Monday, February 4, 2019

30 Paintings in 30 Days, Part 3

Here are the last ten paintings from lasts year's 30 Paintings in 30 Days Challenge.

9 x 12 Oil on Masonite Panel
Continuing the overcast day themed paintings, this one was inspired by areas near Berkeley and Westover Plantations in Charles City, County. 

12 x 9 Oil on Masonite Panel
In these paintings, the humidity of Virginia Spring and Summers influences the atmospheric effects. The figures have been added not only for scale, but to create a narrative. Kudzu covers the trunk of the tree in the foreground, which is a common sight of this invasive plant throughout the south.

8 x 10 Oil on Masonite Panel
Forest creeks in Prince George County inspired this scene along with some Corot paintings. Bailey's Creek and Wall's Run were two creeks I've explored a bit growing up. When I was a kid my father told me about a large prehistoric shark's tooth that was in Bailey's creek on Fort Lee. Whenever I would explore the creeks I would search the gravel for artifacts. 

6 x 12 Oil on Masonite Panel
This sky was inspired skies I had seen in Seattle last year. I decided to take memories of those skies and put them in a Virginia landscape.

5 x 7 Oil on Masonite Panel
Getting back to twilight tonalist painting on this one, I used Rublev Colors' Orange Molybdate for the red/orange glow at the horizon.

6 x 9 Oil on Masonite Panel, Private Collection
This painting was among my favorites I had painted during the 30 day challenge. I loved the colors so much I want to do a painting in the future with similar lighting and color.

6 x 9 Oil on Masonite Panel
Springtime in Virginia during a shower. I wanted to push the atmosphere in this painting not only to create depth, but also to capture the effect of a springtime shower while keeping the focus on the tree and figure in the foreground.

6 x 9 Oil on Masonite Panel
This one was inspired by a sunrise I saw on December morning, during a run in Seattle at Maple Leaf reservoir park. It was amazing watching the sun appear through the early morning fog in pink and lavender colors. Once again I put the sky into a Virginia landscape.

6 x 9 Oil on Masonite Panel, Private Collection
George Inness inspired this painting which I set among young pines in Virginia. The figure and dog walk through tall grass as the day ends. Chrome Green, Chrome Yellow Medium, and Orange Molybdate dominate the scene along with darker tones which were created with either a burnt umber or Bone Black.

6 x 12 Oil on Masonite Panel
This was the final 30th painting in the 30 day challenge. By this point I was exhausted. Coming up with ideas from my imagination and memory was not easy. I would like to do the 30 day challenge again, but this time paint a variety of subjects such as dogs, still lifes, portraits, and of course landscapes.

Wednesday, January 2, 2019

30 Paintings in 30 Days, Part 2

This post covers paintings 11 through 20 of last year's 30 Paintings in 30 Days challenge. I talked about it in a previous post. For these paintings I continued to explore tonalism, but I also was inspired  by Corot. Once again here are ten paintings with some commentary on each piece.

8 x 10, Oil on Masonite Panel
This one was the first of larger paintings during the 30 Day challenge. Up to this point I was painting 5 x7 and 6 x 8 paintings. In fact the day I painted this one I also painted a 5 x7 which is the last painting seen in my previous post. For this one and the 5 x7 I began to use Rublev Colours Wilson's Medium. I think I continued to use it for the rest of the paintings. I'll talk more about that medium in a future post.

5 x7, Oil on Masonite Panel
This one was inspired by George Inness. I didn't talk about my palette yet but some of the key colors I was using for many of these paintings was Rublev Colours Chrome Green, Cinnabar Green, Chrome Yellow Primrose, and Chrome Yellow Medium. The Chrome Green was used to create the green/blue skies and dark green foliage. It is a green I recognized in many George Inness paintings.

8 x 10, Oil on Masonite Panel
Most of the paintings were from my imagination, inspired by rural Virginia. This one is of City Point, Virginia based on a plein air watercolor I painted in April 2017 and memory. It shows a view on the James River looking south towards Jordan's Point. I wanted to get more atmospheric with this one. I did repaint it last summer, and I'll post that one as an update to this post in the future.

6 x 6, Oil on Masonite Panel
I had just received Rublev Colour's Orange Molybdate which I had never tried before. Two of my painter friends recommended it and I decided to give it a try. It quickly became a staple on my landscape painting palette, replacing Rublev's Minium. I'll talk more about this lovely red-orange in a future post.

8 x 10, Oil on Masonite Panel
More Orange Molybdate in this one. 

8 x 10, Oil on Masonite Panel
My first nocturne, another painting inspired by City Point, Virginia. This time it's a view looking north showing the James and Appomattox Rivers along with the factories in Bermuda Hundred. Rublev's Maya Blue and Blue Black dominated this painting.

6 x 6, Oil on Masonite Panel
With this little painting my landscapes veered off into a different direction inspired by Corot. I became interested in painting cloudy, rainy days depicting the dampness of the landscape.

8 x 10, Oil on Masonite Panel
This one was among my favorites and I would like to paint a larger version in the future. The gray of the sky is warmer because I used Rublev's Black Roman Earth.

8 x 10, Oil on Masonite Panel
Missing fall in Virginia because most falls in Seattle have been wet. I do admit fall 2017 in Seattle wasn't too bad and among the driest falls since I've lived there. The lone figure with his dog reflects the solitude we can find in nature. Though the person in my painting carries a rifle for hunting, I think of the hours I spent metal detecting during falls in Prince George.

9 x 12, Oil on Masonite Panel
I began to paint larger at this point, still inspired by Corot and cloudy days in cloudy days in Virginia.
 It wasn't until recently I had begun to appreciate the beauty of rural Virginia, even on a cloudy day. This painting expresses that sentiment.

Thursday, December 27, 2018

30 Paintings in 30 Days, Part 1

Last year about this time I painted several small landscape studies because I wanted to experiment with color, composition, and mood. After making a painting a day for almost a week I decided to challenge myself and create 30 paintings in 30 days. It was a success though exhausting, but I feel it made me a better painter.

Most of the paintings were tonalist, a style which I had been interested in since Summer 2016. The 30 day challenge allowed me to explore tonalism and I enjoyed creating mood and atmosphere in my landscapes. In addition to tonalism I was inspired by Corot whose Barbizon landscapes inspired the later American tonalists.

The landscapes were also inspired by growing up in rural Prince George, Virginia. For the past couple of years I had wanted to paint landscapes inspired by the place I grew up. I created a few paintings, but they were in turn inspired by 18th Century Colonial Virginia. This series of paintings focused on my connection to rural Virginia and the beauty of the countryside depicted in the tonalist style.

Here is the first ten of 30 paintings in the order in which they were painted along with some commentary on each piece.

 6 x 8, Oil on ACM Panel
The first of the 30 paintings, inspired by the farm of a family friend in Prince George, Virginia. I used to metal detect on her land in search of relics from the Colonial period through the early 1800's. Often I'd stay til twilight hoping my metal detector would find something long lost and forgotten. 

6 x 6, Oil on Masonite Panel
This one was inspired by the James River Plantations in Charles City County, looking west across the James river at sunset.

5 x 7, Oil on Masonite panel
Sunrise when the fields are covered in morning dew. 

5 x 7, Oil on Masonite Panel, Private Collection
Summer Sunset in Prince George County.

6 x 8, Oil on ACM Panel
In the past decade parts of Prince George County have seen the development of land cleared for new houses and subdivisions, especially with the expansion and growth of Fort Lee. This painting was inspired by rugged tracts of land that had been cleared of the forests. 

5 x 7, Oil on Masonite Panel
I was inspired by the oppressive humidity of a hot Virginia Summer. I miss Virginia, but not the heat and humidity. 

6 x 8, oil on ACM Panel
Originally was a winter landscape-no snow, but reworked with asphaltum glazes last June.

5 x 7, Oil on Masonite Panel
Sunset during a Virginia Summer.

6 x 6, Oil on Masonite Panel
This one was not a Virginia inspired painting. I wanted to try something with a pond.

5 x 7, Oil on Masonite Panel
This little painting is among my favorites. I love putting people (and sometimes their dogs) into my landscapes. It speaks to the human experience with nature and the moments in which we find peace or behold the evening light in awe. 

Sunday, December 16, 2018

Still Life Paintings 2018

I haven't posted to my blog since earlier this year but I plan to post more regularly! There's so much I want to share regarding plein air adventures, books, technique, materials, and the art I love.

2018 has kept me busy painting landscapes, portrait studies, and still lifes. Recently I counted all of the paintings I made since January 1 and it's over 100! This is the most I've ever painted in one year. Since February I had painted a number of still lifes. Here are some of the paintings along with one from 2016. All of these were painted from life using props from my collection.  I posted them in chronological order from oldest to recent. Some paintings are still available through Eggleston Goetze Art Advisory

Song Dynasty Cash Coins and Vermillion Pigment, Oil on Masonite Panel, 6 x 6

Crayfish and Berkemeyer Glass, Oil on Masonite Panel, 8 x 10

Pomegranates and Berkemeyer Glass, Oil on Masonite Panel, 8 x 10, Private Collection

Doughnut and Anole Lizard, Oil on Masonite Panel, 5 x 7, Private Collection

Doughnut and Rhino Beetle, Oil on Masonite Panel, 5 x 7

Blood Orange and Roemer Glass, Oil on Masonite Panel, 9 x 12 

Shirley Temple Cupcake, Oil on Masonite Panel, 5 x 7, Private Collection

Crayfish, Oil on Masonite Panel, 5 x 7

Oysters and Roemer Glass, Oil on Masonite Panel, 11 x 14, Private Collection

Florida Fighting Conch and Striped Fox Shell, Oil on Masonite Panel, 6 x 9

Seashells, Oil on Masonite Panel, 6 x 9

Still Life with Horseshoe Crab, Crayfish, Berkemeyer Glass, and Vole Shell, 
Oil on Masonite Panel, 11 x 14

Lemon with Small Roemer Glass, Oil on Masonite Panel, 12 x 9

Pomegranates and Anole Lizard, Oil on Masonite Panel, 10 x 8

Pomegranates, Small Berkemeyer Glass, and Anole Lizard, Oil on Masonite Panel, 12 x 16

Friday, February 9, 2018

Discovery Park- Plein Air to Studio Painting

I recently completed a studio landscape of a view in Discovery Park, Seattle, WA. This post shows my painting process and how I used various plein air studies to create the larger painting.

September Sunset, Discovery Park, Oil on ACM Panel, 12 x 20, 2018

Last September 10, 2017, I painted at a spot in Discovery Park I had never painted from before. I noticed that the tall grass had been cut in one area surrounded by hedges and I decided to check it out. I really liked the view of the Puget Sound and Olympic Mountains framed by the trees to the left and right. I decided to set up on a little slope among blackberry bushes.

This is how the view looked at 5:50 PM as I was setting up my pochade box. I immediately got to work sketching out the composition on a 8 x 10 panel.

An experienced plein air painter knows how the light can rapidly change this time of day. At 6:20 PM the light and shadows were looking nice.

This is what I had at that point- composition worked out, shadows established, and washes of local color started. At this point I waited a bit until the light got even better. That's what I often do when I'm painting this time of day. Earlier in the session I have my composition worked out, basic forms painted, then wait for the brief moment when the light is beautiful.

Often as I'm painting in public places it's interesting to hear the conversations people have as they pass by. Some of them are hilarious. On this afternoon I heard a boy who must have been 5 or 6 say to his mother, "So you're telling me that sharks don't live in water?!" His mother was equally irritated as her son replied," That's not what I said! I said that sharks are not living in water here at the park!"

At 7:44 PM this is how my session ended. I had enough information to take back to the studio and work with.

Discovery Park Sunset Study, plein air painting completed in the studio from memory, oil on masonite panel, 8 x 10, 2017

A few days later on September 16 I completed refining the plein air study in the studio, working from memory and my imagination. The painting is mainly about the light I observed and I moved a few bushes changed the forms of the trees a bit.

I liked my plein air study and I wanted to turn it into a larger studio painting. Using a 12 x 20 ACM panel I wanted to make the composition wider. I began this last November, blocking in an underpainting. It sat untouched for a few months because I was occupied by other projects.
The underpainting

I decided to continue working on the painting on January 19. Using James Groves Copal Gelling medium I started the over painting. I changed up the composition moving trees and eliminating bushes. 

As you can see I changed the shape of the trees to the left and right. I also began painting figures into the composition. 

On January 26 I completed the painting. Comparing the light in my plein air study to the studio painting you can see I went for a golden yellow/ orange glow. The light at Discovery Park is beautiful when it looks like that and that's what I wanted to capture in my painting.

I posted the painting on Instagram and one of my followers told me, "You did a great job capturing the beauty of this park. This is where me and my husband had our first date almost 12 years ago. Thank you for sharing!"

That's what my landscape paintings celebrate- the beauty and our connection to these places we love.