Small Pieces - Channeling Wayne Thiebaud?

"Summertime"
5" x 7""
Acrylic on Matboard

"It's the 40's"
5" x 7"
Acrylic on Matboard

Entryway display

I've always loved the shape element. Perhaps that is why I so enjoy the work of Matisse. For my art sales, such as Silicon Valley Open Studios, I like to offer some small, very modestly priced original work, especially in these challenging economic times. If you read my first post about the Wayne Thiebaud talk, you saw my experiment with acrylic on mat board. Bob always ends up with some mat board scraps, in spite of his great knack for cutting sheets economically. Yesterday afternoon, I got out my life drawings of Jane Ferguson that I did at a session to benefit Doctors without Borders last month. Here are two that I've completed so far. I have a stash of small mahogany frames, and these little pieces are very charming on my decorative shelves in the entry where I display multiple pieces of art.

The white line drawing was my first piece as that was my original design concept. I also love the line element. Then I found myself wondering about using color on the brown mat board. I drew each of these from my original sketches using vine charcoal. As I did the second piece, I liked the look of the charcoal line and recalled Jean Pederson's wonderful use of line with her very beautiful paintings of people. (Take the link and especially look at "Harlequin" that appeared on the cover of Artist Magazine. See below for information on a Jean Pederson workshop.) I used liquid black gesso to do the line work on "Summertime." All the while, I was recalling Wayne Thiebaud's statement that "Everything we paint has components of what was."

Jane Ferguson, my model, is one of my favorite artists. Yup, I am being repetitious. Jane scours second hand shops for interesting clothing for her modeling sessions, and she did about a half dozen costume changes. Jane happens to be one of the most accomplished artists in the Santa Clara Valley Watercolor Society of over 400 artists.

In 2012, I will be coordinating a Jean Pederson workshop for the society. We have many "big name" artists scheduled over the next few years, so be sure to check our schedules. If you are coming here from out of the area, we can recommend reasonable places to stay.

Fall Squash in Drawing Class

"Fall Turban"

14" x 12"

Pastel

One of my fellow students bought this beauty while visiting in Pescadaro on the coast. I decided to use pastels and did not have the exact color so I layered yellow-green, black, reddish brown, and deep green. The highlights are a pale grey and the squash surface has some golden yellow. I was pleased that Bob liked what I did. He suggested I add a bit of reflected light into the shadowed underside of the squash, so I used the golden yellow from the table covering. I learn so much about seeing and rendering values from my drawing instructor, Bob Semans. The mastering of faithful rendering is a years-long process, but I can see the work paying off in my paintings.

While doing the bicycle/light rail trip to class, I always have some time to read. Today I studied John Vanderpool's, "The Human Figure, " first published in 1935. The book is on our reading list for the drawing class. John analyzed and recorded the human figure in mass and detail. There are numerous illustrations with each section that deals with a facial feature or body part. Bob always says "we draw what we know, not what we see." Increasing our knowledge of structure, value, light, and perspective will allow us to draw what we see. On the morning ride I studied the eye, learning about the planes, the orbicular muscle, and everything about the structure of the eye and how it is affected by reflected light. On the afternoon return trip, I studied and drew the mouth from different perspectives and made some notes. The mouth is a very complex structure. When I analyzed my charcoal and conte of Gina last week, I mentioned that the right eye and the mouth needed work. I will apply my study to improving the life drawing.

At our Thursday night art group, I transfered my drawing of Gina to watercolor paper and started a wet-in-wet painting using a method described by Jean Pederson in her book, "Expressive Portraits: Creative Methods for Painting Portraits." I'm about a third done. I will also be starting work on a commissioned piece this week and traveling to Asilomar for thee days at the "Carmel Paint Out" sponsored by the Santa Clara Valley Watercolor Society for plein air painting on the coast. If you take the link to the society website, I am the person in front on the left in the featured picture of the plein air group at Uvas Falls, a beautiful area in the hills just 10 miles from my home. /p>

Another cyclamen

"Hardy Cyclamen 2"

11" x 14"

Inspired by Annelein Beukenkamp and Jean Warren, I'm enjoying layering and negative painting with the flowers from my garden. Here's another cyclamen that thrives on cold nights done in a bit larger format. I first drew the flowers lightly with pencil. I then applied washes all over the paper in a very wet manner so the washes ran outside the lines. After the paper dried, I drew the leaves and stems with a green watercolor pencil that would dissolve as I painted. Using both negative and positive painting, I responded to the washes to develop the image. I will include this painting in the Silicon Valley Open Studios on May 9 and 10.

The other day I found out that the Webmaster decided to feature a photograph of three of us plein air painters at the waterfall in Uvas Canyon Park on the home page for the watercolor society. I am the person sitting on the ground on the left on the day I left behind most supplies that I needed, including my three-legged stool. http://www.scvws.org/ In a few months this photo will be replaced by others more current. Last night, Jenny asked me to send her the Rosicrucian Museum piece as she wants to feature it and a couple pieces from others on the watercolor society plein air page.

I was reading my latest Artist Magazine and found a mixed watermedia portrait by Jean Pedersen, a frequent contributor the magazine. I just love her work. There is a link to Jean's blog to the right.

Argentinian tango dancers

" Argentinian Tango Dancers"

We returned last night from a conference in Washington, DC. Yesterday morning before leaving I had a bit of time to complete this painting. Bob and I take ballroom dance classes, and I love art that features dancers. While we were on the cruise in South America, we danced every night, but we could only watch at the Milonga (the Spanish word for a venue for Argentinian tango) as South Americans did beautiful renditions of this dance. We only know Ballroom Tango, which is really quite different. We saw a wonderful tango show on the ship, and the following day, the performers taught a tango lesson. We ended up taking two private tango lessons from the performer's brother, Leandro, and his wife, Sol, in Buenos Aires, and they were excellent teachers. Now we are signed up with an instructor at our dance studio for Argentinian tango. George used to teach tango in Buenos Aires.

I mentioned two artists in my previous post and added a link to Jean Pederson's blog. The link had a problem, but is working now if you would like to check out her blog and her website. She is a wonderful artist.

Two artists that I admire

" Leo and His Ladies"

What does a flock of chickens have to do with the title of this blog entry? Let me explain the convoluted connection. This feisty, handsome, blond rooster lives in North Danville, Vermont, in a coop on my son Jeff's family property. I will never forget the day he attacked me as I went unsuspectingly down the steps from the porch and landed his spur in the front of my shin. Jeff had to rescue a screaming and bleeding mom from Leo. He does protect his flock and he is gorgeous. When there are extra eggs in the summer, granddaughter Kelly sets up the honor stand with it's bright sign, "Leo's Ladies Eggs." Some devoted patrons make their trek up the back roads to buy all they can get. I painted this picture one year for Beth's birthday and it hangs on a kitchen wall. Today I want to talk about two great artists, and one of whom paints handsome Vermont roosters.

Check out the work of two artists that I greatly admire: Jean Pederson and Annelein Beukenkamp. I'm hoping to get them onto the West Coast for workshops.

Jean is a wonderful artist from Calgary, Canada, who paints in various watermedia. Her book "Expressive Portraits" is a terrific resource, especially if you like to paint people. I first learned of Jean through articles in art magazines. When she published her book, it went right on my Christmas list. Jean not only paints people, but she also does gorgeous still lifes and landscapes. You can check out her website here:

http://www.jeanpederson.com/

A link to Jean's blog is on my list of blogs to the right so you can keep up with her latest works.

Annelein I found through Myrna Wacknov's blog. Myrna loves her work and so do I. Annelein paints in transparent layers. You have the sensation of seeing through objects. She often paints from the perspective of looking down on the objects. Recently she began experimenting in oils, though she hasn't posted any yet. The fact that Annelein lives in the state of Vermont where I grew up and where my sons and much family live just makes her ever more special to me. Annelein does lots of florals, roosters, and landscapes. She is very accomplished and has licensed her work to some prominent businesses and organizations. You will find her website here:

http://www.abwatercolors.com/

You can link to Annelein's blog from my list of blogs to the right.

I head to Washington, DC, tonight for the League of American Bicyclists Bike Summit 2009. Bob and I are instructors and coaches for the League, and in the time of diminishing resources, we are big believers in bicycles for transportation. (We practice our beliefs - we carried home a $130 worth of groceries with our bikes the other day.) We will be meeting with members of Congress to focus on transportation accommodations. I will likely not post anything until my return the following week.