Thursday, July 24, 2014

Bird Watching

oil on board 6"x 6"
click here to bid or purchase

Last month on a business trip, my daughter found this kitten wandering the streets of Atlantic City. I told her that no, he couldn't stay, but since then have become very attached to him. We still haven't named him! 

Usually I paint on flat hardboard panels, but this one is on a 3/4" cradled panel, which doesn't necessarily need a frame.

Saturday, July 19, 2014

Rhinoceros

 oil on board 6"x8"

The rhinoceros is so endearingly ugly. I like these lines about a rhinoceros by the poet Edward Hirsch:
You lumber around in your skin of armor
Like an exiled general or a grounded unicorn.
 Usually I like to paint on an untoned (white) surface, but this time I began by drawing with a thin red wash. I worked hard here to define the big shapes without dithering around with the hundreds of creases and wrinkles.

Tuesday, July 15, 2014

Tuesday, July 1, 2014

Industrial Landscape, Quebec City

pencil, pen and ink wash 6"x9"


Monday, June 23, 2014

Saint-Sauveur, Quebec City, Summer Afternoon

pencil, pen and ink wash 7"x7"

The current theme in my other blog is the cityscape, and posting so many great paintings of various mighty cities has had me eager to paint another city scene. This is a view of the Quebec City neighborhood of Saint-Sauveur, with its church of the same name towering over all. 

Monday, June 2, 2014

Studio Table and Shelves with a Distant Landscape

oil on linen mounted on board 16"x12"

I like painting interiors that show a peaceful indoor scene as well as a small slice of a wider life glimpsed outside. Here my white studio table and a close up of some Ikea shelving are filled with my ever-present and always patient still life paraphernalia. Out the window is a landscape scene that I tried to make seem as inviting as possible. 

I worked on this painting throughout the month of May. At times it was a challenge to keep going, as for a few years now I've been so used to finishing off paintings in 2 or 3 days. I started out feeling so excited, then after a while began to have little dips of boredom, but then would get re-interested. Overall it was much more satisfying for me to work this way.   

Of course when a painting takes so long, it's important to spend time carefully planning out the composition. Perhaps next time I'll use fewer horizontals, and I'll spend even more time on preparatory drawings. Here is the sketch I completed before starting the painting:

Thursday, May 8, 2014

Manayunk

oil on board 

Here's another older work, a view of the-once-industrial-but-now-trendy Philadelphia neighborhood of Manayunk. I spent at least two months on this, but only two and a half hours at a time, and of course only on sunny days. 

Earning money from one's art is such a tricky thing. I remember exhibiting this painting in a Philadelphia gallery and asking $900 for it. The painting didn't sell, and the gallery owner told me that I was asking too much, considering I was so young and unknown. Yet if it had sold, she would have taken 50%. After the cost of the frame, I would have made $400 for a painting that took 30 or 40 afternoons of work (I sold it later privately).

This is part of the reason I began in 2008 to paint small and finish my work in a day or two and charge low prices that made it easier to find buyers- I simply couldn't afford to support myself as an artist otherwise. But after a few years of this, I'm back to square one. I'd rather spend longer on my work, and make the best paintings I can. So it's back to a steady part time job for me....


Sunday, May 4, 2014

Painting Planning

It's been a wrenching process to get away from the Daily Painting mindset. I often hear a nagging voice in my head asking when I'm going to post something on this blog, but right now I want to paint the best I know how, and I don't think my best work is stuff I complete in a couple days.

I'm going to show you a couple of my older paintings of interiors with still life that I'm using as guides for my current work, although I don't want to replicate the style too closely. These two images are digital files from old slides:

Studio Interior oil on canvas 

Studio Table and Plant oil on canvas

I've been doing a lot of drawing, trying to work out ideas for longer-term paintings.  I'm in the midst of a painting now that I'm excited about, but I've had a few false starts. 

Another thing- I'm chucking my camera for a while. From the working drawing to the painting's end, I'm not relying on any photographs. Not that that's a terrible thing, but I believe working from life gives a painting a more personal feeling. 

Here are some current drawings/ideas for paintings:






 Thanks for looking!

Saturday, April 12, 2014

Towards South Philadelphia

graphite on paper 13"x 8.5"

This is a view from the top of the old PSFS building at 12th & Market Streets in Philadelphia, looking towards South Philly. I'm so entranced by this tremendously sweeping view of the city I lived in for 20 years. 

Saturday, March 29, 2014

A Couple Blowfish Drawings

  Blowfish in my Studio 12"x9" graphite

That Blowfish Again 9"x12" graphite

Here are two drawings of a little studio presence, a blowfish I got in Florida years ago. The first one I completed in about 3 or 4 hours, but the second one took about twice that long. 

I recently started an evening job, which has been helping me to feel more free in my work. I've been drawing just for fun lately, not caring so much whether what I'm doing will result in a sale or not (which is a quick way to kill your creativity). I'm not even sure if I should post these as for sale or not!

Monday, March 24, 2014

Halved Acorn Squash

oil on masonite 8"x6"

Whew.  At last I'm coming out of a major block against working from life, which started several months ago. I'm not sure if it's because I was getting too used to the convenience of working from images, or the increased possibilities of interesting subject matter, but I sure have been having trouble setting up a still life and feeling like I care.

I love painting vegetables, fruit and flowers, fish and seashells and other typical still life subjects, but I realize that in order to feel strongly enough about these small things to paint from them, I need to really push unusual viewpoints and dynamic lighting- whatever it takes for me to feel like they have something to say. Notice I wrote "they", not "I", because I honestly feel like this beautiful acorn squash is the one talking here. 

I find the great photographer Edward Weston's images of vegetables to be especially inspiring. Here are some of his sensual interpretations of common vegetables:

 Cabbage Leaf 1931

 Pepper 1930

White Radishes 1933

Friday, March 21, 2014

Dream Cityscape

graphite on paper 10"x10"

This is part of an unknown city with a major thoroughfare snaking its way to a graceful bridge over an unknown river. I wanted it to seem dream-like. 

Every time I begin a graphite drawing I feel vaguely guilty, because most people want to see paintings. I've had this itch, though, to continue my theme of aerial views of various cities, and I can best express what I want to say in graphite.

There is something about a view from a great height that really captures my imagination. Looking down with a birdlike- or even godlike- view of a complex city seems to me to be like being able to contemplate the course your life has taken with sudden clarity. When I draw these kinds of scenes, lines from Jane Hirshfield's poem It Was Like This: You Were Happy always come to my mind. Here the speaker has at last been able to look clearly, but without regret, over her life:

Now it is almost over.

Like a lover, your life bends down and kisses your life.

It does this not in forgiveness—
between you, there is nothing to forgive-
but with the simple nod of a baker at the moment 

he sees the bread is finished with transformation.
Meanwhile, my Mom's been encouraging me to paint the more cheerful subject of flowers, so I'm off to the market to have a look.

Thursday, March 6, 2014

Manhattan Water Towers

graphite on paper 5.5"x12"
click here to bid or purchase

I've become bored with still life, but I remember the days when I'd spend three or four hours arranging fruit and folds of cloth until I was satisfied with a composition. These days I much prefer to look for satisfying arrangements of things that has happened naturally, or if constructed, without much aesthetic consideration.


Saturday, March 1, 2014

Bridge Walk

graphite 11.25"x8"

I wanted this drawing of a girl crossing a bridge to seem to mean something beyond the obvious subject. I just kept working and reworking the drawing until it finally began to take on a mysterious air. 

You know what's so great about drawing blond hair in the sunlight? The shadows have an inky blackness that contrasts so beautifully with the highlighted hair, and it's heavenly to try and capture it with a soft 8B drawing pencil. 

Monday, February 17, 2014

The Horned Cow

oil on board  5x7 inches

I've had a couple of wipers this week, first a sheep, then a dog- but finally am happy with this portrait of a cow. It was a challenge to see if I could make a decent painting from my image, as the face is entirely in shadow. 

One of the things I love about cows is that gentle and curious gaze they give you.  

Monday, February 10, 2014

What the Cat Knows

oil on board  6x6 inches

I know it's always being said, but cats sure seem to know something that we don't.

Thanks to Inge Dagmar Manders for allowing me to paint from her photo of her beautiful Charlie perched on a fence.

Thursday, February 6, 2014

Morning After a Heavy Snowfall, Perkasie

oil on board  6"x 6"

Since I intend to spend longer on my work, I spent several mornings on this painting. I haven't painted snow before, and will probably be able to try again soon. This has been the most snowy winter I remember since my early childhood in Minnesota (I'm in Pennsylvania now).

Sunday, February 2, 2014

Competition Horse

graphite  11"x14"
click here to bid or purchase

I think it's hard to create a good composition of a horse's face. After all, their heads are basically shaped like logs. Beautiful, intelligent and sensitive creatures, but a little tricky to fit on to the paper or canvas just right. Here I think all the empty space works well. 

In case you didn't know, I have another blog about other artist's art. January and February have been devoted to asking other blogging artists to create posts about their favorite one or two paintings from 2013. You might enjoy it.

Monday, January 20, 2014

Lone Gourd in December

watercolor 8.9"x8.9"
click here to bid or purchase

Saturday, January 18, 2014

View from Bridgeport PA

graphite on heavyweight paper 9.5"x 21"

I spent a full week on this drawing, and my process was the usual back-and-forth of adding detail upon detail, then erasing and blending to get rid of too much clarity. Too much clarity doesn't give a feeling of atmosphere, and atmosphere = poetic. Sounds a little silly but true.

I know this scene might be thought of as kind of ugly by some, but with the right lighting it becomes gorgeous. Also as usual, the backlight of early morning was the way to go.