and even took a few photos to perhaps use as reference for later in the studio. The one image that most intrigued me was far from the obvious. I even worked it up in a manner that I only rarely use.

Stopping in a small public park near my old studio, I began, and almost completed, the piece on site. The park is dedicated to the memory of a regional war hero and it has a traditional and quite handsome equestrian statue in the middle of the park. What interested me though was the sunlight bathing the delicately carved white stone base as well as the winter shrubs surrounding the statue.

winter-2017-foliage-in-lee-park

Winter Shrubs in Lee Park (pencil w/ink and ink wash, 5″x11″)

Using the thinnest of graphite lines, I began laying in the divisions of space. As I did so, I also began to create light but articulated lines to describe edges of bare branches. While I was doing most of the pencil work, I decided to create a pale grey ink wash. In a very old fashioned manner, I layered the wash many times … very slowly building up pretty subtle value shifts as each layer of wash dried. To add contrast to the nuanced values of pencil and wash, I added a lot of fairly small black ink marks using the fine point of a cartridge brush pen. Though I might touch up some part of the sketch later, for now I believe it is done. (If you have an opinion about it being done or not, do let me know.)

As I said, this little ink and pencil piece is quite a bit different from most of my current sketch work. A more typical piece is the one I did a building just four blocks away or the one of the coal tower.  Most often, I add watercolor over pencil and sometimes I will add a touch of ink … either with pen or brush. I tend to work fairly quickly once the drawing is “blocked-in” to my satisfaction. I usually strive to keep the end result loose and painterly as you can see below. This time, for the piece above, I was using aa much slower and more patient process.

west end of the cville mall, 2016West End of the Mall (watercolor and ink over pencil, 5″x7″)

 

 

 

I am always a bit surprised at the variety of the stylistic choices I see in my sketches, the wide array of strategies I employ as I begin working with an image. Loose vs highly controlled; rich color versus open space and limited hue or tone. As a much younger artist I worried that my work was “all over the place” or too “unfocused.” Eventually I learned to look to one of my heroes,  Richard Diebenkorn, as an example. You can see some of the variety within his sketches at the following address:
[ http://hyperallergic.com/231403/a-lifetime-of-sketchbooks-from-postwar-painter-richard-diebenkorn ] So, I don’t worry about that issue any more.

For me, it is time to get back out there and make some more images. Well over half of my studio pieces are begun with the research of urban sketching or plein-air studies!

coal-tower-blustery-day-web

Coal Tower, Blustery Day, watercolor over pencil, 5″ x 11″

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New Work; From Plein Air Sketch to Finished Pieces

August 5, 2014

I love mixing and matching … aligning and contrasting. I do it with media. I do it with imagery and content. I’ll even use that way of working with design and stylistic approaches. Mash-up isn’t quite the right word; it is the right concept though. Maybe I am overly invested in both classicism and the early modern.

one of the studies, a reference photo, and an early stage of “Trees In Pacific Afternoon Light”

This week, as I prepare the last pieces for a two-person exhibit at a college in North Carolina, I have had several pieces that have been a hard to bring to fruition. One of them seems to have hit upon a happy ending … the other two, I am still struggling with.

Seashore-Trees,-process-3,-WEB

watercolor study, 5 x 11, from a sketch made looking across a wall from the Getty Villa

The first, an image that started as a sketch out in S. California, became a small series of watercolor studies. Soon, using the rough sketch, studies, and a dozen or more reference photos … I began the painting on an aqueous media panel.

the central image, 3rd stage ... watercolor on a 12 x 12 panel.

the central image, 3rd stage … watercolor on a 12 x 12 panel


 

 

 

 

 

 

 

 

 

 

 

None of my photos captured the almost golden light I sensed that afternoon as I prepared to enter the Getty Villa. But working from my sketch and color notes … I played about until I got an image that did portray the felt color of that afternoon.

A few days ago, as the painted section with the trees neared completion, I added a few passages of gouache, hoping  to increase the solidity of  the bare tree branches located in the blue violet shadow on the lower left.

the panel, taped for laying in color across the top register. The representational content is 85% to 95% complete

the panel, taped for laying in color across the top register. The representational content is 90% to 95% complete … ?

Yesterday I decided to stop working on the trees; not permanently … but to begin deciding what to do with the upper third of the image. I flirted with at least six or seven possibilities. Maybe a very thin red horizontal band and a muted blue grey above it? Two blue bands with several small vertical shapes in rich yellow and dark muted green clustered in the upper right corner? or perhaps in the upper left? In the end, I decided to keep this one more simple. Two tonally related but different blue bands, the darker and more intense one across the top.

Here it is with the color bands completed. I  still think that a combination of small staggered vertical bands, interrupting the major horizontals. might be interesting. But, for now, I’ll leave it as it is, tidy-up up the “loose-ends” and move on.

 

Almost completed panel!

An almost completed panel!

I do like it. Maybe I can be happy with this one as it is.

 

IMG_2329As I said above, the other two are proving to be much harder to bring to a satisfactory conclusion.

Like the painting above, I have reference sketches and photos from last fall, as well as compositional studies for this painting. The finished maple tree in autumn was to have a strip (possibly broken into a few vertical blocks) on the right side … and maybe a “free floating” block of color somewhere inside the composition in the lower left. I was pretty sure of what I wanted it to look like; now I have almost no clear vision of how it should end up!

 

The next one, a smaller horizontal piece, was started in the summer of 2012 … and I never really quite loved it.

On the Edge, Late Summer (as "completed" in 2012)

On the Edge, Late Summer  (as originally “completed in 2012)

Here it is to the right. What I liked was the general rhythm of the stalks across the field. But despite the passible late summer humidity-laden coloration, it doesn’t feel like the design is dynamic enough.

Below is the new revision so far. Originally the red-violet band was wider … the width of what is now both the dark olive green and the red-violet color panels. The newly white area is going to get a drawing of the same heather (maybe two drawings?) at earlier stage(s) in the plant’s growth/maturation process. I have left the white a bit translucent so that a “ghost” of the original color and drawing do show through.

summer 2014 revisions, so far

the summer of 2014 revisions, so far

 

Maybe I am being indecisive. I do know that I am being pretty picky (or is it just being fickle?).

As I said Mash-up isn’t quite the right word for my combination of classicism and the early modern. I am not sure what is the right description … but I will post progress on these two a bit later.

Searching for Exciting Watercolors, pt. 1

July 17, 2014

I am always looking out for artwork, especially watercolors and other works on paper, that are interesting; something intriguing or perhaps even truly compelling.

When I was full-time college artist-educator, I would always be on the lookout for any/every type of work to share with my students. Now, some of you may know that, besides drawing, I work quite a bit with various aqueous media and most often in/or with watercolor. So it probably wouldn’t surprise you that finding exciting, new work done in watercolor is a quest of mine. It has been for many years.

There are lots of fine watercolorists out there … but there is too much repetition and far too much acceptance of staid approaches to the medium.

Please don’t get me wrong, using a a traditional figurative approach is fine … and I LOVE beautifully made images created that way … just as long as there is something new, fresh, or personal about the work. Conversely, I grow quite bored with a lot that I am seeing when looking at so many of the contemporary artists working in the watercolor medium.

This is sad because watercolor has often been on a cutting edge, been a medium for artists to experiment and play with new ideas. Just think of Kandinsky, O’Keefe, etc. It has also been a medium to use for long term exploration of visions and concepts. We have no further to look than such diverse artists like Klee, Klimt, Demuth, Marin, Burchfield or the Wyeths.

I want to find new images made with watercolor, new ways of working, or new examples of the absolute mastery of combining technique, design, and content using watercolor.  New art! Please!

Beautiful Weed, Mary's Garden,, watercolor sketch over pencil, 5 x 11, 2014

Beautiful Weed, Mary’s Garden, watercolor sketch over pencil, 5 x 11, 2014

With that in mind … there are five artists whose work in watercolor has caught or has recaptured my attention; Artin, Forge, Gibson, Nickson, and Sinclair.

 


 

Roman Forum from Via dei Fori Imperiali, 1999, 20x11

Roman Forum from Via dei Fori Imperiali, 20 x 11, 1999

Wendy Artin’s work is a handsome modernization of traditional media combined with a very classically based content. An artist who is working now, Artin has begun to gain some critical and popular attention. I think that I first came across her images a year or more ago in either an issue of Drawing or Watercolour. Since I still teach a few college drawing courses each year … I was excited to share her work with my students. But for me personally, it was her nearly monochromatic watercolor wash drawings that intrigue!

Some of Artin’s pieces have the fluidity of a great Tiepolo; others have hints of the moodiness in a wash drawing by the French artist who also worked in Italy … Claude Lorraine.

Cinecittà, 40 x18cm, 2000

Cinecittà, 40 x18cm, 2000

She finds a balance between playfulness and a sense of “veritas” in her work; while combining “wet-into-wet” areas, dry brush techniques and judiciously reserved white/negative spaces with apparent ease.

The renewed and refreshed classicism of her work … not to mention the gutsy design and mimetic rigor of works like Parasol Pine Panorama (below), can take my breath away.

Wendy Artin, Parasol Pine Panorama, 2008, wc on Khadi paper, 76x30 cm

Parasol Pine Panorama, watercolor on Khadi paper, 76 x 30 cm, 2008

 


 

Andrew Forge WC?

Andrew Forge was born and studied art in England where he taught at the Slade School of Art, Goldsmiths College, and the University of Reading. He emigrated to the US and taught at Cooper Union, New York Studio School, and taught painting at, and served as Dean of, the School of Art at Yale before he died in 2002. His work as an educator and as an art writer/art critic was well grounded in his painting.

Untitled. Watercolor,14.5 x 10, 1962

untitled. Watercolor, 14.5 x 10, 1962

Forge seems to have worked his way visually and intellectually through the various styles of modernism. One thing that I see in his paintings is an early encounter with Cezanne’s way of visually processing an image into an arrangement of color patches on a surface.

And, in his later work, Forge also seems to have followed that manner and concluded with a  further joyful abstraction. His work of the 70-90s has all the delicate spareness one might expect from an artist steeped in classical clarity, nuanced perception, and a humane visual playfulness.

 

untitled, 23 x 15, 1993

untitled, 23 x 15, 1993

 


 

I came across John Gibson’s work at least 20, or maybe 25+ years ago. I saw it … and it printed in publications. I could surely see that it was good work, bold and confident. But after looking at a number of examples, it frankly appeared to be to much the same thing over and over. I grew jaded and, yes, bored.  Mea Maxima Culpa!

John Gibson, Somerville, 2014, 34x92

Somerville, 34×92, 2014

You see, Gibson works on a basically simple premise … creating believable an image of 3-d sphere(s) on a totally 2-d surface. This is the old (Renaissance “old”) task of visually rendering space and form. And Gibson does throw in a visual treat that some might find to be a bit of visual irony … almost all of the spheres he depicts are decorated with patterns.

3-in-a-line, 48x56, WC, 09-06,John Gibson

3-in-a-line, watercolor, 48 x 56

As I said, I got it; I grew bored. I moved on. Yes, I occasionally used one of his images to help me teach form in a drawing, studio painting, or watercolor class, but that was about it.

Frankly, without running across it again and again, I didn’t have much time to really be ensnared by its charms. And there are charms in this work.

Recently however, something drew me back to look at his work some more. After 30 years are so … I felt a desire to re-examine his spheres. Maybe it is a desire to understand  his obsession. Or to just be charmed!

What ever it was, I am glad I did. As I let the obvious similarities slide past, I could begin to see just how sumptuous his color was … how rich and yet carefully he used color to assist in the  rendering of BOTH rounded forms and the “vapor” of depth and space.

John Gibson, Hidden Web,2009, WC, 32×44

Hidden Web, watercolor, 32 × 44, 2009

 

These are not easy, facile works but they are quite confidently put together. I see no design magic here; rather there is a solid, logical construction to these images. The color isn’t flashy either, instead it is finely balanced and so deliciously worked into the substance of the painting.

Well, those are three of the artists whose work in watercolor I am finding exciting or challenging right now. My hope is that you saw something new or interesting too. I will finish up writing about the other two (Nickson and Sinclair) very shortly and post an addendum quite soon.

 

Right now though, the studio is calling !!!

 

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Exhibition of Sketches open, Reception today!

May 2, 2014

Sometimes little things are really quite important. Certainly the smallest thing can be extremely satisfying.

I have a new show opening today in Charlottesville, Virginia at Angelo (on the downtown pedestrian mall). It is a wonderful small venue. The show itself is also small, just 14 pieces. All the work is quite small too!

After my big shows of really BIG drawings earlier this winter, it is really a nice treat to put up these smaller, more intimately scaled pieces.

Hancock_ad_web

And these works are interesting and exciting to me precisely because they are more personal, intimate, and quick in terms of the art making. All of them are landscape sketches, most started and finished in one session … with the simplest of materials. There are a few that are almost panoramic in vision despite their very small scale.  A few are really close-ups of landscape details. Most of them though are fairly typical landscape images … at least they are typical to my eye.

The best ones are done very quickly and quite simply.  A few have a hint of Demuth or Marin (not so much Homer or Girtin this time) … and just maybe the quickness (if not the sublime quality) of a Turner watercolor.  The less successful ones may help me create better larger works but, of course, I don’t share those. They are now “working” sketches. You would have to come to my studio or one of my classes to see those.

The ones at Angelo for the next two months are, I think … pretty good.

If you are near Charlottesville sometime between May 1st and June 30th, please take a look and tell me if you agree.

(PS It would be wonderful to see you at the opening too … sometime between 5:00 and 7:30.)

 

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Sketches!

April 26, 2014

It has been a busy Spring.

Winter hung in there and made it a longer chilly start to the spring season than usual. That means the garden and plants need some extra care, some extra work this year. I have not gotten all the gardening tools properly prepped for the season yet either.

Instead, I have made lots of changes to my classes at the college. (I do so hate to get stale in the drawing class studio!) At the other end of the professional duties, my exhibition schedule and speaking engagements have kept me hopping. The traveling was fun, even as we dodged the worst of the snow and ice storms!

NW Hillside, Pines and Fenceline

NW Hillside, Pines and Fenceline, watercolor over pencil, 5×11, 2014

Now, at the core of my artist life, the making of artwork, things have again settled into a pattern. Yes, a slightly a-rhythmic pattern … but one I am trying to keep moving along. Not in the studio very much; I have been working outside whenever I could … wielding pencil, ink-brush pen, and watercolor. So much so that my students have remarked that they have seen me along the roads close to campus and further afield. They think it is quite funny (¿amusing or weird?) when they spot me sitting on the cold ground in 40 F/5 C degree weather; standing at my sketching easel in 30 mph/50 kph winds.

But it is part of what I do to prep for new work; my version of hunting and gathering … seeking out new images, interesting visual material.

I have other ways of generating visual “primary sources”, but working alla-prima, en-plein-air … is so mentally refreshing.

It grounds me.

preliminary sketch for "South, Off Jarmin's Gap Road

preliminary sketch for “South, Off Jarmin’s Gap Road

Sometimes the work comes out totally fresh and clean. Almost sparse/spartan in its finished state. Other times they are labored, even overworked. Unclear. Those are not as exciting, but they still teach me something, challenge me to think, re-think their source and what it is I find engaging and exciting about it.

Hilltop Pine, Across From Rockfish Gap

Hilltop Pine, Across From Rockfish Gap, ink & watercolor over pencil, 5×11, 2014

Whichever one it is, clear, clean, and well executed … or overthought and overly fussy … I am happy to be seeing, reacting, and thinking about images outside. Just pass me my hat and my sunscreen!

 

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Stanley Spencer; Modernist & Realist

November 24, 2013

Self-portrait, Stanley Spencer, 1914

Self-portrait, Stanley Spencer, 1914

Some Realists make work that reminds me of wonderful and simple sugar candy; a rush of pure visual excitement, easy on the eyes, and nothing complicated. (Yes, I know it isn’t easy or uncomplicated to paint that way; just try to create a delicate and sensual confection like Fairfield Porter’s work!)

Then there are Realists so enigmatic that their work creates all kinds of quandaries which rattle about in my head for a long time. Those are the Realists that I love most.

In the States, I immediately think of the works of Andrew Wyeth or of Raphael Soyer. The former stretches credulity and design into a wonderfully complex matrix. Soyer, seemingly effortlessly, pushes you towards his subjects personal space … involving you, almost uncomfortably in their lives somehow.

In England, I am entranced by the life and art of Stanley Spencer. His work, to my eye at least, stands as a very modern type of realism. Maybe not the rough, even harsh newer realism of Lucien Freud but still modern and engaging. (I haven’t yet read anything to tell me that L. F. was influenced by Spencer, but I suspect that he was.)

Terry's Lane, Cookham circa 1932 by Sir Stanley Spencer 1891-1959

Terry’s Lane, Cookham, c. 1932

Spencer, as an artist who matured within sight of the first World War nearly a century ago, certainly had access to both the grand traditions of the past and the visual ideas of the new century at his disposal. He continually experimented with elements of both in his art.

We can see in his drawing and painting that he had the training we would associate with that tradition. We also see in his work that he had an eye for composition that was not traditional … he crowded the viewers perception, pushed his subject into our world, dragged us into his equivocally desolate and lush visions.

So to, in his life, he experimented and fumbled … ending up in a bit of a peculiar place when it came to relationships. That may have been why he lived so much of his life in and around the village of Cookham; midway between London and Oxford, a place where he could work out his own direction.

nude-1935

Nude, 1935

In the end his work did not seek refuge in some safe and comfortable romanticism for days gone by. Neither did he unquestioningly embrace and advocate everything that was new. Instead, he engaged in the tumultuous negotiations between past and present, internal and external … that we all carry within us.  You can see current events of his day in his work and timeless subjects. Not the same old take on those subjects … rather he looks upon them with a very personal perspective, and giving them a modern if sometimes quavering and enigmatic voice.

Spencer’s work and his life are not quickly or easily understood. He is not “pure and simple” unless by that you mean he is himself. That is possibly why I keep wanting to look at his work so much. To get a better insight into his work try taking a look at the site below: http://modernbritishartists.wordpress.com/2013/11/05/stanley-spencer-heaven-in-a-hell-of-war/ Rickett's Farm, Cookham Dene 1938 by Sir Stanley Spencer 1891-1959

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Visual Confections

October 6, 2013

Sometimes, an artist confuses me. That is what Sara Lutz’s work does. I’ll get back to that in a moment.

1. We all know some artists WANT to confuse us … it is part of their way of working, the very reason for working. Fine.

2. There are other artists who just don’t get what they are doing … and confuse us because they are, themselves, confused. I have done that. Come on, let us be honest, most of us have. Way to often.

But Sara Lutz’s painting do not seem to want to confuse us. They are richly layered, dense visual experiences. There are multiple thin veils of hue and tone washing over shapes. These are broken by thicker, viscous skins of color and value that barely cling to the surface or gloriously, happily, run and drip across it. There are shapes, created with dense slabs of paint … thick skeins, skittering across the thinner layers, globular masses lathered on with serious joy. On this level, I like them, love might be a better word.

detail Lutz, Pavlova

I see the tradition of Titian, Hals, Manet, Vlaminck, and Pendergast.  Looking at the surfaces it is evident that there is a mind at play with paint. It feels good, rewardingly good. Ms. Lutz’s work is a textural feast!

Then I get confused … confused and conflicted by my reaction to the color.

Yes, there is much here that reminds me of the serious and beautiful work of Kandinsky, Joan Mitchell, and maybe something of Niki de St.Phalle. But there is also something of Philip Guston in this work. And the decomposing fleshiness and wilting, sugary emulsions by Gusten have always repulsed me. Ms. Lutz has even named some of her work after frothy, sweet creations from the candy shop (Confection and Nonpareils). I am conflicted, caught between one structure that I am drawn to, another I am repulsed by.

Don’t get me wrong, 1) I like sweets. 2) On the art-history side, I have grown to admire much of  Rococo art (despite some of my teacher’s best efforts). My work sometimes plays along the with the joyous coloration of that period. 3) Certainly, on the painter’s craft-side, I like almost every variety of  the slippery, scruffy, gooey, lumpy, abraded, liquidity of painted surfaces.

Why can’t I embrace a painting that is structured like a Kandinsky or a MacDonald-Wright …  but with a color palette that could be from a licorice all-sorts bag? What is it that causes my confusion; why am I so very conflicted?

(Why don’t you check out this site (http://hyperallergic.com/86795/beer-with-a-painter-sarah-lutz/) … and see and read a bit more about her work. It is well written. Decide what you think for yourself. See if my visual sweet tooth has decayed or not.  And, please, let me know what you think.)

http://hyperallergic.com/86795/beer-with-a-painter-sarah-lutz/

Before color? Yes! (Well, at least sometimes.)

September 8, 2013

Ok, you want to start a painting?

There are lots of ways to begin … almost as many as there are artists out there.  It helps to see some of the ways that artist have worked before.

One way that was used in the Renaissance involves the use of a “underpainting.” The underpainting method used most often back then was to create a full fledged rendering of the image in value.  This technique, known as grisailles … creating a black, white, and grey painted image, was used to establish the image over which layers of color would be applied. Some of the upper layers of color might be opaque … but for the most part the new layers were translucent or even transparent. When opaque layers were used, the value of new upper layer was matched as closely as possible to the value established by the lower underpainting.

a grisailles underpainting Pieter Bruegel the Elder, Christ and the Woman Taken in Adultery,, 1565

this is a grisailles underpainting       by Pieter Bruegel the Elder.        (Christ and the Woman Taken in Adultery, 1565)

While this method of underpainting fell out of favor (many early 19th C Realists and the Impressionists would complain that it was like painting on brown gravy), it never went away in art schools that favored what they term “traditional” art.

As artists have sought out ways to use the western figurative tradition (either as “traditionalists” or as Post-Modernists) this technique has had a resurgence in popularity.  The example below is an “in-process” detail of a painting by the contemporary artist Joe Forkan. It is  in fact a modernized re-working of not only this technique … but also a visual re-interpretation of Caravaggio’s Supper at Emmaus.

detail-dude-Supper copy

You can see the image on the left is mostly in grey and the image to the right has brighter, richer color added over the layer of underpainting. While a comeback for this method has been seen in recent years, many artists today, preferring a more direct and immediate technique, don’t use the full fledged grisailles underpainting technique. And unless we are lucky enough to see a demo of the process or happen upon one in a museum, art viewers seldom get to see what is under that imagery.

There are other interesting underpainting traditions … and also quite a few direct painting techniques that do not use any under-painting at all! While my usual working methods fall into that latter category, I do enjoy the results my students get when we use grisailles for a while. Sometime soon I will show you a some other underpainting techniques used by a few of my artist friends.
PS: To get a look at the whole painting by Mr. Forkan, connect to his blog: http://joeforkanblog.com/?p=623
More … later.

Respite on a West Coast Beach …

July 1, 2013

This past March, while it was still snowing and freezing here in the mountains of the Mid-Atlantic, we visited our son out in S. California.  When we arrived it was in the 80’s … but dropped back into the lower 70s and even the 60s. It was a welcome interlude, and on one of the warmer days we explored the area around Point Dume. We trekked over the rocks and, after getting to a less visited side of the outcrop, we settled down for a respite on the beach. Everyone else soaked up some sun, sat around relaxing and chatting … or played a bit at the edge of the water.

Me, I needed some quite time. So I walked over to and climbed up into the next set of rocks and relaxed. Looking back across the sandy beach, the rocky point, and up the coastline, I was quite happy that I had brought a small set of sketching materials and my camera. Quietly drawing and laying in a few quick patches of color was a really enjoyable way to spend my time. I could have spent several hour making a few more sketches … but it was almost time for lunch. So, after shooting a few dozen photos of the surroundings, I packed up my gear and went in search of seafood and some more delicious family time too.

Point Dume, Zuma Beach
(a watercolor and pencil sketch, 5 x 11)

When we returned home I decided that I wanted to do a three to four foot multi-panel piece based on this experience. I even promised my son that he could have the piece if I felt really good about it when it is completed.

Well, this week I made the one of the first steps in that process, a larger study using the sketch and the photographs I created three months ago as resources. So far I feel pretty good about it … though it looks a bit more like a “tinted drawing” than the “painting” that I had envisioned. It may also be a bit to timid in comparison to the sketch. The first sketch had at least a few subtle hints of Demuth’s delicate control and something of Marin’s energetic brushwork. But that is why we do studies, to work out the kinks in our ideas ahead of time … to get back to some of the fearless joy of our first encounter.

Here is the study I finished this Saturday. I will keep posting the progress over the next few weeks.

(watercolor on panel, 12 x 12)

Point Dume, Santa Monica
(watercolor on panel, 11×14)

New Paintings, Watercolor on Panels

September 13, 2012

I am happily exhausted. And the studio is a raging mess. I delivered a solo show Monday and yesterday … a show with 44 pieces.

Lately I have posted images of the quick sketches … wash and brush drawings and quite a few of the watercolor and pencil pieces too.

Creekside Ferns
Watercolor on Panel, 12×12

But I have been working on some paintings as well. Each of these pieces are aqueous media on (Ampersand) panels. As with the two images below, most of the pieces for this show are done in traditional transparent watercolor. I will admit though that a few also have a touch or two of gouache; what the English waterclourists referred to as “body color.”

(Actually, using body color IS the older traditional method, but it had fallen out of favor for many painters during the last 100 years or so. For me, if it was good enough for Richard Parks Bonnington and Winslow Homer … I can use it too.)

Misty Mountains, Crozet
Watercolor on Panel, 12×12

Asian Dogwood Pods
Watercolor on Panel, 12×12

As is usual for me of late, there is also a little bit of a twist. In some of the paintings I have employed the strategy of including blocks of color; color passage that both obscure parts of the subject matter in the painting … and which actually set up some type of color harmony within the composition. Those pieces are single panel images (like the Creekside Fern one at the start of this blog) and also multi-panel works. These paintings are actually mixed aqueous media; making use of watercolor, gouache, acrylic and even a latex based paint.

The show is open today and  I have just seen the installation. Quite pleased is an understatement; I think it is really well done. The front gallery, where all the paintings on panel are displayed, is a large, open, and airy space. Most of the smaller watercolor studies and sketches are displayed is an intimate little gallery, a space flooded with soft light. In this smaller space about 20 works are arranged and clustered rather pleasingly. And in the transition space between the two galleries there hangs two very large watercolors on paper and a grouping several of my small works too.

The exhibition runs through November 9th at the Staunton Augusta Art Center. For those of you who are local, the opening reception is Friday, September 14th, from 5-7.

Now, about that messy studio …

It has been a bit SKETCHY, so far.

July 25, 2012

It is a tad more than half over and it has already been a busy, busy summer in the studio! Yes, I taught a small drawing class, I took a break and judged art out in Utah, and there was that wonderful working vacation to look at galleries in Atlanta (see my previous posts about the Atlanta galleries and especially about Kevin Cole’s work). But making and prepping art work for two shows this fall is really keeping me hopping … and happy.

View S.W. from Old White Bridge Road, 2012

The first show is in Virginia, at the gallery of the Staunton-Augusta Art Center. Since I am hanging work in both their larger gallery and their more intimate small gallery, I decided to divide my show into two separate but similar bodies of work. For that smaller gallery, I figure on hanging about 25 sketches. My thought was that the small size of the works would fit the space and feel of the gallery nicely. These sketches will probably be quieter, simpler and perhaps a little bit more playful than their larger cousins in the main gallery.

For the sketches; I have been using pencil, ink, and wash drawings. A few of the sketches are done in full color. For those, I have worked in watercolor or water-soluble drawing media. When I am feeling visually playful though, I am apt to combine many of those materials in one sketch! There maybe another kind of surprise in this quieter show. I am including some sketches that definitely look like they are E. 20th Century Modern; others feel like they are just out of the 18th or 19th century (think: École des Beaux-Arts or Royal Art Academy). A few have elements of both; makes me a little bit giddy.

To get a nice group of sketches together, this year I have followed my own advice and kept sketchbooks at hand all the time. And I have been scouring the roads on both sides of the mountains … every trip, every errand.  I have been more likely to stop beside the road, wander down a creek bed, or scramble up a ravine than to get home on time. I hope I haven’t been to late to often, but the sketching has been wonderful. Relaxing and challenging all at once. Again, hopping … and completely happy.

I will have to write about the larger works … the paintings that will be in the larger front gallery in Staunton and the drawings in the Calhoun, Georgia show … a little later.  For now, it is time to get back into the studio.  And get another image started …

Balanced, Checking, Taking account!

September 15, 2011

No, not the checkbook, the household income, or even taxes. Not money at all. Just trying to stay balanced while moving forward on multiple tracks. The four main tasks in the studio right now are:  1) starting new watermedia works … mostly on panels but a few on large paper too;  2) making some repairs (to pieces that were a bit marred/scarred during their recent travels or shows;  3) getting started on two new large scale Mylar drawings, and  4) the semi-annual general studio clean up.  (Maybe I will talk a bit more about some of those last three in a later post!)

During the last few weeks it has been much less hot … and frequently less humid too.  With a little less water in the air, the clarity of the light has been intoxicating. A foretaste of Autumn is in the air!  Other times, the humidity returns and cooler nighttime temps create morning fog which rises from the rivers and streams that abound in our hills and mountains.  To be sure the greens still hold sway over the landscape, but subtle changes are becoming more and more visible. The vistas of Fall are not really here yet but the landscape is slowly opening up … summer’s ebb means that some trees and plants are becoming a bit less dense of late. This gives me new glimpses, new possibilities!

So I have been jumping at the chance to plan new works … and to get outside for sketching. The back of the car has frequently had all the “stuff” needed for sketching, drawing, and  even photographing in preparation of new works. Even my briefcase is bristling with sketchbooks and supplies. Balance is hard when I am feeling so visually alive!  My excitement may not be contagious but it has some marvelous consequences. It can mean that the whole painting gets done on site.  Like this one I just did the other day.

I admit that I might take the image to new places or re-use it in a much larger work.  But it is SO enjoyable to work en-plein-air again!

Working on the Studio Expansion

March 29, 2010

Sorting. Sorting and shifting. Moving things about and trying to get a sense of where things fit best.

Sometimes I wish I didn’t arrange furniture, equipment, and supplies like I do my art … with lots of experimentation and repeated and prolonged contemplation. Everything is a bigger mess now that the space has been expanded then last month when everything was crammed into storage spaces. Now it’s all around me as I try to figure out if my original plan was the best … or if some other way is better. That is so typically me and my purist/perfectionist dilemma. Oh well … it IS coming along nicely and I shouldn’t whine so.

The best part is that I will have enough space to finally put in some flat files. I just need to find some that are large enough to handle 30+ x 40+ sheets of paper and museum board. They are SO very old school that many companies are getting rid of them and I should be able to find some good ones that are available locally. And while I feel a bit silly, I am thinking some more shelving too … to store the cans and jars of paint more vertically rather than all along the wall. In my next post I will include a phot or two of the new part of the studio!

The eyes and brain were SO engaged …

Last evening I was standing on a hill overlooking a friend’s farm at sunset. The rows of trees, budding but still with very few leaves, divided the fields … some with freshly tilled reddish soil. The valley beyond hid the rocky track of the rain swollen river we had driven beside on our way there.  The hills and the mountains to the northwest were sliding from golden red into blue and violet. I quietly marveled at the vista … and vowed to be back for drawing later this week.

So I really had better finish clearing that mess in the studio!

Good evening

March 8, 2010

Well, for a first blog entry this will probably be a little lame. You know getting started in a new space is not always easy!

Today I have been working on my website pretty intensely. Fortunately I also feel the pull of finishing the walls in the new studio. I need to get that done soon because no matter how creative or necessary what I am doing is, I really wish I was in the studio making art today. The weather was nice and a few hours outside capturing images and few hours playing with them would have been such a tonic to the frenzied and frantic last few weeks.

I have to travel with my daughter tomorrow, so photographing or sketching will probably be on the back burner then too.  Oh well, perhaps I will just have to steal an hour or so somewhere.  With the weather being cooperative, I could actually get some good light for drawing too.  Frankly it is beginning to sound visually yummy already.

The Summer of Asian Dogwood Pods #1


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