Assignment: Re-do

Assignment this week is to take a problematic painting and do it over again.  Start fresh, changing it up by changing the aspect ratio, accentuate or diminish some parts, or cut something out entirely.  I started from the photograph of the model for the session at Kat's last week, and did a very (very, very) sketchy version of a background that's in a Berthe Morisot painting.  Also, I made up a wicker chair--not very convincing, but without photo reference, it's, well... I guess I'd better work on that a bit more.  And where would the other arm of the chair be?  And the little itty-bitty hands will need some work.  Perhaps I'll finish it in class tomorrow.

For the record

Class yesterday.  Same drill:  one model, two poses... plus one static pose projected on the screen.  I decided I wouldn't try to make them look like they are occurring in the same space/time frame, and ended up with this "big sketchbook page", as Mark called it.  I am to heighten the relationships of angles etc. of my compostion, still... which I will do, along with major revamp of that big bear paw of a hand in the foreground!

Mention was made of Antonio Machado, and a stanza of his poem which goes like this:

Last night as I was sleeping,
I dreamt—marvelous error!—
that I had a beehive
here inside my heart.
And the golden bees
were making white combs
and sweet honey
from my old failures.

Here ye, here ye!

Friday at Kat's Studio

No class last Friday, so I took my still-full Thanksgiving belly over to Kat's studio for the afternoon session.  This was pretty wonky after the three hours, so I worked on it more today and am happier with it now.  (It's still not quite done.)  Shouldn't take long now to finish it. Boy it's weird to walk out of the studio, after a day of work, into.... darkness!  Days are way too short.

Week 7

I don't think I've ever started from a black-toned background before, but it worked for this one.  Good start, anyway.  There's a very Vermeer-ish window that I intend to add in, but I wish I'd left more room for that on the right instead of where it was... too late now, the light source is clearly from the left.

"After Manet"

This week's assignment:  "Paint a portrait head based on an artist of your choice."  I picked Manet's painting called "The Plum".  Was that really a plum in the glass?  Her dazed look suggests it might have been absinthe!  I'm debating whether I want to put the cigarette in her hand. (It's an awkward gesture without it.) This is in acrylic.

A more successful week

I wish I could figure out why--some days--I don't have access to my "right brain".  This week I fared better, and could tell I was in the right "mode" as I was painting.  Not that these are terrific--I may or may not tweak them.  (I'll probably just move FORWARD, to quote someone who just won a big election!)  But at least I feel better about the effort.  So it was a good week!

Another bad painting on the pile!

Today's class was so disheartening, I'm beginning to think I should just forget about this painting biz.  But Robert Genn's twice-weekly newsletter had some advice to cheer me up.... according to the latest edition, quantity beats quality in the long run.  So I'll just pat myself on the back for producing another crappy painting in class today... this one's especially poor, so maybe I get extra points!!!  At least I painted all day, and have one more to chalk up to a learning experience.  Crickey, it can be frustrating.  So Genn's newsletters are always welcome, and this one especially so.  If you'd like some good insights about painting delivered to your inbox regularly, you can subscribe by following this link The Painter's Keys, which is also in the list of fave's on the right.

In support of his premise--that more paintings get you further than trying to produce a few really good ones--he quotes from Art and Fear, siting an experiment in a ceramics class that proves the point:
" It seems that while the "quantity" group was busy turning out piles of work--and learning from their mistakes--the "quality" group had sat theorizing about perfection, and in the end had little more to show for their efforts than grandiose theories and a pile of dead clay."

Thanks, Robert, for the pep-talk. Perhaps I'll try another painting or two!

Hawthorne translated to secondaries

Hawthorne's original painting in soft primary blue and yellow is herewith translated into secondary colors: orange, violet and green.  Hmm... shall I name it Tennis in Chernobyl?

Work in progress

This luncheon needs more food on the table!  Perhaps the wine shouldn't be blue, either.

Film Still #2

I'm working from a frame of the film, The Heiress, which is such a terrific old classic B&W.  Fun assignments--maybe too fun, I have to watch so many films to find a good frame!  lol

A Two-fer

Well this was a challenge; one model that kept moving back and forth between the two poses.  Then I played with the color in Photoshop, and I like this color scheme better. We'll see if I can pull it off in earth 3-D, right now it's living in virtual reality more than on canvas.

Movie Frames

Andres Figure Painting class started last week.  We're painting from film frames; this one is from The Namesake.  Acrylic on paper.  I'm debating finishing it in oils.

Morning Papers

Breakfast reading (Sunday NYTs).  Big cheap paint brushes, charcoal, $1/jar Ace hardware paint pod (latex), and some acrylic. 

Fashionista

Today's 20-min. pntg. is from a photograph taken a few years ago at Hipbone... don't remember model's name... e me if you know!

The basement files!

It was another fun evening in Janet's basement with ten painters and our model, Jeff.  This is acrylic on paper; I'm pondering whether to work on top in oils.  Hmm.... maybe just finish it in acrylic.  This is sort of a 20-min. painting.... that took 2.5 hrs.!  (In other words, I wanted to bring the speed & spontaneity of a 20- min. exercise to this.)

Mantecon Workshop

This is some of the work I did last week in Lauren Mantecon's workshop at Sitka. They are all multi-media, including joint compound, handmade rabbit skin gesso, acrylic, wallpaper, magazine images, encaustic, oil paint, and probably some other stuff.  It was an awesome, productive three days... loved it!  The poem written in pencil around the second one down reads:

Bliss built this house on a hill,
painted in flesh tones.
It did not cost a pound or a euro or a schilling.
It stands forever in my mind
as the dream
drawn in free paint from the hardware store.

Getting Grandma's Attention

20-minute painting update:
This little precocious one was in the Thyssen-Bornemisza museum's cafe, acting very rambunctious and seeming to have a good time, although grandma was having more fun reading her museum guide than paying attention to her granddaughter!  [Regretably, I must note that I subsequently ruined the little girl's face by trying to "fix" it.  Haven't I learned yet??!!! Just leave it alone f'pete's sake.]
Creation date:  8/30/12

Still Life

This is out of order... it's from the Color Theory class that ended a month ago.  A huge pile of props and stuff was pulled out of PCC storage and heaped up in the cafeteria public courtyard area.  I guess it was an exercise in mixing paint to match what you see.  The "Still Life" was a chaotic mess, so that's what you see here!  I'm surprised I was able to make anything out of it at all.

Back to oils, yeaa!

Not making any headway with new work, I realized how frustrated I was with acrylics.  So it's back to oils, and I feel so (so!) much better.  Here is a grisaille for a new painting, started today.  "Lorenzo and Silvana".  Photo from Cortona, Italy, 1985.  I always thought this would be a lovely painting... and now I actually paint!  (Hm, 1985, it was calligraphy that year, having tired of photography, and before I moved on to ceramics, etc...... )

Update:  Top pic shows progress, although that progress was a month ago or more!

Art Therapy

Last week, my cat subjected me to an experience that has left deep psychic damage.  (No, I'm not kidding.) Long story short, I arrived on the scene too late to save the adorable tiny mouse.  Percy had already had her way with it, and it looked highly unlikely that the little thing would make it, even if I did try to save it.  The thing that has etched itself on my memory is that the brave little critter stood on its hind legs and looked directly into Percy's uncompassionate eyes, and seemed to plead for its life--as if to say "aw c'mon man, give me a break".  I'm not kidding, that little thing summoned such bravery to stand up and confront her tormentor instead of run.  My heart exploded at once, and tears sprang out and I ran back into the house.  A few minutes later I went back out and sure enough, the deed was done.

I was upset for days afterwards, could not shake the image out of my head.  Or heart.  That "look" in the eyes of that tiny animal has haunted me, and I continue to ponder why it affected me so deeply.  Yesterday I went into the studio for some "art therapy", painting this experience from my tortured memory, and that is today's image.  It would be a 20-minuter, but it only took 12.

To end on a happier note, I am reminded of a book I ran across recently called Unlikely Friendships, by Jennifer S. Holland.  What a heart warmer; use the "look inside" on Amazon, I bet you'll enjoy it a lot more than what I have just described.

Moral of the story:  "Can't we all just get along?"

Ode to the artichoke.

I've been writing some poetry again, sometimes inspired by something I read, or a brief thought just mushrooms (or should I say "artichoke"s?!) into a longer treatise.  This is the second season for my artichoke plants, and they (supposedly) shouldn't have produced so many already, but boy are they delicious!   Well, this poem just popped out one morning; my ode to the artichoke.  And so today I thought to do an illustration to go with it.  Actually, I should have read the poem again, beforehand, because the painting is not nearly as sensuous as the poem.  But it will do for now; I'm including the preliminary value study sketch, because I think it helped this 20-minuter.
- - - - - - - - - - - - - -

The artichoke

The artichoke has thistles
That protect its sacred heart
But it still gives up its sweetness
When its simmering leaves part.

And now the summer stalks us
Like a lover in heat
Yearning to ripen every fruit
So that berry and lips can meet.

Put your zorries on, my love
I'll take you out to see
These stems of summer wonder
That stand erect and free.

The vines will part for us,
the ground beneath lies cool,
And your roots can sink
              for a long deep drink
from the earth's dark jewel.

m.k.e.  (poem started 6/24/12; finished 7/6/12)

Photoshop "gets it"!

I am not going to post all of the 20-min. paintings, and am reluctant to post this one, but it's the first one I've done since I commenced reading Charles Hawthorne's Hawthorne on Painting.  He talks about not thinking about drawing--rather to focus on putting one blob of color up against the next, and let the drawing take care of itself.  That if you get the color values right, the thing will draw itself (loosely paraphrased).  Well I used the paint leftovers from a class assignment to do this (which meant I was doomed at the start, 'cus I didn't have the right color values).  So that's the bottom pic.  Then I ran it through some P'shop filters, and liked one of those versions (top pic) much better.  Ha!  Now I want to paint the garage that color!!

My pricey collages... heh heh!

I have neglected to mention that I am trekking out to the Rock Creek campus again, for the summer session Color Theory class.  I doubt that I'll post much from this, since there's not much to see... just mixing up lots of paint to see if I can get my eyes to see color in terms of values.  Grey scale:  no problem (well, not much).  But what value is that color?  Beats the heck out of me!  Anyway, our first assignment was to do a couple of collages.  One was to focus on balance; the other on focal point.  (And already I forget what this had to do with color.)  I liked these efforts, and decided to post 'em after all, because....

I recently visited a gallery in which there were a number of collages, made out of cut out magazine pieces, for sale for about $1500. ea.  I like mine better, but hey--I'd part with them for that price!  lol

Texting in Paris

Feeling slow and uninspired to work on the AoB painting (for submission Thursday!), I thought I'd start with a 20-minuter.  Yes, this captured the components I'd prioritized in initial assessment.  Felt better, and also realized.... I don't have to be excited about what I'm working on now (i.e., whatever the main "actual" work-in-progress is)... I can get reinvigorated by where my work is headed.  If nothing else, it's good to have this speed-painting trick "in my back pocket".  Forever indebted to Prof. Andres.

Daydreaming

Top:  Is the final.  I don't think I'll paint with a theme in mind again--not terribly successful.  And it wasn't accepted, which is probably a good thing.  Oh well... another learning experience.
Below:  I'm working from a photo of me which Linda shot several years ago.  Left is 20 min.; Right is 1 hr.  Working toward an actual painting on this one, to submit to a themed gallery show (Dreaming).  Fingers crossed I don't blow it, I think this is a good start.

Note 1:  I continue to work on this; will post completion here later... no point in posting a bunch of intermediate passages.
- 6/30/12
Note 2:  Completed by deadline, 7/5/12.

Cherry Blossoms

This is 20 min. I thought it needed more contrast, so I painted over it and it didn't really help. Oh well.  It didn't interest me that much. Seems that if there's no person in the frame, it doesn't engage me.

HPSO and OSA Paintout

Hardy Plant Society of Oregon was gracious in allowing us painters to set up at two of the extraordinary gardens on their annual tour.  At the back of the small garden where I worked was a shed which one of the volunteers said had been used for the ponies when the kids were little.  The rustic collection of antiquities on its little porch gave an air of folk art, and that is the vein in which I attempted to paint the scene.  Lower left is at approx. the 20 min. mark (so there's my "daily" exercise); lower right is the point at which I left to go over to the larger garden (painting time: approx. 1 hr.).  The top image is where the painting currently stands while I debate whether I want to do what I see it needs... or move on.

My paintings are always more interesting when there isn't much there yet.  Why do I feel the need to "complete" them... to make things recognizable?  What's wrong with some white space?  Absolutely nothing!  I wish I'd left off with the 20-min. stage and started over again on another sheet.  A bit of time looking at the initial impulse, and then a little bit of tweaking, and I could have called it good.

Sunshine and Wine

Yesterday, sunglasses were appropriate.  Today it's just wishful thinking--the more so, because this source photo was taken a few years ago in Southern France.  Sigh.  I spent an extra few minutes with timer buzzing--minor tweaks tho', I didn't cheat too much today.

Fist bump!

Awwww... my buddies from the plein air breakfast group. I think Marty was tickling Hugh, but my photo looks like they were fist-bumping.  heh heh  This is the second 20-min. for today, since I was not happy with the first one.  Yes, I feel better now.

My friend better not visit the blog anytime soon!

She would hate this!  I hate this.  Well, maybe I don't need to worry, it doesn't even look like her.  All I can say for it is this:  it is 20-min. and the page is covered with paint!!

Ferris Wheel Riders

I forgot to take a pic at the 20-min. mark.  Drat.  This one was started on Luan (board), and looked dreadful, and of course I had all the extra paint leftover and wanted to keep going... so I did. This is about one hr. after the buzzer went off.  I may take it up again another day.  (Am behind with posting, this was yesterday's.)

In the Funhouse

Ooo-boy, I am slooooow today.  Top pic is my 20-min. effort. Wow--how did I get so little of it down?  So I have to revise my game plan on these things and get really sloppy and work like a house-a-fire.

My dad took the source photo--a slide--it's from about 30 or 40 years ago.  An old family friend.  The image is so fun, and elicits such fond memories of the man, and I wanted to keep working with it, so I started on a fresh bit of paper (heavier grade; less warping).  This second image clocked in at a little over two hours.  Umm.  Oh I dunno.

Just one of those days, I guess.  I'm thinking I might take one more run at it... abstract it a whole bunch.  Wreak havoc with it.  Hm.  Pondering.....

Slice-n-dice Salesman (Iles sur la Sorgue)

This was perhaps a bit too ambitious for 20 minutes... SO much going on in the photo.  It's from an open-air market in Southern France, I couldn't believe my eyes when I saw this guy.  The perimeter of the town was lined with vendors selling beautiful crafts, clothes, jewelry, local cheeses and wine, fabulous antiques, etc.  And then there was the slice-n-dice machine vendor.  The image is near the top of the list to become a "real" painting.  I think this is a good study for it, tho'.

Two today

Not feeling like diving in to a larger effort, I decided to do a second 20-min. pic today.  These are just on cheap bond paper and get seriously warped while wet--but they flatten out fine.  If this was a real painting--lol--I would work with the window reflections more (maybe more blue-ish, that mauve is kind of unpleasant)... and make the plum bigger... etc.  But the buzzer went off.  I do like the random bits that result though.

Aerial perspective biker

Went to the California Impressionists show at PAM Friday, then over to the new wing to catch the seven Richters and five Monets.  Took a picture from about the 3rd floor and just when I snapped, the biker zoomed into the frame.  Thank you cosmic art director!  This looked like it would be so simple to paint. NOT!  I ran overtime by about 1 min. 30 sec.  ...the pedestrian only had a face, so the rest of her got slapped on super fast while the buzzer blared at me.  Ha!  She came out better than the biker.  It sure is hard to do thin little racing tires with a big fat brush!!

Man of La Ruche ("The Beehive")

Today's 20-min. effort is from a photo of a man whom my high school friend, Jan, knows.  (I was visiting her at her studio in the famous rabbit-warren of artist studios known as La Ruche--it's in Paris.)  He had popped his head out the window to talk her, but they were speaking French so quickly I didn't understand a word. But it was picturesque!  I found out after my visit that Soutine had a cell in that honeycomb of artist's studios, back in the day (1917-ish).  Modigliani too, I believe.  What a "colorful" place it was (and is)!!

The Belle of the (Beaux Arts) Ball

Here is sweet little Madeline, who was the life of the party at the Falcon last night.  She is my second "20-minute painting".  I certainly would have done the same as yesterday--spent an hour+ making a more complete second work from the same image (which her daddy kindly e'd to me)--but no time to do so today.  Too bad the buzzer went off; another 30 seconds and she could have had a nose!  Oh well, this captures some of her beauty, but my representation looks a bit too Les Mis here.  I will have another go at this most excellent model... sometime... but perhaps from one of the pics I took.

The 20-minute-painting-a-day challenge

My painting class is over--so sad--but my teacher, Mark Andres, has thrown down the gauntlet, challenging me to do a 20-minute painting a day--all summer--focusing on "gesture, rhythm, movement and design".  I have to set a timer... when it goes off, the brush stops.  20 minutes; c'est tout.

So I started today.  The challenge landed whilst I was reading a bit of commentary on Fragonard's work, about how he was dissed for "...his ability to change handling from one moment to the next"... one critic thought it "...was an undesirable talent that rendered his manner 'uneven'."   WHAT?!  Never mind that every sort of paint handling Fragonard ever did was brilliant (imho!).  The narrative goes on to describe the term achevé:

However, a painting made with fire, with enthusiasm, and without too much refinement in the execution [le faire], often has more right to be called a finished [achevé] work than one that cost the artist much time and effort.

This second critic is much more favorably disposed to Fragonard's style, it would seem, although he is not referencing him directly in this passage:  "It is this appearance of facility, of certainty, and of enthusiasm in the execution that renders even the most delicate and the most masterful details without effort, and as if by chance.  It is this skillful handling of the brush or the chisel which lets one know that the artist, having a well-formed idea of what he wanted to make, has hit his mark with assurance and precision." [quote: Charles-Nicolas Cochin, fils]

That's the kind of facility I've admired in not only Fragonard but Sargent and Joaquim Mir and many other of "my new favorite painters" I've discovered over the past few years.  And that's how I think this most excellent assignment will influence me.  At any rate, I'm happy to take it on, and the top pic is my 20-min. version of Fragonard's The Bathers.

Well that was fun!!!  And of course, having all the leftover paint--which I pathologically can. not. waste.--I couldn't just stop painting so I grabbed a sheet of paper and taped it to a board and did a second version (pic #2).  That one took about 1-1/4 hr.  I may tweak it a little tomorrow.   Or not.  For sure, I'll be doing another 20-minuter tomorrow!

I think Fragonard is a good choice to initiate this new journey I've embarked on.  Doncha just love synchronicity?!

Note:  Quotes are from Fragonard Art and Eroticism, by Mary D. Sheriff.