Going backwards on a pig, baby monkey…
Unicorn with double rainbow (for my kids)
“Unicorn reindeer visiting my front garden with a double rainbow in the background” 8X6, oil on board.
Today for my one-hour still life I returned to an old idea, painting an internet meme. I could find only half the props needed for “baby monkey riding on a pig,” so I fell back on that old standard, “unicorn” and added a newer element, the “double rainbow.” The unicorn is, of course, disguised as a florescent reindeer because I’ve been dying to paint this fellow.
My palette doesn’t have the gamut for his lovely pink mane. Carmine, naphthol red, quinacridone violet, quinacridone rose—none comes close to sufficient saturation. The blacks are much easier—two lights and two darks, warm and cool, covering the various lighting situations in my studio.
I flipped through my landscape sketches intending to use the first one with sky as the setting. It’s my own front-yard—well, what could be more appropriate? I decided to make it winter, however.
Pretty in Purple
A student left some carbazole violet behind; I did two small sketches in the holiday spirit.
“Mary’s shoes,*” 6X8 oil on board
“Happy New Year,”
6X8 oil on board
*To answer your questions: Mootsie Tootsies; silk; for a prom; yes, they were on sale at Kohls; they came in black too; no, you can’t borrow them.
A Still Life
Two peppers snagged from pizza-making, oil on canvas, 8X6
For several years I asked myself when would be a good time to take a sabbatical from career development, to focus only on painting. Economic malaise presents the perfect opportunity, so I took 2010 as a year to pursue intentional isolation. My plan was simple: no marketing, only one show, even less blogging. Instead, I would spend my time in my studio painting and working with those students who were at hand.
The year of stillness is now done, and I am glad of it—both that I did it and that it’s finished.
Some of the risks proved real—for instance, when you stop showing, you stop selling. Students wander off, and if you aren’t looking for new ones, you eventually find yourself pretty lonely. On the other hand, you’re able to look at your own work independent of others’ opinions, and you become very invested in the students you retain.
I’d like to be able to recount some sort of spiritual journey which resulted not only in enlightenment but also in a tidy little book deal, but if that happened, I missed it. On the other hand, I did get much better at sketching every day—especially in church.
I also got into the habit of doing a daily small still life (6”X8”). These are “gesture paintings.” With rare exceptions, they take me 1:20 or less to finish. This is from New Year’s Day, 2011—a new year, a new decade, and back to engaging with the world.
Five plein air sketches by a student and friend
Students do wonderful things. Here are five landscape paintings recently entered by Marilyn Feinberg in the GVPAP show at Barnes & Noble—all five were accepted.
Expressway entrance at South Winton Road, about 12.5X10, oil. (These are not titles, but descriptions, since I don’t know the titles.)
My backyard when the roses were in bloom, about 12X12, oil.
Adirondack swamp, about 8X8, oil.
Marilyn’s backyard, about 8X10, oil.
Our grill, about 8X10, oil.
These paintings will be on display in the community room at Barnes & Noble,
Marilyn is certainly talented—no doubt about that. But she brings to mind that famous Thomas Edison quote: “Genius is one percent inspiration and ninety-nine per cent perspiration. Accordingly, a ‘genius’ is often merely a talented person who has done all of his or her homework.”
And on that note, I’m getting to work.
Merry Christmas!
My male friends can go back to alphabetizing their Beatles collection. My middle-aged women pals will recognize this as a bottle angel—what we were making while they were building forts and playing that ugly Danelectro guitar in the family room.
She was made in 1968 or thereabouts, which is why she is wearing a chic turquoise burlap gown with cotton batting for trim. She’s bedraggled and filthy and her dress is unraveling, but she has been on our Christmas tree ever since my mom decided I was finally old enough to take care of her (I was 35 or thereabouts). This year my mom gave me her own tree angel, a delicate porcelain doll with batiste skirts that glow in the tree lights. My own bedraggled angel moves over to join the psychedelic reindeer and the blonde German Santa in the niche.
My friend Kristin Zimmermann paints portraits of sentimental things that must move along—her Kitchen-Aid mixer, her Christmas ornaments, and her Singer Featherweight sewing machine, among other things. They are delightful paintings. I’m trying to paint a small still life every day before moving on to more important things—6X8, not to take more than an hour. I think I’m going to borrow her idea for a while.
Goldenrod
Fall in the Finger Lakes, pastel 17X20, sold
Rained out!
I love October in the High Tor wildlife management area south of Canandaigua Lake. This area is full of deep ravines with waterfalls, such as this one:
You can get some unusual fall colors there, such as these pink trees:
But it is the muckland at the bottom of the lake, with its tawny reeds, that most fascinates me, and today I painted it from above.
About a decade ago, M. and I braved a driving October rain to work down among the reeds. Perched on the footings of a collapsed bridge, we tried to ignore the driving rain and wind until our paintings were literally washed off our boards. Since then, we’ve painted in a lot of stupid settings, but that remains the epitome of cold to both of us. Even painting in deep snow in a hilltop vineyard didn’t seem as cold (although M’s paint froze; a real inconvenience).
Today, we were both prepared for cold and wet. Waterproof boots, thermal underwear, rain gear, mittens. And we still couldn’t handle the 42º F driving rain. Especially when it again threatened to wash the paint off our boards.
Tomorrow is another day. Unfortunately, there’s rain on the forecast.
New classes starting this weekend
Studio in Art and portfolio preparation—starting Oct. 2, 2010
Saturday, 11 AM-2 PM
(Oil, pastel, acrylic, watercolor)
This class focuses on still life as a fundamental tool for developing drawing and painting technique. It is appropriate for both beginning and advanced students. Instruction emphasizes direct painting, where paint is applied solidly rather than through glazing. For watercolor and acrylic, the emphasis is on alla prima techniques.
Tuition—$100/month
Uninstructed Figure Workshop—starting October 8, 2010
Friday, 1-4 PM
Model fee. Please contact me if you’re interested.
Rye Art Center 10th Annual Painters on Location
Boston Post Road Bridge, Mamaroneck, 24X20, oil on board
The Rye Art Center Painters on Location is my favorite event of the year, a fundraiser for an excellent organization that takes good care of its artists. It includes many excellent New York regional plein air artists, and it’s always wonderful to see my friends and paint in such a lovely location.
This is a site that’s intrigued me for several years. It’s a creek that releases into the harbor. Nothing exotic about it, but I love the sense of mystery about what lies behind that bridge.
Here is my setup, below the Boston Post Road in Mamaroneck, looking back at a bait shop and its boats. I am working very large for an on-site painting—about 24X20, so I have my pochade box and another easel. They are tied together with a bungee cord and on this day I was glad for the weight of that guerrilla box, as the wind threatened to take my painting into the harbor.
Boats in a tidal harbor present a dilemma: either you’re on a floating dock moving up and down with the boats, or you’re on land watching them go up and down (and compensating for the constant changes). I prefer to be on the dock. But it makes for an impressionistic painting, since floating docks are constantly rocking and rolling.
There are about a hundred paintings I could do in this location, including this wonderful stone wall.
This is at the end of my first day, about twelve hours into the painting. Frankly, the lighting scheme was more coherent at this point than in my final painting… something that happens when you paint in the same site for two days.
End of my first day painting.
And here is Bruce Bundock with his fine painting of Rye Nature Center—by a fluke hung right above my painting.
Bruce Bundock with his lovely painting of Rye Nature Center.