"Le jardin de Le Village" a work in progress.

The subject here is loosely based on a vegetable garden I saw on a trip last year. The idea for this painting struck me the moment I walked up to the garden. I tried to capture what I felt when I saw it with my own eyes. I could picture a figure existing or doing something in that environment. My reference is very deficient in many areas, but I use it for structural information. The ideal scenario would be to have the model on location, but that was impossible in this case. I hope when it is finished, one gets the feeling of sense of place that I was going for. This first step shows how direct my attempt at this particular one is. After ridding myself of the white canvas with a thin wash of relatively neutral color, I start with a few vine charcoal lines to indicate positioning of shapes in the composition….then, it is go for it all the way. I must say that this is not necessarily the easiest approach to painting something this large, but it is fun to test one’s observation skills…..and it is, if successful, very satisfying and a personal favorite way to start a painting.

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Step two is just more of the same….judging sizes of shapes and values.

Here, I’m getting this done quickly….like a careful block in. This might minimize the corrections or adjustments that will have to be made as I go along. It is amazing how it starts to slow down at this point…..which is not a bad thing. Parts of the painting process move quickly, while other parts seem to call for a slowing down, and more deliberate and careful application of paint.

This is a shot Marilyn took of me working on the painting. My wife occasionally sticks her head in the studio and helps me with stuff, like telling me what I need to hear, rather than what I want to hear. She also took this shot. I am between studio easels at the moment, and I have been working on a wall I built like the studio wall I had when I was an illustrator. It works fine, but an easel is more practical and efficient. I am sort of handy when it comes to building things like furniture type stuff, so I plan to build a large one from some plans that I bought. After researching the easel I wanted, the cost was incentive to try and build one. Hard to say when I will get to it, but it is on the to do list! When I get to it, it might make a good blog post subject.

This is the near finished painting that was done quickly over a period of time, due to a multitude of interruptions since beginning this large (for me this is large) painting . A happy face indicates that I do not hate this painting yet! We’ll see how it goes from here. I will post the finished painting later. Thanks for listening to my ramblings

"Scribbling in the Margins #2"

Oct. 5th, 2011, I posted my first "Scribbling in the Margins" post. This is number 2. I don't know how much interest there is in this type of imagery. As I mentioned in the first post, I do believe drawing and sketching are useful as a continuing practice, as well as an art expression in and of itself. Sketch books keep one's observation skills sharp. Read more in the previous post October fifth, 2011.

"Embracing the Internet, Facebook, and Blogs"

Step 1

Step 2

Step 3

"Walking the Ladies"18x24 oil on linen. I will let this sit for a while and tweak it later

"Embracing the Internet, Face book, and Blogs"

When it comes to computers, Internet, face book, blogs, etc., I am probably one of the least technical people on the planet. I have mixed sentiments towards all of this. Like many, I am usually reluctant to embrace new things. My interest in it is for the sake of promoting my art, workshops, and supporting galleries that represent me. When I think back on the fact that I was probably one of the last of my generation of illustrators to finally get a fax machine, it is hard to believe that I have embraced the present technology to the degree that I have…..not that I have even come close to understanding this stuff. My son has pretty much dragged me kicking and screaming into the twenty first century.

Back in my illustration days I used to use couriers to deliver overnight sketches to New York city from Ct. I did this for years, and spent wheel barrels full of money on these types of deliveries by all of the well known couriers. We also used the train conductors as couriers. Once I finally broke down and purchased a fax machine, I could not believe that I actually functioned the way I did without it. Once you had it you could not go back. It is like getting air conditioning in the South as a young lad…..once you had it, you are spoiled forever.

Before the advent of the Internet, face book, and blogs, I never thought much about articulating thoughts about my work, or art in general. I can only speak for myself of course, but I think blogs and face book are one of the most useful tools artists have been given to express themselves, and to expose their work to a very large audience of like minded folks….that have a common interest. I feel that I personally never have anything that profound to say….just simple personal observations that could possibly resonate with others who have the same interest, or passion for painting and drawing.

The thing I really like about all this is, that one can put images up and, it seems to be a real good system for getting feedback. One can get a feel for what strikes a cord with a majority….and also what does not get so much attention. I get a lot of reaction to some images and others only marginal response….and that is expected. I’m not saying that this is an absolutely accurate measure, or test of work, but it does give one some indication as to whether one has done something that others respond to. It is almost like having a marketing tool at one’s disposal. Comments on Face Book for example….One always hopes that responses, or comments, are based first on an emotional reaction to the work….. as well as the technical aspect of it. There is no pressure to comment or not, so one would assume that when a comment, or a like is posted, it is because someone is reacting to an image for what ever reason. Before a painting makes it to a frame, one can get some idea of how it will be received. This is of course not a fool proof method. It may not work at all, but I think it is better than dancing alone. Of course one can always do what I do most of the time……listen to my wife. Marilyn is pretty good most of the time. It is hard to be objective about your own work at times. It is nice to have someone you trust to tell what you need to hear, and not only what you want to hear.

The other thing that comes to mind is….what if my generation of illustrator would have had the technology that exists today? It would seem to follow that it would have been so much easier to promote ones self. Until recently, I have never done much self promotion, with the exception of ads years ago through my rep. Everyone would obviously benefit from more advertising and some type of self promotion. I think this new world of instant exposure allows one to do some of this without all the tremendous economic hardship of magazine ads, posters, etc. These are the kinds of silly things that bounce around my head when I’m on my daily walks along the inter-coastal. As always, these are only my personal opinions and observations, and do not necessarily reflect any universal views on this subject. Thanks for taking the time to listening to my ramblings.
　

"Newest Small Studio Paintings"

This old flatbed truck came from a trip to a wonderful piece of property in my home town. On a recent trip to a class reunion, the owner of this great little bed and breakfast, Le Village, in Eunice, Louisiana has this old truck sitting like an old rusty piece of sculpture on the property. Of course my love for old rusty things made this an irresistible subject for me. It is only a 9x12 done very quickly, so not much time was invested. I just wanted to get it out of my system. There are, however, many scenes on this five acres that I have plans for paintings. Figures in landscape mostly. I am a little excited about the possibilities. The title of the painting is "Felicia`s Flatbed" named after our host and friend Felicia.

This little nocturne is from a trip to a farm a few years ago. I go back through reference occasionally and see things that I somehow over looked, or missed for one reason or another. This was a herd of grazing horses....there were six originally. I turned the shot into a black and white to see the values, and it suddenly looked like a night pasture, so I made up the color and used the values and information to make it a night scene. I usually do not do this sort of thing, but if it conveys the idea of night, then I think it is OK to do that. I would prefer to have experienced the actual night shot. I don`t know how convincing it is, but I like it, and ultimately that is what counts.....for me.

"Last Three Studio Painitings of 2011".

"Mystery of the Monarch" 24x20 oil on linen

These are my last three paintings for this year, 2011. This first painting, "Mystery of the Monarch",has been kicking around the studio for a few weeks. It was, as they say, done quickly over a period of time. It started out with a figure in it, and evolved to this......not sure if is a better solution than the one I started with, but I like it!

"Peaceful Summer Afternoon" 16x30 oil on linen is a larger version of a small painting I did last summer....."Summer Afternoon" 12x9 oil on linen. I always intended to do a larger one when I painted the study. There are always things that I am happier with in the studies, but overall, I think it translated fairly well into a bigger piece.

"Summer dreams and Smoked Mullet" 22x28 oil on linen

It will be interesting to see how this painting will be received. The customer base for this type of painting might not be as broad as some of my other subjects, but I think good bad or indifferent, I felt like I had to finish and not abandon this one. I consider it done, but who knows, I might tweak it some more in 2012. Happy New Year to all and I`ll see you next year.

"Recent end of the year oil studies 9x12 and under....for possible paintings in 2012"

9x6 oil on linen panel

10x8 oil on linen panel

9x12 oil on linen panel

8x12 oil on linen panel

6x9 oil on linen panel

"American Bison" 6x9 oil on linen panel

"At Creekside" 6x9 oil on linen

Just thought I would post a few things at the end of the year. I did not want anyone to think I was slacking on the job here! These are little, very quick sketches done in oil on little linen panels. I don't always do preliminary studies before starting a larger piece. If the idea is firmly resolved in my mind's eye, I will go ahead and start. There is no best way, or only one way to do this. Sometimes it is just fun to do the small ones, and if they are reasonably successful, they can be sold or given to friends, family etc. Most of these do not even have titles yet. Some may not make it to the larger format. Anyway, Happy New Year everyone.

"Plein Air Painting"~Style, or Process.

" Sunday Afternoon" 9x12 oil on linen

"Spanish Point" 12x16 oil on linen

Recent conversations about Plein Air painting have me thinking about what I believe is a misconception many have about plein air painting, and what it really is. I can remember when the term for studies, or paintings done outdoors was Field Sketches…….now Plein Air seems to be the universal term everyone uses for outdoor painting. Plein Air is actually a French expression which means, In the open air. Artists have been trying to capture the natural light outdoors since before the turn of the century…..1870s the Naturalist and the Impressionist were the strongest proponents, and passionately pursued this type of painting.

Some folks think that plein air is a style of painting. There may be some who teach plein air as a painting style. The problem with teaching any style is that, as beautiful as they might be, sometimes it might be difficult to distinguish one from the other. I personally feel that plein air painting is not a style of painting. It should not be thought of as a style, but the actual act of, or process, of painting out doors. Many artist do large compositions outdoors taking several days to complete…..this is still plein air painting. There almost always seems to be a freshness, or spontaneous immediacy to paintings done from life, but one does not have to necessarily change the look, or style of one’s paintings just because one is painting plein air, or outdoors. It really does not make sense to think of it differently. Of course, I am only speaking for myself. The only difference would be of time management, weather conditions, or anticipation of possible light changes.

I personally try to have my studio paintings, and my plein air paintings look as though one could not tell whether it was done in studio, or on location. That does not always happen of course, but then all paintings are not always successful…..but, it is my intent to treat them the same. I have some paintings that I think satisfy that criteria more than others, and after being set aside for sometime, it is difficult to tell which are plein air, or studio paintings. I am not a pure plein air painter, and I actually spend more time in the studio, but I know the value of painting from life, or outdoors, makes me a better studio painter. If nothing else, it teaches one to recognize the deficiency of photo reference. Cameras capture technical information wonderfully, but unfortunately cannot see what the human eye can see……when it comes to interpreting what one observes.

Obviously, the time restraint of light outdoors requires that one either work on a size that is manageable for one short session, or one has to come back to that location on subsequent days (with similar light) to complete a larger composition. I heard, or read, something about this subject once that made sense to me…..“when in the studio, pretend that you are on location and use your experience from painting from life, and some of that immediacy and freshness might be conveyed in the studio work“, or something to that effect. It is something that I am always conscious of, and certainly something to consider. I am sure there are many views on this subject, and it probably has been discussed and pondered with all views being valid. Being that I am a studio painter, and a plein air painter, this is just a personal observation that I wanted to share, and certainly does not necessarily reflect a universal attitude towards this subject.