Gwen Fox Online Coaching and Critique Group, Continued

My abstract, "Balancing Act" 

"The Batchelor" by Andrew Wyeth

Back to the critique group after the post on my latest collage.

A few days after the graduation, we left  Brooklyn, NY, on the ocean liner, Queen Mary II. I could paint and when I got to England, I could post on our private group Facebook page. I selected "The Batchelor" by Andrew Wyeth and focused on shapes on the left side of the painting. If you look carefully, you can see how I arranged my shapes in a similar way. This was a tricky one, because I purposely violated the rules and put the center of interest smack dab in the center of a square. With my line work and a tiny sphere, I completed "Balancing Act."  This is also a small watercolor on paper done with Koi set and brush pen and using care to soften some edges and blend the shapes. Gwen said I succeeded. She liked the red and yellow at the center of the painting that emphasiΩed my balanced sphere.

"Putting on the Ritz" Inspired by Klimpt

"Puttin on the Ritz"

36" x 48" 

Torn Magazine

On Gallery Wrapped Canvas

Contact the Artist for Purchase

After returning from Vienna, where we saw some of Gustav Klimpt's work in the Belvedere Museum and at The Secession, I was inspired to do a very large collage using gold. You will recall that Klimpt's painting of Adele Block Bauer, a Jewish woman, was ironically confiscated by Hitler's art team from her husband's home some year's after Adele's death. After the war, it was returned to Austria where the Belvedere believed they had a claim to the painting. You may have seen the movie, "Woman in Gold" which tells the story of Maria Block Bauer suing for the return of the painting and others to the family. Bob and I had the good fortune to see the painting when it was displayed briefly  in the LA County Museum in 2006 before being sold to the Neue Gallery in NYC where it remains on permanent display. 

My material of choice was not gold leaf, but simple magazine papers. I saw an opulent evening coat, which my imaginary woman wears in my collage. I finished the initial image about a week ago, and then came the really fun part, modifying and integrating the painting. We have a dreary Sunday here, so it was a good afternoon to do art. I decided that the bottom of her dress needed enhancing with more black and the red background. I also added touches of red throughout the painting, including the woman's earrings, headband, and choker. She already had that incongruous red vertical line on her throat, which I decided I liked.

Since visiting Klimpt's work, I have read three books related to Klimpt and "Woman in Gold." Though an admirable artist, Klimpt's personal life was not to be emulated. The book that inspired the movie has much more information about Vienna art and high society, and the Block Bauers who suffered tremendously at the hands of the Third Reich.

Gwen Fox Online Coaching and Critique Group, Continued

 

My abstract, "On the Move"

 

"Still Life with Fruit and Jug" by Paul Cezanne

I was on a roll with abstracts, and I was now in New England for our granddaughter's graduation from Smith College. I sat at the counter of our large rented Victorian amidst family and friends and selected "Still Life with Fruit and Jug" by Paul Cezanne.  If you compare my shapes with some of the larger shapes in the painting, you can imagine my selection process. I did lots of soft edges and blending. This I did in watercolor using my travel Koi set with brush pen. I got good reviews from Gwen and fellow artists.

I learned as I looked at Cezanne's still life paintings that he painted many variations on the same subject. For example, there is "Fruit and Jug on a Table" that is similar to this piece. Painting in a series was not invented recently.

Gwen Fox Critique Group: Getting Started with an Abstract

          

                  My abstract, "Dreaming in Color"

Actylic on paper

Picasso's "The Dream"

Gwen talked about a good way to start an abstract. Select a painting by a famous artist and use some of the arrangement of shapes as your starting sketch. I chose Picasso's "The Dream" done in 1932. I used acrylics on watercolor paper. I should rework it somewhat and haven't done it yet. I identified two problem areas, the highly eyecatching green shape on top and the lack of variation in the he sizes of the shapes on the right side. Gwen agreed. However, I had a blast painting this piece.

Gwen Fox Online Coaching and Critique Group

"Nature's Light"

Watercolor on Paper

7" x 9"

Continuing with my art year in review, I will tell you about some wonderful online coaching and critique group.

A couple years ago, artist friend Joan and I met in New Mexico for our yearly art vacation. We attended a workshop in Taos taught by artist extraordinaire, Gwen Fox. I wrote about that 2014 workshop beginning here. After that class, I signed up for a year of individual coaching from Gwen using Web services. I focused on my collages that year and Gwen really helped me along. Gwen began a online critique group and I could not resist participating even though I was traveling during half of the ten sessions. She recorded sessions, so any of us with other commitments could catch up.

Weekly we would meet, able to see and talk with each other via a private group on Facebook. Gwen would give some instruction on design and a challenge for the week. We posted our art, and the following week Gwen critiqued them. There were about a dozen artists from around the country who participated.
Because my collage work requires so much time to complete, I painted my assignments. The first project was to take shapes that Gwen provided and complete an abstract. I did a small one in watercolor while onboard Amtrak between Denver and San Jose. I used existing shapes from Gwen, a different approach than I learned in the Salminen workshop. I will explain her Getting Started method in the next post.

Here is my first abstract for Gwen. I did a second in collage which was decidedly not my best work. My collages are people or objects, not abstracts, and I decided that I prefer to paint abstracts. Gwen's assignments were broad after the first abstract, so we could choose to paint whatever we wanted.

John Salminen Workshop

"On The Edge"

Watercolor and Collage on Paper

20" x 32"

 

After a very busy travel schedule, I am going to post art done this year that I have not yet shown.

In February, I took an amazing workshop from very famous watermedia artist John Salmanin. John is both a great urban landscape painter and a fabulous abstract artist. I missed taking urban landscapes from him, but managed to enroll in Santa Clara Valley Watercolor Society's abstract workshop featuring John. I really believed myself incapable of doing abstract art, but he proved me wrong. He is a wonderful instructor and his wife teams with him. In their workshops, everyone has equal access to the instructor and assistance.

He had us sketch four individual random objects, then we drew the objects onto a full sheet of watercolor paper, overlaying them upon each other. We removed some lines to create pleasing shapes in mama, poppa, baby sizes, while maintaining a path of unpainted white that is not cutoff at any point--a mouse could run through it. We spent the entire week painting and reviewed our progress each day in an individual session with John.

Along the way he taught us some favorite techniques: taping a shape, removing the paint, and repainting if we desired; using the Pat Dews atomizer to add shading to some areas; and adding bits of collage. Because I do collage, that part was especially pleasing to me. We were artists at various points in our journey, and he made sure that everyone was successful.

I was pleasantly surprised to have John tell me in a private conversation at the end of the class that I am a very good artist and to keep going.

A Musician Series: "Hot August Nights"

"Hot August Nights"
20" x 25"
$700

 I am participating in a online critique group with Gwen Fox, an artist from Taos, NM. She challenged us to paint a series, so I continued with the musician theme. Ala Jeannie McGuire, who recently taught a Figurative Workshop in Vermont, I focused on making this painting unique and created an abstract background. Though the sax player is more forward than the singer, I wanted the singer to be the center of interest. I gave her more detail and light, and the sax player blended into the shadows. Gwen gave me a thumbs up on this one and commented that I accomplished my goals.

Figurative Workshop in Southern Vermont

Even for me, a traveler at heart, this workshop was a bit of a stretch after being gone 5 weeks and home just 9 days. Friend Joan from CT and I always do an art related vacation together. Though she is an oil painter, but she located a watercolor workshop sponsored by the Vermont Watercolor Society, and figured she could learn a lot from Jeannie McGuire who does wonderful non-traditional watercolors. Jeannie likes to let the painting develop as she goes, she will scrub out, paint over, work in lots of pigment, and use opaque paint against more transparent passages. She won the Gold Medal from AWS and has been featured in magazines. Check outt Jeannie McGuire's Art on Facebook.

Thus we traveled to beautiful Landgrove Inn, a traditional old farmhouse expanded to Inn with it's own delicious restaurant. They built a workshop facility and their hallway is lined with works by admired watercolorists like John Salminen and Ted Nuttal who have given workshops here. We were fed three meals a day, and the 10 artists and instructor developed a sense of community for the week.

We started with portrait, moved on to single figures, and finished with multiple figures. "The Singer" is at top was the single figure. I struggled with my first pieces, but pulled this one together. "Really?!"   is from of photo of Bob.
                                           

The multi figure piece features women's soccer.

"Rainy Day in Takayama"
12" x 15" Watercolor
Matted Original - $190

Back in November we visited a mountain town in rural Japan. Takayama is a beautiful place that we tourists have definitely discovered, as evidenced by the English "Sale" sign in the window of this shop. Many old traditional buildings remain and are now thriving businesses -- restaurants and retail abound. It rains a lot in the town and our two days spent there were no exception. We all donned our rainwear and took in the sights. I especially loved this little scene with the bike parked and seat kept dry with an umbrella. Another umbrella hung decoratively from the eaves.

The town is famous for its morning market, temples, an ancient Ginko tree, puppet shows, and the traditional buildings



Beautiful structures in Takayama



 

Takayama commercial area

The town was an interesting experience. We stayed in one of the best hotels, but it in no way resembled the magnificent hotels of Tokyo and Kyoto. However, they provided their own rift on the traditional yukata that we wore in other hotels. These were very comfortable pajamas, and I do not know the Japanese word for them.

Wearing my Takayama Pajamas

 

 

 

 

 

Open House: Successful Endings

 

Beautifully displayed in client's home, this piece is visible

from her beautiful new kitchen and dining area

 

 

 

"The City That Never Sleeps"

36" x 36"

 

 

Pair of Geisha's on display were destined for

a patron's  livingroom

 

 

"Work Kit"

24" x 24"

 

 

"Point of View"

24" x 24"

 

 The Art Show on Saturday was an Open House. Though many of my collectors were unable to attend due to a memorial service planned after I publicized my show, I had a steady stream of visitors. I sold two paintings, the wine series coasters, and cards. Ironically, one sold painting was requested a few hours later by a Reception attendee. I had to disappoint her. Here is a sample of the coasters that I ordered online based on my small purse collages.

 

Coasters

 

Some sales happened after the show. I followed up with potential buyers who purchased my pair of Geishas and the Manhattan themed collage. As this was the first showing of my found paper collage on canvas artwork as a collection, selling large pieces was very satisfying.  Two days after my show, my home gallery remained on display. A salesman for a patio door company came to finalize my order, and he purchased a small painting.

 

I use the Paypal Here device to accept credit cards. I believe that people are more likely to purchase art when this form of payment is available to them. The app is a good record keeper as well.

Successful Art Reception and Open House

"Bamboo"
Japanese brush painting, ink on paper
 

"Senkyoro View"
Japanese brush painting, ink on paper

"December at Wilder Ranch"
Watercolor

"Sailor's Warning on a Foggy Morning
Watercolor 

Here are some of the paintings sold at my art reception and open house. We had a terrific gathering of people Friday night. After coming back from Japan with a brush that I purchased in a tiny store in Kyoto, I wanted to try brush painting with Sumi ink. A few minutes on YouTube turned up some videos on how to do that. I then tackled the two top pieces. Interestingly, they were the second and fourth pieces that sold.

Additionally, my drawing instructor who is an amazing artist, purchased the Wilder Ranch painting. I always cringe when I think of inviting my accomplished instructor to a show, but he was most complimentary.

My plein air pieces are often well received. Perhaps the fact that I am right out in the elements and have to work fast brings an amount of excitement to the pieces. Both Wilder Ranch and Sailor's Warning were done in plein air sessions.

An attendee has contacted me about purchasing one of my collages. More on that to come when the sale is complete.

Here are a few photos of the home gallery, by no means all that were on display:

 

 

 



Japanese Room with a View: Active Mountains

Journal Cover Sheet

 

Room with a View: Misty Morning at Senkyoro

My journal cover sheet was inspired by a beautiful screen at a traditional restaurant at the New Otani Hotel in Tokyo. The Japanese characters spell Japan. The flower is in honor of the beautiful gardens, which mostly do not showcase flowers, but rather water, earth, rock, gravel, and gorgeous plants.

We spent two nights at Senkyoro, a traditional inn mentioned in the previous post. I awakened on the first morning to a beautiful view from our living area. The mist was floating in the valley, and the gardens were a mass of shapes, and some fall color.

While at the inn, we decided to venture out with our 3-day bus pass. The mountain towns have an amazing number of buses to take you where you want to go. We took the bus to Gora where we boarded the Hakone Tozan Railway, a unique local transit that does switchbacks in order to descend the steep mountains to the town of Hakone. We also took the funicular up Mount Hakone, but due to two eruptions last summer, we could not continue on cable cars to the top of the mountain. At the lookout, the smell of sulphur was very strong from the active cauldron.

From the train we saw the marvelous Hakone Open Air Museum, so on our way back we stopped and visited it. Gorgeous grounds were home to beautiful sculptures by artists from all over the world. This was definitely the  highlight of the day for Susan and I. Bob would probably more recall the railroad and funicular.

After another amazing Japanese 12-course dinner, we slept soundly. The following morning we reversed our journey to Tokyo where we were to meet up with our small tour group and guide Toshi to visit gardens, shrines, and temples.

Japan Trip Inspires Brush Paintings

"Bamboo in the Garden"
5" x 7" Japanese Brush Painting
Ink on Watercolor Paper

a

"Senkyoro View"
8" x 10" Japanese Brush Painting
Ink on Watercolor Paper



Bob and I visited Japan for 16 days in November, a wonderful time to enjoy gardens and the colorful foliage. My friend and fellow artist, Susan, went with us. For 5 days we traveled on our own and then joined a Coopersmith Garden Tour in Tokyo. In honor of that trip I have been trying out my new Japanese brush that I purchased in Kyoto. After watching a few YouTube videos, I tried my hand at ink paintings. There is much to learn, but it is amazing what you can do with a single brush. I also want to do some work on Washi paper that I bought from a lovely paper store near our Kyoto hotel after I feel a bit more confident.

The first painting is an homage to the many gardens that contained bamboo. The gardens are so amazing there, and as I show you a few travel sketches in the next couple of posts, you will see what I mean. The Japanese culture emphasizes purity of design. The second painting was made from my watercolor sketch and photos I took while visiting a traditional inn in the region of Hakone National Park. Getting there was exciting. We had some instructions, tickets, and reservations. None of us speak Japanese. We first took one of their sleek bullet trains to Odwara Station where we exited and located a local bus. We had our destination, Senkyoro Inn, written in Japanese by the Otani Hotel staff in Tokyo. That really helped, as did the English translations on the destination electronics on the train and bus.

The traditional inn was top notch. I read all about the etiquette. No shoes on the tatami mat, and special slippers for the rest of the inn. We all wore the traditional Yukata while indoors.

 



 We ate traditional food for dinner. Gorgeously presented, beautiful pottery and china, and many things we had never eaten. It was a culinary adventure.

Bob and I loved our suite of rooms. Here you are looking from the entry across a room into a long narrow room with a view of the mountains. To the left was the equivalent of our livingroom. Here they laid out the futons on the floor for the night while we had dinner. They removed them in the morning while we had our Western breakfast. They were amazingly comfortable, though we probably weren't the most graceful getting in out in the middle of the night. The inn featured natural hot spring fed baths. My friend Susan and I took one bath in the women's section. Then Bob and I rented a private bath for couples.

Stay tuned for more Japan sketches and photos.

Art Open House

“Perfect Match”

12” x 16” Collage on Canvas

“Mendenhall Glacier”

6” x 8” watercolor, matted and framed to 8”x 10”

 

 

An invitation to my open house. The art is hung and ready to go.

 

ART OPEN HOUSE

The Art of Place: Contemporary Life in Collage and Watermedia

Saturday, January 30

11 am to 4 pm

173 Giddings Court

San Jose, CA 95139

 

               Landscapes, people, and cherished objects in watermedia or magazine collage on canvas

Original Works from 6” x 8” to 36” x 36”

and

Items imprinted with art images

By

 Fine Artist Mary Paquet

 

 

 

*Visa, Mastercard, cash or checks are accepted should you choose to make a purchase