Here is the last of the peach bowl paintings and the last one for the year from me. It’s sort of an odd composition and cropping but we ended up liking this one best and I did the 48″ x 48″ with this layout. That one is not done but I’ll post it once it’s finished up. Happy new year!
Here’s the third of the 6″ x 6″ Peach Bowl paintings. It’s almost identical to 2017 and the only real difference is the angle and cropping of the bowl. It felt too symmetrical in 217 so I tried to vary the weight a little bit.
I felt like something was off with the earlier Peach Bowl paintings and decided to step back and think about the way I was approaching it. Instead of doing the Burnt Sienna underpainting, I had jumped straight to the color and so I decided to try one as a monotone. In the Richard Schmid book, Alla Prima, he talks about monotone paintings being basically drawings. So, with this version, I was basically taking some time to stop and draw the composition before moving on with the color.
Here is the second of the peach bowl paintings. I was trying a different arrangement here to look at more of a 3/4 view vs. directly above. I never really got this one where I wanted to. The blue shadows on the bottom are a little too hot but it was worth a shot.
This is a little painting of a watering can on our back porch. After not painting for a couple of weeks I felt like I needed to do something, so I grabbed the pochade box and knocked this out one afternoon. It’s not great but sometimes you have to take a simple, and possibly clumsy, step to start walking again.
For the last few years, Randy Higbee Gallery has put on a show titled “6” Squared” where hundreds of artists all display 6″ x 6″ paintings. A few weeks ago, I received an email announcement about submitting artwork for the show and decided to give it a shot. Each artist was allowed to enter three paintings and I had two in my “private collection” (read: unsold), so I decided to paint one more to round out my group.
Leslie and I had visited Barnsley Gardens this past August and I took a ton of shots while we were there. If you are not familiar with the story, this guy named Godfrey Barnsley built an amazing house out in Adairsville, GA back in the 1840’s. His wife died while they were completing it, the civil war happened, it was struck by lightening – classic Victorian struggles. Like something out of a Henry James novel. Today, you can walk through the ruins of the house, and they’ve resurrected the original formal gardens. Needless to say, there are endless things to paint there. With my remaining 6″ x 6″ slot I chose one of the views from that trip.
I sent in my three paintings a couple weeks ago and, to my surprise, this little guy made it in. I’ve never submitted work to any kind of juried show and, for that matter, have never even been in any real art show. So, No. 216 is currently in Costa Mesa, CA getting framed and ready to be hung in the show. The opening is December 7th if you happen to be in the area and runs through Christmas.
No. 215 is a painting of a little planter we have. It’s in the shape of a bicycle and was extremely tricky to paint because it’s basically made of thick wire vs. being a solid object. I really liked the way the afternoon sun was falling on the porch and was trying to capture that.
Here’s the last of the Table for One paintings for now. For this one I did the whole painting in one pass using Burnt Sienna to give it more of a cohesive feel. If you’re going to do monotone, do monotone – not white, etc. I’ve always loved the vibe of these paintings but this one really seemed to say what I wanted it to say. Which does not happen often, so that was fun. I don’t think my skill level is to the point where I can translate this into color but it it feels great, at least, to realize it in this form. Got a bunch of new stuff starting this week.
This is a variation of 210. I liked how that one turned out but wondered if it was a little too tight. So, the goal with this was to keep a similar composition but make the brushwork a little more loose.
No. 212 is a sort of throw-back to No. 27 from 2010. It’s not really a copy of that painting but was painted it from the same spot so it feels the similar. It’s insane to look at the two side-by-side to see the differences between now and then. I don’t think I could have possibly painted something like 212 back then. A big difference with the two is that 212 was painted plein air at the park whereas I worked on No. 27 for days.