Haiku - In The Deep, Dark Cave

 

In the deep, dark cave,
There isn't light that can shine,
But the light of man.

The hidden beauty,
That Nature squirrels away,
Man's light makes splendid.

Praise the spelunker,
Who roots out the passages,
and gives them to us.

Nobody's Home

Nobody's Home

 

Does it mean "Nobody is home"? Or does it mean "This is Nobody's home"? Or, perhaps, does it mean "This is a nobody's home"?

Whatever the meaning of the title, one would hope that this is "The Road Less Traveled'.

With this post I am introducing photography to my Art blog. I have submitted this photograph to The Artist Challenge, the challenge being "The Road Less Traveled". I will change the information regarding this blog to reflect the change in focus, or, rather, the addition of photography as Art to this blog.

Sudden Storm

The painting pictured below is called 'Sudden Storm', as it depicts one of those quick hitting, fast moving, low running storms that roll in from the sea from time to time. This is the second depiction of the little boat. What I've learned from this one is going to take me back to its predecessor to rework some elements of the piece that I've been vaguely uneasy with all along.



It's an 11x14 oil on gessoed canvas covered board, toned with an acrylic base. You see the painting as it sits on the easel - still wet and unshippable. There was no Terp or medium used to extend the paint - it also means the drying time will be extended - all the paint was straight from the tube and mixed on the brush. The work is Ala Prima.

This is the first painting I've done which is not going to live with me. It was done for a friend in return for a kindness. So the painting is going to Denver to live on the wall near the front door of her home.

I suspect this is not the last time I'm going to paint this boat. I think I want to paint it in a sunrise, with the sun rising out of the horizon and shimmering across the water. I also want to paint a lazy summer afternoon with it - one of those clear days where the sea is smooth as glass and you can see forever. And maybe a windy, breezy day, as well. With a deep blue sky and small, puffy white clouds out over the horizon.

Yeah, that's the ticket. Over the horizon ....

Just Before The Storm

 

This is an oil on canvas covered board, 11x14. It is an exploration of a technique suggested to me by my teacher, Marilyn Dale. It was the initial attempt at the technique and as such (as far as the technique goes), not very good. However, as a painting, I like the piece.

The technique is this: Cover the canvas with a thin medium tone Burnt Umber. Use a cloth to wipe away paint and create the light areas of the piece. Add darks with undiluted Burnt Umber and feather (where necessary) with a dry brush. Sounds easier than it is.

After Zach

The reason the image below is called "After Zach" is even though it's a painting for which Zach is the 'model' (actualy, a photo), it is not an exact likeness. Just as an artist will sign a copy of a master with a signature that acknowledges the fact that it's a copy, and not the original, and in doing so sign it "After Monet, John Jones" - or whatever the artist's name is. This is a 'copy' of Zach - or a piece 'inspired' by Zach, but not Zach. That said, people who know Zach recognize him in this painting. I have that on good authority.



This is an oil on canvas, toned with acrylic. I chose to use a heavy texture in the tone, instead of just a smooth,neutral tone.

The painting is spare. I am still learning how to use shape and texture to define a subject. As you see this, the paint is still wet. I haven't even signed it yet.

Guess who

We had our last art class this morning. Last of this series, anyway. There will be more classes in the fall. What you see below is what I did in class today. The subject of the class, should you not have guessed by now, was "Self Portrait".



It has always been so hard for me to judge my work. I suppose it is for any artist.
I suppose, also, that's why we look to others for approval. We ask others to judge our work. I know I am not a Rembrandt, a Picasso, a Vikki North or a Fred Zigler. Each of them are accomplished artists who have found their 'voice' and established their style. I am still seeking my voice. Although I find I like working this loose style I've found in this one and in the still life I just did two weeks ago. Broad strokes, light and dark, little detail or precision.

I like this piece. It even looks like me - which I find amazing. I was SO intimidated by the thought of even attempting a self portrait. I won't be so hesitant in the future.

Ala Prima Still Life - from class

This morning I took a vacation day from work and took a class with Marilyn Dale, the woman from whom I have learned so much. This was the first of three classes. This one was 'Working Ala Prima' - which means, essentially, the whole painting is done in one session. Detail isn't as important as seeing and reproducing the relative values of light and dark. The painting I did is below:



When one works 'Ala Prima', or at least if one works as we were taught today, the painting starts by toning the canvas. We used a Burnt Umber acrylic, thinned way down with water, so it would dry quickly. Once the canvas dried, we took a thin brush and a neutral oil color, thinned with Turpenoid and made an outline drawing of the piece. When working Ala Prima, it is very important to draw well. I need to do more of these to kind of figure a few things out, but I DO know that if I were working as I normally do (layered painting) this painting would look much different than it does. Better? I don't know. But absolutely different.