I've been finding it more difficult to adjust the new style to landscapes. The underpainting of this one looked different but by the time it was all done, it was virtually the same as the old style. In the case of the recent landscapes, however, I was happy with them. The title here refers to the first morning after my daughter's recent wedding, when the refernce photo for this was taken. She and her new husband were still asleep nearby and I thought of them and their new lives together both when photographing and painting this one.
For those who thought perhaps I only paint beautiful young women. I am a fan of beauty, but it goes beyond that. Probably 80% of females I ask to pose, agree. Maybe 10% of guys do. Over time, I find myself asking fewer males to pose, thinking they'll say no anyway.
I found a new model in June and LOVE painting her with that incredible red hair! When a light is set behind her, it is nearly a firelight. All the titles of the three done of her so far have to do with fire.
You could drive by this location and have no idea a barn ever existed there as it has been leveled since I took the photo from which I painted was taken. It always makes me sad to lose these old beauties but I'm very glad I had pictures to still be able to paint.
This was a first for me. As I photographed Molly and she assumed this pose, it immediately struck me that this would look great life size. And so I asked her heighth and worked accordingly. The panel itself is about six feet tall. Further below you'll see a photo of Molly at the show opening with this painting. Follow the gracefully curving line from the top of her forehead over her hair, down her shoulders and back to where the line fades into the dark background. Just beautiful and one of the reasons I wanted to paint from one!
I liked the simplicity of this scene and LOVED it when I realized that the green street sign in the middle of the picture read, 'Pleasant Drive" when the conditions looked anything but! On seeing that, I painted the smoke from the chimney going sideways to heighten the irony.
I mentioned that this new style is evolving as I figure out what I like and what I don't. At first I was uncertain about this one in terms of the background's brilliant orange. I like the color, but I now realize there is just too much of it. So, I think I'll cover some of that and probably darken the blue-grey too. The latter will make her hair seem brighter with the added contrast.
Here's something I RARELY do. Paint the same picture twice. For one, I don't want to cover the same ground and two, it is not fair to the buyer of the first one to have a copy. Therefore, when I do repaint a picture, I'll do it in a different format. So the first one of this was square, with all of the extra being a continuation of the road at bottom. This one, being twice as wide as tall, has a very different feeling.
Molly and her life size portrait. She was also the model for the one in the curio cabiner behind her.
Many of the models were on hand including Hannah who attended with her husband, Ben, whom I have also painted. Since meeting Hannah in 2016, I have painted her 58 times! She is a wonderful model and collaborator. That's her in the Fine Art Connoisseur Magazine ad on my mainpage this month.
Here are more of the paintings with a looser more abstract style. See the main page for a better description. In future work along these lines, I plan to simplify the clothing, perhaps down to one single color with no shading at all. The dress may be only defined by it's edges and where the model's arms, legs, neck and hair intersect it. One in the future from the model below may show the dress entirely in gold foil. This new direction has really energized me and I am enjoying painting more than I have in years. And I have ALWAYS loved painting!
I thought by simplifying backgrounds, it would make it easier. But in reality, it has made it much more challenging and time consuming. They are done in many layers from quick washes where paint is allowed to drip to slathering on thick paint and then going over that (or scraping it off) to find a more pleasing solution. The background above was altered four times.
As is so often the case, when looking at older paintings, I see that they were painted too dark. Sometimes they can be fixed in a short time and it almost always makes a huge improvement. That is the case with this one which was originally done last year.
At the Portrait Society Conference, the event starts with 15 artists all painting from 5 models, in this case other artists. Here Johanna Harmon is well into hers which was one of my favorites. It is just incredible to mill around and get to watch some of the best in the world as they work for three hours. Then each of the 15 paintings is auctioned off. I got this one and for WAY less than it was worth! It was also my opportunity to meet Johanna after admiring her work for some time. She , as seemingly all of the people at PSoA, couldn't have been nicer.
Here's the finished quick study by Casey Childs. I have to say, modeling is a LOT harder than I thought. Though I wasn't light-headed or dizzy, there were a couple times I wondered if I was blacking out! It's just not hatural to lock into one pose for a long period of time.
In addition to all the talks and demos there are often people set up and working all around the lobby and halls of the hotel. Here Ricky Mujica is working on a small head study of Andrea, a student of his. I sat beside him for a while and was just amazed at the luminous sking tones he got. I was very fortunate to acquire this little gem! Even sculptors set up and ply their craft! The model below is another terrific artist, Adrienne Stein whom I met at my first conference in 2010. It turns out about 3 years before we were both represented by the same gallery in California.
Some people who hadn't seen Rose Frantzen paint before laughed thinking she was kidding when she started with the sketch on the left below which she had down in 30 seconds. She works at a furious pace and attacks the canvas. She is creativity and energy personified and does it all with great humor. There is no one I'd rather watch paint than her! And yes, the image on the right is the finished piece done in three hours!
It strikes me as odd that I hate green and purple combinations in clothes and decor but love them in paintings. With the recent rains and resulting super bloom I was inspired to paint a burst of poppies into a landscape from an old photo that had none.
I cut a panel for this portrait of a young girl to fit a beautiful antique mirror frame I found. These rounded versions were called "Tombstone" mirrors and occasionally enjoy painting to fit them and they seem especially good for portraits.
The late afternoon light on this NH farm was really appealing but it seemed like it needed more. So I went through my file of old cloud photos and found this one that seemed a good match. I liked it that the farm seemed to be dwarfed by the sky and especially liked it that this painting sold before it was dry!
As I have mentioned before, I love painting atmospheric works as the colors are automatically harmonized in them. Unfortunately, they seem to only really appeal to other artists. They become nearly invisible to the general public once they are in the gallery.
Cows are so much fun to paint and when they have some dramatic side lighting, even more so. You may recognize the farm in back as I used it twice this month in different paintings.
I met this young lady, Lia Bomar, a year ago at the Scottsdale Artists School's Best and Brightest Show where she had won an award. This year I saw her at the same event where she ran away with it, winning 1st in drawing, a purchase award AND Best of Show! An amazing feat! I asked to paint her and we set up a photo shoot from which this Retro Cowgirl resulted.
This is an area in Laguna Beach, CA that I have often painted. I was happy how this one came toegther pretty smoothly and as I finished and scooted back to consider a title, my first thought was something to do with those paths coming together and how people might there too. And then how, just the other side of that mountain is the Pacific Ocean which is causing the fog, so that is where the land, sea and sky come meet. Then it struck me that at that very moment I was listening to the Beatles "Come Together". I don't know how much that led me to the thought of that title subconsciously but it then could not have any other name.
I gave myself an hour to do this small piece just so I wouldn't get caught up in unimportant details. I actaully spent about an hour and 15 minutes on it but still felt it was successful and it said what I wanted it to. When trying to loosen up it is often a good idea to set a time limit as it forces you to just put down what is most important.
After trying for a long time, I finally found a great Native American model. He is the real deal with authentic gear he mostly made himself. I wanted to paint him as an icon representing the entire Sioux nation, in this case standing like a stone column, proud and defiant. I intentionally put my tripod low as I shot these so the viewer will always be looking up at him. Also, I saw the blanket in his car during our shoot and asked him to wear it as he would. By doing this, it adds some nice color and breaks up the huge amount of detail that was his buckskin, fringed outfit.
A square format in a painting is helpful when you want to convey a feeling of power so that is why I chose an 8x8 canvas in this case and cropped the photo in tight. I had him raise his chin and look down for that nearly arrogant demeanor and I love the cool, violet light on the edge of his face.
Even though I'm in Arizona, my thoughts often return to home in NH. This month most of the thoughts deal with the joy of not having to shovel snow. But snow is fun to paint as are the bucolic summer scenes of New England farm life.
One of my favorite places to paint in California is the area called Big Bend in Laguna Canyon. Just over that distant hill is the Pacific Ocean and its mist often adds to the scene. One way to creat the illusion of depth is with atmospheric perspective. All that moisture in the air lightens shadows and pushes the hills further distant. There is very little difference between the highlights and the shadows on that hill and consequently, it looks far away. Sometimes, I will add this to a painting even when the photo reference does not show it just to add to the feeling of depth.
I wanted something a little different for an otherwise traditional portrait and so I had Jessie hold her necklace out to show it off. I like her attitude in this picture as well as the combination of antiquities. She is wearing a hundred-year-old sailor dress and sitting in a chair made in the 1770s. She is an excellent model and a young lady who conducts herself with class; something very unusual for someone 14.
I love big cumulous clouds and ecen more when the late day sun hits them and adds some color. And what could be better than a bolt of lightning blasting out of the darkness. And though that is the focal point, I want to direct your attention to the large tree in the lower left. I feel it is the best tree I have ever painted. Done with just a few strokes, it says all that I needed to say about that tree. Brevity of brushstrokes is something I have been trying to work on for years.
While in Tubac, AZ a few years ago, I saw the sun rise on some distant mountains and was amazed at the color and beauty. So I made it a point to be out there closer to those peaks the following dawn. Waiting in the desert cold for nearly a half an hour was very peaceful and entirely quiet. Finally, when the sun 's first rays hit the tops of the mountains, it became an almost holy experience! I felt like I had the this mountain all to myself and marveled in the variety and intensity of the color. I shot photos as fast as I could all while wearing a big smile. It was just breath-taking and I hope I caught a bit of that on the canvas.
In the photo from which I worked on this painting, it was a general gray overcast. I thought it might be better if there was a band of bright sunlight in the middleground. I also moved some elements to improve the composition and widened the creek as well.
With this series of Native American paintings, I intend to collaborate with bronze sculptor Paul Rhymer. He has made a group of actual size feathers. Some of these will be attached to the frames and I think will be a nice addition. I'll post one next month to show. I'll use one of Paul's owl feathers for this painting.
I've mentioned in the past that I sometimes catch myself painting too dark. With this one, I attempted to raise the brightness and lightness from the start, forcing myself to make the darkest areas lighter from the mixing on the palette. It worked to a degree, but, honestly, not as much as I expected.
When I saw this hat in a store recently, I immediately saw it in a painting on this model's head. She seemed somehow fitting of the era. Apparently, someone else liked it too as it sold before it was dry.
I only post the paintings of which I am proud and sometimes I may paint 5 or 6 in a row that I am unhappy with. When this happens I will often do something smaller as it seems to right the ship. Here's an example of one that broke the spell. It is easier to get good brushstrokes in smaller paintings for me.
This is Stephanie Revennaugh, and amazing sculptor here at the Celebration of Fine Art. She does incredibly powerful bronzes of horses. I got together with her to photograph her horse for some paintings I wanted to do and one of my favorite images was this simple one of then walking back to the barn.
To be honest, I was concerned a bit about the reaction I might get to these "Retro Cowgirl" paintings, thinking some might be offended. I was relieved to see that my concerns were unwarrented and pleasantly surprised that the most enthusiastic viewers were women.
Almost always, a photo can use some improvement to make a better painting. In this case, I made up the path curling into the picture. I sometimes will do this or a fenceline or tracks in the snow to lead one into the painting. It is a good idea to direct the eye in terms of composition.
Originally, I did this painting at 24x24 on canvas but was never really happy with the face. So I Photoshopped in a picture of my own face and enlarged the photo of that painting. Then I drew a grid on it and cut it into one inch squares. Each of these squares was then painted onto a 6x6 inch piece of masonite and later reassembled. I used to do this process with my middle school students years ago and also did a huge (8x8 foot) my myself that is now in the Reagan Presidential Library.
With Museum director, John Langolier when the Reagan mural was delivered.
Most of November was a month to paint California scenes for the Vanessa Rothe Gallery in Laguna Beach. I love painting California as the light and color there is so appealing. The Early California Impressionists have been a big influence on me and I was once told by a New Hampshire gallery owner that I paint New England like a Californian. At least for him, it was a positive and I am happy to take it that way.
This painting was originally done over a year ago and when I saw it with fresh eyes, I couldn't believe all that needed to be changed in it. The foreground was too dark, it lacked depth and overall, just seemed uninteresting. So, as you can see below in the before and after shots, I changed the ridgeline, added a distant mountain (and thus added some violets), raised the heigth of the main tree, made more interesting clouds and added better color.
This is actually a combination of three different reference photos to make an imaginary landscape so no one can go to a specific spot and see this. It used to matter to me to be much more "accurate" in terms of painting a certain spot but over the years I've come to realise that making a better painting is primary. And whether or not that had anything to do with it, this I believe is the best California landscape I have ever done.
I was able to do one NH landscape this month and it was done as a demo painting for my workshop at the Landgrove Inn. The point was- how to work with atmosphere or fog in this case. As I was doing it and about to put the sun in the upper right, a student asked if it might not be better in the upper left. After considering that, I realised she was right and told her, "I don't know whether to thank you or tell you to get out!" Those who know me will know that I was joking. But by my putting it in the upper right would have split the focal point between the sun and the main tree at left. By putting them in the same vicinity, there is no doubt where the center of interest lies. So, thank you again, Judy!
During October, I worked on three major commissions and while greatly appreciated, that kept me from having more here to show for the month. I rarely post commissions here. So these are the others I was able to do in the remaining time.
This is a little different for me in that the palette and light are out of my comfort zone. And that's good. It is too easy to just keep painting what is safe and comfortable. This is likely a study for a larger future painting. See photo reference below for that one.
I had a great time with this one and its lighting from directly above. It gives a mysterious feeling with eyes shaded to me. And with that stern look, it definately has a mood. Also, other than the signature, this whole painting was done with the single brush shown below. It is wide and shaped like a chisel which allows it to be used like a caligraphy pen. I can get a fine line with it, fill in broad areas and when needed, just use the corner to get a dot.
About once a year I do a self-portrait and at the risk of seeming like a meglamaniac, it is a good thing to do. It gives one a chance to see how one is progressing , regressing or plateauing in terms of ability. And it makes one aware of the ravages of time. Maybe this isn't such a good idea!
I met Jean about three years ago when she came into the gallery and I was so immediately taken by her that I asked rught there if I could paint her. This is the third of her and maybe my favorite though it is the simplest.