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Author: Carol L. Douglas

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Are you stale? Stuck?

The Late Bus, oil on archival canvasboard, 6X8, $435.00 framed, includes shipping and handling in continental US.

“I was looking at a friend’s IG post,” a reader told me. “I thought, ’She’s been painting for at least 35 years and nothing has changed or improved.’”

Another reader expressed his own frustration at being stuck. “Maybe to get better, we have to get tougher on each other at our paint-outs.”

As I’ve written repeatedly, severity is a terrible idea; positive feedback teaches more effectively than harsh criticism. Still, there are proven ways to stop paddling frantically in one place.

Tilt-A-Whirl, oil on archival canvasboard, $869 framed includes shipping and handling in continental US.

Why paintings fail

Most paintings fail because they aren’t thought out properly from the beginning. We don’t take time to ask ourselves important questions, like:

  • What is the underlying idea? 
  • What am I bringing to the scene to raise it out of the ordinary?
  • Where is the charm of this image and how will I express it?
  • What is the overriding emotional state I want to represent (serenity, humor, angst, larkiness, etc.)
  • What is the light structure and how can I use it as compositional adhesive?
  • Where am I willing to riff on reality, and where does faithful rendering make sense?
  • Most importantly, why am I bothering to paint this?

If you can articulate your motivation in one or two sentences, you’re already ahead of the pack.

“Lonely cabin”, 8X10, oil on canvasboard, $652 framed.

Ability vs. humility

When I was fourteen, I believed that I was uniquely talented. I’m disabused of that notion today; there are many people out there with as much native ability as me. Many of us never allow ourselves to fail because we can’t risk exposing that little kernel of ego and insecurity in the public square.

Humility is the starting point of learning. That means trying and failing and then trying again, and listening to expert advice, especially when you’re paying for it.

I occasionally have students who preface all reactions with, “I know, but…” It’s a highly defensive response and hinders growth.

I have a regular correspondent who frustrates me because I know he would benefit from another workshop. However, he thinks that because he’s taken one, he ‘knows what I teach.’ (If that’s true, he’s not putting it into practice.) He would improve, not just from hearing it again from me, but from rubbing shoulders with others bent on improvement.

Best Buds, 11X14, oil on canvasboard, $1087 framed includes shipping and handling in continental US.

Iron sharpens iron

I am not able to paint right now (see Wednesday’s post) and I won’t be teaching until the beginning of the year. I miss teaching as much as I miss painting. I learn a great deal from my students, and they prevent me from getting rusty during periods when other things get in the way of my brush time.

Improvement rests on the following principles

  • Regular practice. Set aside time to work, even if it’s just a few hours a week. The more you practice, the better you’ll get.
  • Study the basics, which include color theory, optics, drawing, brushwork, and the elements of design.
  • Study the masters and other contemporary painters.
  • Continue to take classes and workshops.
  • Be willing to innovate; don’t be afraid to make mistakes.
  • Have fun. If you’re not enjoying painting, what’s the point?

Reserve your spot now for a workshop in 2025:

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In the bleak midwinter

All Flesh is as Grass, oil on linen, 30X40, $5072 framed, includes shipping and handling in continental US.

A Tom and Jerry is a traditional American Christmas cocktail, invented about 200 years ago by British writer Pierce Egan. It’s akin to hot eggnog, the perfect adult beverage in the bleak midwinter.

It’s tricky; I’ve made the batter at home, but it’s never as good as that from Schwabls in my home town of Buffalo, NY. Either way, it isn’t for the faint of heart; one will loosen up your singing voice; two will undermine your ability to walk home.

My own woodstove, Tom and Jerrys, mince pie, and my bathtub and bidet are among the things from home that I miss right now. I miss my daily hike up Beech Hill, my dog and my husband. I’m in Albany, NY for the foreseeable future, and it’s dark and snowy. In the bleak midwinter, indeed.

Midnight at the Wood Lot, oil on archival canvasboard, $1449.00 framed includes shipping and handling within continental US.

You never outgrow worrying about your kids

My trip out west was organized to get me to Rochester, NY for my goddaughter’s wedding. Before that I swung east to alter my grandsons’ suits and my granddaughter’s dress. I assumed I could use 9-year-old Grace’s sewing tools. Unfortunately, kids her age are not organized. I spent as much time sorting as I did stitching.

My daughter Mary, who makes Rowan Branch brush soap for me, bounced between being an attentive bridesmaid and gulping acetaminophen. On her way home, she pulled off the Thruway and called an ambulance. That week, she had a stent placed and emergency gallbladder surgery. Oh, and she had pneumonia, too.

“I really couldn’t tell if I was sick or just imagining it,” she said.

Even hypochondriacs get sick, I retorted. It’s good to laugh with multiple incisions in your belly.

Ravenous Wolves, oil on canvas, 24X30, $3,478.00 framed includes shipping and handling in continental US.

And Laura

Many of you know my daughter Laura, who is my IT and marketing person. As Mary was discharged from St. Peter’s Hospital, Laura was admitted. She’s suffering from preeclampsia and is there for the duration of her pregnancy.

“Your mother was making Laura work in the hospital yesterday!” I overheard. That’s right, and I intend to keep doing it. Once you’re stabilized, a hospital is a very boring place.

I never thought I’d be doing the daily preschool run again. Little boys are such obsessives. Just as my son and I talked bridges, Josh and I talk cars. He’s still a little shaky on his directions, so I’m also teaching him port and starboard as we drive.

And my husband

Even I know that, unlike kids, adults don’t get feverish on a whim. It turns out my husband also has pneumonia, which is spiking here, in Canada, and in Great Britain. That’s a great reminder to wash hands your regularly as we enter flu season.

In Control (Grace and her Unicorn), 24X30, $3,478 framed, oil on canvas, includes shipping in continental United States.

 And all manner of things shall be well

Mary gets her stent out on December 17. Toodles is scheduled to arrive on December 9, which they figure is sufficiently baked to avoid a long NICU stay. Doug is feeling better. The newlyweds seem appropriately blissful, and my granddaughter and I are slowly excavating her bedroom.

I’m not telling you this to worry you; it’s just to explain my distraction over the past few weeks. In my never-to-be-published book, 100 Best Things About Having Cancer, I mention that I no longer sweat the small things—and almost everything is a small thing. My family is getting great care, both in this large (and excellent) city hospital and back home in rural Maine. In the Bleak Midwinter is a song about the hopefulness of this season, and that’s how I’m feeling.

Reserve your spot now for a workshop in 2025:

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Monday Morning Art School: traditional drawing pencils

My sketch for Heavy Weather. 5X8, graphite on Bristol-finish paper. I moved stuff around repeatedly without damaging the finish.

My nine-year-old granddaughter tells me she’s not supposed to use mechanical pencils because her teacher thinks their points break too easily. That got us into a detailed discussion of traditional drawing pencils and other tools.

Wooden Pencils

Pencil leads are generally given hardness grades, and each hardness is suited to a different purpose. ‘H’ stands for hard leads, ideal for technical drawing due to their fine lines and lighter marks. ‘B’ represents black or soft leads, which give darker, bolder strokes, perfect for shading. The middle ground is ‘HB,’ balancing hardness and blackness for everyday writing and basic sketching. The higher the number, the farther the lead is from that central HB position.

I do not recommend Blackwing pencils because they’re primarily for writing, not drawing, but if you are interested by the hype, start with a mixed set, here at $23.50 plus shipping. Blackwing doesn’t use the traditional scale, but that set includes a Matte, Pearl, 602, and Original, in descending order of hardness. Of course, to get their full value, you’ll need a Blackwing long-point pencil sharpener, here at $21.00.

Personally, I’m too parsimonious for that. I have General’s ten-pencil set, for the much more reasonable price of $9.99. Add a Maped 2-hole sharpener and a General Mechanical Eraser and you’ll be set.

Even a line drawing conveys volume, but shading is that much more expressive. These were done with the cheapest of mechanical pencils in a sketchbook.

Mechanical Pencils

If you bear down too hard and breaking points is a problem for you, there are two options. You can replace the lead in your inexpensive mechanical pencils with high-polymer lead, which is stronger and denser. Or, move to a .9 mm lead pencil. You can buy hi-polymer 2B leads for this and other pencil sizes from Pentel, and even 4B lead for a .5 mm pencil.

Woodless graphite pencils

Once I get past my sketchbook, I move over to woodless graphite drawing pencils. They don’t need sharpening. Because you can work them on their sides, they make smoother graduated passages than conventional drawing pencils. I have this set, which costs $15.99 and has lasted me forever.

Done with willow charcoal on newsprint.

Charcoal

I avoid pressed charcoal; it is difficult to erase due to the binding agent. That also makes it less versatile for blending and making soft transitions. Unlike willow charcoal, it can bleed into paint if you use it for drawing on your canvas. However, it can be useful for fine detail and sharp lines since it can be sharpened.

Willow charcoal is more like painting in that it can be smudged and moved and lifted with ease. My personal preference is Coate’s willow charcoal.

Paper

For sketching, I use a Strathmore Visual Journal, as it’s completely erasable and multimedia when I need to add color.

For woodless graphite and fine work in charcoal, I like Canson Mi-Tiente Pastel Paper. It gives me the greatest control and value range. But for painting design, I use willow charcoal on newsprint, or any other cheap paper I have lying around.

A recap

I didn’t mean for this to be a shopping guide, but it seems to have ended up that way. Here are my ‘real’ holiday gift guides for 2024:

Holiday Gift Guide for Budding Artists

Holiday Gift Guide for Experienced Artists

Holiday Gift Guide: Painting Workshops

Holiday Gift Guide: $100 off any painting on this site.

There are still openings in my January drawing class. For more information see here.

Reserve your spot now for a workshop in 2025:

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Monday Morning Art School: the secret to confident brushwork

I always carry a sketchbook with me when painting, and I always start with a drawing. It saves me tons of time.

People ask me how to develop confident brushwork. The answer is to get better at drawing. Yes, confident brushwork depends in part on painting technique, but it really requires that you not flail around changing things in the painting phase.

“Draw slow, paint fast,” one of my students once said, and I’ve found it as good a motto as any for developing a loose painting style.

Confident brushwork is about simplification, and you can’t simplify when the shapes aren’t right to start with.

One painter’s testimony

Pam’s sketch of her doctor’s office.

Pam Otis is a painting student who’s taken my drawing class. I asked her what her biggest obstacle was. “Silencing that voice inside my head that told me I couldn’t draw,” she said. “What finally put it to rest for me was when you talked in class about the developmental stages of drawing and how adults who say they can’t draw are really just people who got to a certain developmental stage but for a myriad of reasons didn’t take it any further.

“Once I realized that it wasn’t a matter of me lacking talent or competence, just that I hadn’t learned the skills I needed to progress, it made the whole thing less mysterious and more a concrete skill that I could get better at with practice. That was truly life-changing in terms of gaining confidence in myself and my abilities as an artist.”

Most people avoid things they find difficult. “Having the technical ability to draw something correctly makes it so much easier to execute a painting without avoiding hard things,” Pam said. Drawing gives me the space I need to ask questions like ‘What would happen if I…?’”

Drawing by Pam Otis.

Pam says the most surprising thing about drawing is that it’s so interpretive. â€œThere are so many ways that you can use line and shadow to tell a story, and what you leave out can often make for a more powerful image. 

“Drawing gives me time to reflect about my goals for a piece of art, lets me play around with the details and easily make changes. One of my sketches (above) is of a waiting room. I did it on site and it was time boxed. I learned a lot from that little sketch. I redrew the chair a couple of times because I wasn’t getting the legs quite right and I wanted the cushion to be nuanced. It was like figuring out a puzzle.

“It’s fun to spend time creating with other artists, but it’s also fun to draw out in public. This autumn we went to a busker festival and I drew some of the performers while they played and had them autograph my drawings afterwards. It was a nice ice-breaker when I was talking to them, and I had a chance to talk to some people in the audience.

Drawing by Pam Otis.

“There’s still a lot of mystique around drawing, and I like to think that by taking some of my projects on the road, maybe, just maybe that’ll be the thing that inspires someone else who thought that they couldn’t draw to maybe take another try at it with fresh eyes. I’m definitely glad I did.”

If you feel your painting skills would benefit from better drawing skills, I encourage you to take my six-week drawing class starting January 6. I can promise you that your painting skills will benefit.

The best laid plans

My assistant (or boss), Laura, who’s 31 weeks pregnant, has been bunged into the hospital for the duration. That means, sadly, that the last step of my Seven Protocols for Successful Oil Painting will not be wrapped and beribboned for Black Friday. I can’t launch it without her help. It also means I’m in Albany for some unspecified time, since someone needs to rassle the four-year-old while his dad’s at work.

Reserve your spot now for a workshop in 2025:

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2024 holiday gift guide for artists, part 3: take a painting workshop

We all know the temptation to buy things instead of burrowing into the work of getting better at our craft. Sometimes, the last thing you need is more stuff, but an experience that shatters your ‘business as usual’ habits. That might mean new skills for the beginner, new techniques for the advanced artist, or—for anyone—the therapeutic experience of painting in one of America’s great beauty spots.  

Yves Roblin painting at Hancock Shaker Village.

What’s in it for you?

I’ve been teaching painting workshops forever, and I can promise you’ll take away one or all of the following:

  • New techniques:
  • A blossoming of your creative process;
  • A good dollop of color and design theory;
  • Keener observational skills;
  • New friends;
  • The ability to critique your own work;
  • Some beautiful finished work.

My painting workshops have been winnowed down recently to include those I absolutely love, both in the teaching and the place. Let me tell you what I treasure about each one:

Sand and Shadows (Sedona), 8X16, oil on archival linenboard, private collection

Canyon Color for the Painter, Sedona, AZ

In March, I’m really, really sick of snow. This is an opportunity for my friends and me to head west and concentrate on a completely different landscape. This is a color-theory based workshop that turns the green-blue of the east coast on its head. And the Sedona Arts Center is a fabulous support center. March 10-14, 2025.

Early Spring, Beech Hill
Early Spring, Beech Hill, 8X10, oil on canvasboard, private collection.

Advanced Plein Air Painting, Rockport, ME

I love teaching students of all levels, but this is a class designed for professional-level students to work on more complex concepts in painting. These include directing the viewer’s eye, narrative flow, serious drawing, and more. (Requires a portfolio or permission, and please don’t be offended if I suggest you take a different workshop first. It’s not about ability; it’s whether you have the process down.) July 7-11, 2025.

Becky painting at the amazing and wonderful Schoodic Point.

Sea and Sky at Acadia National Park

This is a student favorite and a personal favorite. It’s in one of the most beautiful, less-traveled parts of Acadia National Park: the Schoodic Peninsula. It’s my longest running workshop and all levels of experience seem to enjoy it. The wilderness setting seems to create a special camaraderie among students. Enjoy all-inclusive accommodation or join us as a commuter. August 3-8, 2025.

Cassie Sano’s painting of Undermountain Farm’s Victorian barn in the Berkshires.

Find Your Authentic Voice in Plein Air, Berkshires, MA

I fell in love with the Berkshires when my oldest daughter lived in Pittsfield, MA. She’s moved on, but it continues to enchant me with its historic little towns, rolling hills, and working farms. I love the verdant landscape and especially the day we get to spend at the amazing Hancock Shaker Village. All levels are welcome. August 11-15, 2025.

Autumn farm, oil on canvasboard, available.

Immersive In-Person Fall Workshop, Rockport, ME

This is a deep dive into all the special places I get to paint here in midcoast Maine. We cap it with a private guided tour in the Farnsworth Art Museum that’s tailored to my students. It’s easy to get a hotel room in this area, it’s the height of fall color, and all levels are welcome. October 6-10, 2025.

Reserve your spot now for a workshop in 2025:

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Holiday guide for artists, part 2

I’m dividing this holiday gift guide for artists into multiple parts this year, so stay tuned over the next two weeks. I’ve given you both the Dick Blick and the Amazon price where available; while the per-item price is generally lower at Blick (where shipping is free over $59), there’s the advantage of Prime-Eligible if you only want one or two things. You know how to play this game.

This gift guide is for more serious artists who’ve already bought their way into a primary medium, but are still interested in experimenting. If you need to know more about oils, watercolors, acrylics or pastels, email me your questions.

Oils and acrylic brushes

Brushes are expensive, so many artists have inferior ones or too-small ones. In 2024 I surprised myself by coming back to a trusted old favorite: Isabey. They’re bristle brushes that carry a lot of paint and stand up to hard use.

These are the big boys that we artists never seem to buy for ourselves:

Isabey Chungking Interlocking Bristle Brush – Bright, Long Handle, Size 10 $23.94

Isabey Chungking Interlocking Bristle Brush – Filbert, Long Handle, Size 8 $16.57

Isabey Chungking Interlocking Bristle Brush – Flat, Long Handle, Size 10 $, 23.94

Isabey Chungking Interlocking Bristle Brush – Round, Long Handle, Size 8 $15.84

Princeton SNAP is another reliable product. I use them for smaller oil painting brushes, where paint load isn’t as critical, and any size in acrylics. Here is a great starter kit:

Princeton Snap! Natural Bristle Brush Set – Long Handle, Set of 3 $9.05

Watercolor brushes

Despite having many expensive watercolor brushes, I reach for Princeton Neptunes first. Again, the hole in most artists’ toolkit is in the bigger brushes, so try one of these kits:

Big boys: Princeton Neptune Synthetic Squirrel Brushes – Box Set of 4. $47.85

Middlin’ boys: Princeton Neptune Synthetic Squirrel Brushes – Set of 4 $35.97

If money is no object, you can get your loved one an Escoda Reserva Kolinsky-Tajmyr Sable Brush – Charles Reid Signature Brush Set, Pocket Round, at $495.49 (although in that price range I think a workshop is a better value.)

Brush soap

My daughter makes Rowan Branch Brush Soap for me, and it’s the best brush soap I’ve ever used. Slip some in the stockings of your oil and acrylic painter friends.

Gouache

Gouache is used in art school, and for good reason. It has the immediacy of acrylics and the opacity of oils, but it cleans up with water. Artists in all media like playing with it, including me.

I like this M. Graham Artists’ Gouache Basic Set, Set of 5 colors, 15 ml tubes

Dick Blick, $54.35

Amazon: $54.35

Oil Pastels

Sennelier is the clear quality winner in oil pastels, which can be used on their own or with oil paint. This landscape starter kit will give you enough experience to know if you like them:

$55.69 at Dick Blick

$61.83 at Amazon

Hard Pastels

Hard pastels are fabulous, cost-effective drawing tools. This assorted set of 24 is professional grade at a very good price.

Dick Blick $25.74

Amazon, $25.44

I just want to try soft pastels without breaking the bank

Dick Blick offers this Unison Handmade Pastel set of 8 half sticks at an outstanding price, I assume on the theory that they’re addictive.

$17.80 at Dick Blick

Pastel paper

This UArt tablet of ten sheets of sanded paper should last as long as the soft pastels, and by the time you’re done you’ll know if you’re hooked:

$33.68 at Dick Blick

$39.60 at Amazon

Storage for the studio

I have more than one taboret cabinet but this simple one sits under my desk and holds all the art supplies I might need while teaching.

$92.45 at Amazon

For your plein air kit

These mesh bags save my backpack from becoming a swamp of materials.

$15.99 at Amazon

And, last but not least, safety

The danger of “park and paint” plein air is other bad drivers. One of the nicest gifts I ever received was a pair of safety cones. These collapsible ones are reflective, come with LED lights, and will fit easily in a car trunk. Every plein air painter should have them.

$29.90 at Amazon

This is the second in a four-part holiday gift guide. Holiday Gifts for Budding Artists is here.

And, yes, I get affiliate benefits from this gift guide for artists if you buy through one of these links. It helps keep this blog on the internet, so I do appreciate it.

Reserve your spot now for a workshop in 2025:

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2024 holiday gift guide for artists, part 1

I’m dividing this holiday gift guide for artists into multiple parts this year, so stay tuned over the next two weeks. I’ve given you both the Dick Blick and the Amazon price; while the per-item price is generally lower at Blick (where shipping is free over $59), there’s the advantage of Prime-Eligible if you only want one or two things. You know how to play this game.

This gift guide for artists is directed towards the newbies on your list, both young and old. As a young artist, I had the benefit of good materials provided (sometimes unwillingly) by my artist father. The frustration of bad supplies often makes people quit art before they get started. Give budding artists a few good tools, rather than overload them with the junk you see on department store end-caps. That doesn’t mean spending more money; it means choosing wisely.  

For the littlest artist

I bought this easel for my grandkids years ago, and it’s still going strong. It’s tall enough to last a kid until ages 7-8, after which they can graduate to real art supplies.

$46.12 at Dick Blick

Little people and color

If you’re brave, pair the above easel with this florescent tempera paint and these chubby brushes. That’s enough paint to last them a very long time.

However, sometimes the mess drives me nuts. Then I had them these Crayola washable markers instead.

$4.62 at Dick Blick

$6.25 at Amazon

For bigger people (older kids and adults)

These are all professional-grade materials, and I’ve chosen them because they’re useful for the person just starting out.

Paper

I use this Strathmore Bristol Visual Journal myself, and give it as gifts to my kids and grandkids. It takes watercolor, pencil and ink without buckling. Bigger isn’t better when it comes to sketchbooks, and this size fits easily in a backpack or purse. Because it’s infinitely erasable, it’s the only sketchbook I use.

$8.24 at Dick Blick

$9.95 at Amazon

Pencils

I’ve got drawers full of pencils, but I keep coming back to Papermate’s #7 mechanical pencil. The biggest problem with pencils isn’t quality; it’s finding one when you need it. I find the fat grip helpful, and the lead is refillable. Mechanical pencils never need sharpening, which means there’s one less thing for me to lose.

$6.84 at Dick Blick

$5.70 at Amazon (limited time offer)

And erasing

Nobody needs a separate eraser but I enjoy this; it’s got a narrow point and makes erasure part of the drawing experience. Plus, it clips into my sketchbook just like my pencil does.

$6.09 at Dick Blick

$8.94 at Amazon

For fine lines

The Faber-Castell Ecco Pigment Pen is a reasonably-priced, lightfast and waterproof art pen. Its point holds up to use, even with rulers. I buy these in bulk for both myself and my boat workshops.

$3.13 at Dick Blick

$2.99 at Amazon but not Prime Eligible

Adding color

Any budding artist would enjoy this starter set of high-end colored pencils. They’re color-matched to all Faber-Castell systems, and are high-chroma, easily blended, break-resistant, water-resistant, and smudgeproof. This gift set comes with 20 colored pencils, four graphite pencils of differing weights, an eraser and a metal pencil sharpener.

$50.68 at Dick Blick

$50.68 at Amazon

And paint

If I were to give a new watercolor painter a cost-effective gift, it would be just three pigments: Ultramarine Blue, Nickel Azo Yellow and Quinacridone Magenta. This set, however, gives you six pigments and a mixing tray at a reasonable price. They’re what I use; they’re high-chroma, professional-quality paints.

$26.57 at Dick Blick

$26.57 at Amazon

Brushes

After years of looking for an affordable brush kit for my watercolor workshops, I stumbled on this. It’s a good starter set for pocket brushes.

$17.99 at Amazon

Watercolor Paper

Strathmore 400 is a good, all-around sheet, a good first step towards finished work in watercolor. It’s what I use to demo painting effects in my classes and workshops.

$9.96 at Dick Blick

A storage solution is a canny gift

After searching for sewing supplies in my granddaughter’s bedroom, I realize that the crafty child needs organization as much as anything. This multi-drawer craft cart will tuck in next to her dresser, and she can move it to a bigger space if she needs to.

$69.99 at Amazon

And, yes, I get affiliate benefits from this gift guide for artists if you buy through one of these links. It helps keep this blog on the internet, so I do appreciate it.

Reserve your spot now for a workshop in 2025:

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What I painted in Sedona, Arizona

Dawn along Upper Red Rock Loop Road, Sedona, 20X24 oil on canvas, $2318 unframed includes shipping and handling in continental US.

When do you get to stop worrying about your kids? Never.

I’ve had an exhausting fortnight, as my British subjects would say. I arrived in Albany, NY from my western perambulations with just enough time to alter multiple outfits for my goddaughter’s wedding. That was in Rochester, NY, last weekend. A lovely time it was, too. When my third daughter started to complain of abdominal pain, she pounded acetaminophen rather than set aside her bridesmaid’s duties.

She wasn’t kidding that it hurt; she had an emergency stent put in on Tuesday and her gallbladder removed on Wednesday. I’m vastly relieved that as of this writing she sounds much more chipper.

Cottonwoods along the Rio Verde, 9X12, oil on archivally-prepared Baltic birch, $696 includes shipping and handling in continental US.

My work from this year’s Sedona Plein Air

I took terrible photos of my paintings from Sedona but (for some reason) it took me until yesterday to rephotograph the ones I brought home with me. Although I will make more money if you buy a painting directly from my website, I’ll be just as happy if you buy one from the Sedona Arts Center if that’s the one that trips your trigger; it’s a great organization and could use the support. To that end, I’ve separated them into two sections. Click on the image and it will take you directly through to more complete description.

As I was writing this post, I kept thinking, “That’s one of my favorite paintings.” That’s a good sign; it means I have nothing to apologize for.

On my website

Dawn, at top, and Cottonwoods along the Rio Verde, above, are both on my website. In addition, there are:

Hail hitting the Cockscomb Formation, Sedona, 8X10, oil on archivally-prepared Baltic birch, $522 includes shipping and handling in continental US.
Blue and purple, Sedona, 11X14, oil on archivally-prepared Baltic birch, $869 unframed includes shipping and handling in continental US.

Through Sedona Arts Center

The photos on the Sedona Arts Center website are dark; I’ve replaced them with my file photos where possible. If you want further pictures showing the paintings in daylight or details, contact JD Jensen.

Country Road, 14X18, oil on archival canvasboard, available through Sedona Arts Center. The color in this image is more accurate than that on the website.
The Fleeting Hand of Time, 11X14, oil on birch, available through Sedona Arts Center. This painting is lighter and brighter than the photo I have.
Peace, 8X16, available through Sedona Arts Center.
My Practice Cactus, 11X14, available through Sedona Arts Center. This painting is also lighter and brighter than the photo I have.
Poplars, 12X16, oil on archival canvasboard, available through Sedona Arts Center.

Reserve your spot now for a workshop in 2025:

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Art is not a luxury

Luristan bronze griffins, first millennium BC, Museum of Ancient Near East, Berlin courtesy Wolfgang Sauber.

The Torah describes Bezalel and his assistant, Aholiab, as having decorated the Tabernacle sometime between 1400 and 500 BCE. Polygnotus of Thasos, who worked in the mid-5th century BC, was a superstar in ancient Greece, as was his student Pheidias.

All of the original work of these men is now lost; we know nothing about it except copies and descriptions.

Before them, art was anonymous, but that doesn’t mean it wasn’t made. Before homo sapiens were in Europe, their Neanderthal cousins were making art on the Iberian Peninsula. Prehistoric cave art is a human universal, found worldwide. Why?

Restored griffin fresco in the Throne Room, Palace of Knossos, Crete, original from Bronze Age. CC BY-SA 3.0, https://commons.wikimedia.org/w/index.php?curid=179033

Enter the griffin

The griffin (or griffon) is a mythical beast with the body, tail, and back legs of a lion and the head and wings of an eagle. By the Middle Ages, it had assumed legendary status, but the oldest known depiction of a griffin is carved into slate on a cosmetics palette, c. 3300–3100 BC.

Because people in the Middle Ages could read and write, we more or less understand the medieval bestiary, including the legends of the griffin. For ancient Egyptians, Persians, Mesopotamians, Greeks, central Asians, etc., all of whom used the griffin symbol, its meaning is less clear. All cultures, apparently, saw them as supernaturally powerful. And they were thought to be real, if the accounts of ancient naturalists like Pliny the Elder and others are to be believed. The griffin lives on to this day in heraldry, logos and mascots. It meant something to an Egyptian makeup artist, to a feudal warlord, to the Victorian art theorist John Ruskin, and even to animators of Disney movies. Even concrete hasn’t lasted that long.

Medieval tapestry, Basel, c. 1450 CE.

Art tells the story of human history

The tabernacle and Polygnotus’ paintings may no longer exist, but much ancient art does. We may not know why the unnamed painters at Chauvet Cave painted animals, but there is no question that their art evokes a response in us. For one thing, it’s highly realistic, even when the animals it portrays are extinct.

I wrote on Monday that art history is the pictorial history of mankind. It is the most powerful and enduring record of human civilization, equaling the written word in recording the values, beliefs, emotions, and daily lives of people throughout history. And in general it’s more succinct.

In its narrowest sense, art is visual documentation, and we like to say that purpose has been rendered obsolete by photography. However, if you’ve ever tried to identify a plant, you know that a good botanical illustration is often more useful than a photograph.

More than that, art reflects the cultural, social, and political contexts of its time. It is rich in symbolism, experience, meaning and metaphor. Somehow those elements speak to us even when we can’t put what they say into words.

That is because art works in universal themes, such as love, grief, death, power, or vulnerability.

A statue of a griffin on the Basilica di S. Marco, Venice

Art is not a luxury

Art is no more of a luxury than civilization itself, for the two are deeply entwined. That’s why human culture has always supported art, and that’s one of the many stories the griffin tells us.

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Monday Morning Art School: questions for artists

Regrowth and regeneration (Borrow Pit #4), 6X8, oil on archival canvasboard, $348 includes shipping and handling in continental US.

I’m finally heading home. Although I’ve been in the west for almost a month, it’s in the Hudson Valley that I’ve run into smoke from forest fires. Life can be odd at times.

I’ve been on the road for a month, which has meant lots of driving and painting punctuated by intense social situations. There are certain questions for artists that are asked at every event. Artists should know how to answer them; they’re the equivalent of our elevator pitch. Here are my answers; what are your answers to these questions for artists?

Eastern Manitoba River, 6X8, oil on archival canvasboard, $348 includes shipping and handling in continental US.

How did you become interested in art? 

I’ve been drawing and painting since I could hold a crayon. It’s hard for me to separate art as an ‘interest’. (Most people start life drawing intensively but give it up in later childhood. I don’t know why.)

Art history is really just the pictorial reflection of human history, and I spend almost as much time thinking about it as I do in creating art.

The Late Bus, oil on archival canvasboard, 6X8, $435.00 framed, includes shipping and handling in continental US.

What are your influences? 

As a young woman, I was influenced by the Northern European Renaissance, in particular, Albrecht DĂźrer. The Italian Renaissance was based on secular, classical ideals while the northerners emphasized realism and faith.

Today I think more about the Canadian Group of Seven and Australian Impressionism. Both have a passion for place, something shared with great American regional painters like Maynard Dixon, Edgar Payne and Grant Wood, among others.

What is your preferred medium? 

Whatever tool happens to be in my hand at the time. I carry a sketchbook around with me.

What are your goals? 

To continue to paint and teach as long as the body permits.

How do you define success? 

Being able to sleep at night.

What are your most valued skills?

An almost-indefatigable work ethic.

What is your favorite and least favorite aspect of being an artist? 

An art career indulges my independent spirit, but that same trait makes me sometimes work myself to exhaustion.

I’m intrepid, but the flip side of risk is occasional insecurity.

What do you wish you’d learned in school?

How to run a business. I’ve had to teach myself, and it was much more difficult than learning to paint.

What inspires you? 

The beauty of Creation. I used to be far more interested in humanity, but now I mostly think about how much we’re all gasping for untrammeled nature.

When is your favorite time to create? 

Morning.

How do you know when a piece is finished? 

I can’t stand thinking about it anymore.

What is the hardest part of creating a piece? 

Finding uninterrupted time. It’s shocking how much of my day is taken up with the business of art. I always have more ideas than I can execute.

How has your style changed over time?

I am no longer interested in faithfully rendering reality.

What is your point of view? 

My work here, and whatever talent I have, is a gift from God, and my job is to use it to the best of my ability.

How do you handle negative criticism? 

Badly; who doesn’t?

What have you learned from criticism? 

On reflection, I often have to admit that it was at least partly justified. On the other hand, although I believe there are immutable elements of design, there’s no reason to believe that the juror de jure has ever learned them. In the end, I take my own measure.

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