Thursday, December 10, 2015

A New Gallery

Hi Everyone.  I hope all of you are enjoying this incredible weather we are having.  After the last few freezing winters, I'm thrilled to be sitting here with my windows open.

I have some exciting news to tell you.  I have paintings hanging in a gallery!  This is my first time hanging in a gallery and I am beyond excited.  Sharon Pearsall, owner of the Chelsea Gallery in Huntington (LI) New York, invited me to hang some paintings in the gallery for a few weeks.

The Chelsea Gallery is a gallery, studio and workshop space right off main street in Huntington.  There is a lovely show hanging there now, lots of florals and still lives.

These are the paintings that I have in the space.

Sunflowers And Apples, 14x18, oil

Blue And White Vase With Fruit, 16x12, oil

Abingdon Square Market, 11x14, oil

The Purple Flowers, 12x16, oil

If you are in the Huntington, Long Island area, please stop in and check out the gallery.  There are some wonderful paintings hanging in there and you may just find a holiday gift for yourself or someone else.

Thanks to Sharon for this wonderful opportunity!

Chelsea: A Place For Artists Gallery
8 West Carver Street
Huntington, NY  11743

Sunday, December 6, 2015

Art Inspires Ashland Painting Workshop

A few weeks ago my teacher, Gregg Kreutz, did a painting workshop in Ashland, Oregon for
Art Inspires Ashland.  The Ashland Art Center put on talks, workshops and panel discussions for the weekend.

Since Gregg is my teacher and two of my best buddies live in Ashland, I was thrilled to be a part of the workshop.

Gregg was doing a workshop with still lives and a model, so we started out by setting up the still lives for people who wanted to do that.

Doing still life set ups for a workshop is a bit like being a stylist.  You get a bunch of flowers, fruit and props and arrange them until you have a set up that is pleasing to the eye.

  We also set up a model on the opposite side of the room.  The artists in this workshop were fast painters, unlike me, so many went back and forth between the two.

That evening, there was a lovely cocktail party followed by talks given by the participating instructors.

The following morning, the three day painting workshop began.  Gregg usually starts out his workshops by doing a demo.  Our model requested no photos during the workshop, but she was beautiful and held a great pose.

After the demo it was time to get to work.  I chose to do the still life with the red roses.  I somehow neglected to take a picture of the set up, but it is the still life on the right in the photo above.

This was my block in. This still life was a challenge as it had a few elements I had not painted before.   I never paint pomegranates and the red fabric on the right was very complicated.  I'm also not the best workshop painter.  As you know, I am a pretty slow painter, so when I am working with a deadline and not in my own studio, I don't usually produce my best work.

Through out the workshop, Gregg would go around helping students with various problems they were trying to work out.  Many of the students were not used to doing still life paintings, so we were able to get a lot of demo time.

This was my painting at the end of day two.  I had my lights and darks, but would never have put in the pattern so early.  I like to have my objects just right before I do the pattern, but I was running out of time.

We started our third and final day with Gregg doing a still life demo for us.  I was pretty far away, but you can see how he starts.  Very loose and painterly.  You don't have to worry about getting everything exactly right at this point.  

After the background is in, then it is time to cover the rest of the canvas.  The demos are usually thirty minutes, then we get back to work on our own paintings, though there were times everyone wished we could just keep watching Gregg paint.

This was my painting at crunch time.  I had about an hour left to get done.  I didn't of course, but I'm pretty happy with how things ended up.

This was my final shot at the end of day three.  Not bad at all for a workshop painting.  I may tweak this a bit now that it is dry.  I'm happy with the roses and the fabric, but I think the rest of it could use a bit of work.

I had a great time at this workshop and I loved the town of Ashland.  Great food, shops and people there.  I can't wait to go back!

Friday, November 13, 2015

American Artists Professional League, 87th Grand National Exhibition

Hi Everyone,

Just a quick note to let you know that I have a painting hanging in the AAPL's 87th Grand National Exhibition.

Brass Teapot With Lemons, 11x14, oil

The exhibition is on view at the Salmagundi Club in New York City and will be hanging until Friday, November 20, 2015.  I saw some of the show while it was being hung and it looks like it will be a great exhibition.  This Sunday, November15th,  is the reception and awards presentation.  Artist John Traynor will be doing a demonstration from 12-2 and the awards and reception will take place between 2:30 and 5pm.  Check it out if you can!

Salmagundi Club
47 Fifth Avenue
New York, NY

Tuesday, November 10, 2015

A New Still Life

I finished up a new still life yesterday afternoon.  This painting was a bit of a departure from my normal style, but it was fun to paint - at the end anyway.  I was a bit nervous in the middle that this one might not make it, but I'm happy to report all turned out well in the end.

Before I start, please excuse the quality of the photos.  For reasons I have not been able to figure out, my computer keeps rejecting photos from my camera.  I had to shoot everything with my phone and iPad.

This is the set up.  I painted the large black vase years ago, and it was fun to do it again, though of course I added a little blue and white to the mix.

This was the initial block in.  I was very happy to have the canvas covered the first day since I was painting over an old cityscape.  Once I had the colors in I could begin the real work of turning this into a painting.

This was my second time working on the painting.  It was around this time that I started getting nervous as to whether or not this one was going to make it.  It was very difficult to get the paint to look the way I wanted it to, but after completing it I realize it just needed many coats of paint to achieve the desired effect.

This was the end of day three.  The painting was starting to look somewhat like I wanted it to, but I was still concerned that this one would be a bust.

This was the fourth and last session.  I feel like I finally got the colors the way I wanted them and the grapes, which I did about fifty times, finally look like grapes.  I shot this on the easel with my iPad.  As soon as I figure out my camera issues I will update this post with a new photo.

Sunday, November 1, 2015

Brass Teapot With Peaches

I'm excited to show you a new still life I just completed.  I've painted this brass teapot before and it's always fun to make a change from my usual blue and white porcelains.

This was the original set up.  The teapot is a little crooked after getting knocked on the floor, but I simply straightened it out in the painting.

I blocked in the painting rather quickly.  That does not always happen, but when it does, the painting usually flows without too much aggravation.

I proceeded to get the canvas covered.  I know it looks a little crazy, but it really does help to get the colors and shadows in right away and worry about the rest later.

This was my third session working on the painting.   I'm always happy at this point, when it starts looking like a real painting.  That is when I know that I will be able to complete it.  It does not matter how many paintings I do, I always have that little bit of anxiety until I get to this point.

You may have noticed in the previous photos that the teapot did not have a handle.  I was having trouble getting it right, so I decided to wait until my background was completely dry and then paint it in.  That can be the easiest way with a hard to paint item or a pattern because then you can wipe down your mistake without messing anything up.

Next it was time to put the pattern in on the teapot.  That is what really makes these old pieces come alive.  I am also quite happy with how the peaches turned out.  I'm rarely successful with painting peaches so it's nice when they do come out well.

This is the finished piece.  In a few weeks when it is dry I will varnish and photograph it.  This was a fun piece to work on and the first painting I've finished since I had my accident a few months ago.  It's great to be back in the groove.

Tuesday, October 27, 2015

Assisi, Italy: Painting in the Piazza de Santa Chiara

As I mentioned in this post, Assisi was hot this summer.  We could not stay out in the Comune all day, so we had to search for places with shade.  In a way, this turned out to be a good thing as we visited parts of Assisi that we missed last year.

We found the perfect place to do our morning painting session:  the Piazza de Santa Chiara.  Santa Chiara is a huge church with a lovely square as well as a beautiful vista that we had such fun painting.  Most important, the church is so large that we had shade from the building until about 1pm.

We came over here nearly every morning.  The square was a fun place to be.  There were many people visiting the church, school groups putting on performances, tons of fun shops and, most surprising of all, an angel!

This is the landscape looking out from the piazza.  It was beautiful and I did three paintings there.  I did two landscapes that were just small studies, but I did finish a painting that I actually like.  Very unusual for me with outdoor painting.

The photo above is the view that I painted.  It was not easy given all the perspective, but luckily I had time to work on it.  That does not always happen outdoors so it made things much easier for me.

This was my initial block in.  Getting that perspective right was not easy, but with time (and a t-square), I was able to get it done.  After that the sky and the mountains went in.

This was my second day working on the painting.  It was so warm that the paintings dried over night, making it very easy to continue on the next day.

Here is the finished painting on the easel in my studio.  I decided to sign this one, something I never do with my outdoor studies, but I'm very happy with the way this painting turned out.

As I mentioned, while we were in the piazza painting, there was a lot happening.  One of my favorite things about Assisi is that at any moment a singing, musical or dance group will just show up and start performing.  One day a school dance group came by and they were great.  Everyone in the piazza, including us, stopped what they were doing to watch them.

And my favorite part of the square:  the angel.  She was there every morning at the same time we were painting and she would come over to see what we were working on.

Here she is with one of my landscapes.

This was her little set up in the piazza.  In the photo above the three men talking to her were bikers, but this being Italy, they were very fashionable bikers!  She would talk to you for a few minutes and then write out a piece of advice on a card.  We gave her a few Euros one day for writings, and then on our last day she came over to us with a writing for each of us as a gift.  She told us she liked having us around because having artists work in the piazza brought good energy to the place.  I'm not a religious person, but I told her we felt the same way about her.  She definitely had a very intuitive/good energy vibe and I could feel it.

We had a such a  fun time painting here and I hope I get to do it again someday.  

Thursday, October 22, 2015

A Visit To the Pollock-Krasner House And Study Center

I'm as far from a modern artist as you can get, but after seeing the movie Pollock years ago, I became obsessed with visiting Jackson Pollock and Lee Krasner's home and studios in the Springs section of East Hampton,  Long Island.

The two artists relocated out there in 1945 and the property is now the Pollock-Krasner House And Study Center.  According to the website, Peggy Guggenheim, an early supporter of Pollock's, loaned them $2,000.00 for a downpayment, enabling them to get a $3,000.00 mortgage. Crazy when you think about what the prices are like out there now.  Five thousand dollars wouldn't get you a one week  summer rental!

I finally got myself out to see the house in person and I'm so glad that I did.  Considering it did not even have running water when they bought it, Pollock and Krasner did an amazing job of fixing it up.  The home is lovely and has been kept up beautifully by the foundation.

The front porch.  It looks like a fabulous place to take a break in the afternoon.

We toured the grounds before going into the house.  They had all this amazing scenery and never painted it.  I can't imagine not being out there everyday, but landscape painting was just not their thing.

Next, we visited the barn Pollock had converted into a studio.  I love visiting artists studios and this was no exception.

While Pollock was alive he used the barn studio.  Lee Krasner moved her studio in there after his death in 1956.  There were a ton of supplies and even Krasner's painting shoes.

And here is the famous studio floor, covered in paint from all the drips.  I would have loved to see inside the studio, but I hit a serious snag.  To preserve the floor, anyone who goes into the studio has to wear special shoes.  Unfortunately, I did not know this and I was wearing sandals.  There is NO WAY I was putting my bare feet into shoes worn on a regular basis by the general public.  If you want to know how I reacted to that news, picture Felix Unger, Jerry Seinfeld or Sheldon Cooper and you'll know exactly what I was thinking.  The security guard found this hysterical and took pity on me.  He let me take a few photos from the steps leading into the studio so I could get a few photos of the floor.

We then went into the house.  You can enter through the back door and step right into the kitchen.

Across from the kitchen is a wall with some art work on it.  One of the paintings is a copy of a Lee Krasner work that was done by artist Margaret Von Biesen for the movie.

Also hanging there is this painting by Jackson Pollock.  Gerard Weinstock, his neighbor across the street, was an attorney and Pollock asked him to draft a will, leaving his entire estate to Lee Krasner.  In exchange for his legal services, Pollock offered Weinstock his pick of several works of art and this is the one he chose.

This was the first painting to enter the museum's collection.  After Mr. Weinstock's death, his wife donated the painting to the study center.

There is a large display case in the living room showcasing papers and receipts.  I loved being able to see the paperwork and receipts relating to the sale of paintings and gallery shows.  It really gives a sense of what was going on with their art at the time.  I always wonder about things like this.  None of the people involved had any idea that this paperwork would end up in a museum one day.  I wonder what they would think about it.

Contract between Jackson Pollock and Peggy Guggenheim for Pollocks show at Art Of This Century Gallery

An invoice from The Museum Of Modern Art for one of Pollock's paintings.  They paid $3,000  for the painting from the Betty Parsons Gallery

A gallery goer at Betty Parsons clearly was not a fan of Pollock's artwork

Moving on through the house, there was a little den housing books and music as well as some art work.  It looked like a great place to sit and relax after a day of work.

A letter from Sidney Janis

There are a few rooms upstairs.  Lee Krasner painted up there before taking over the barn studio.

The drawing above of Lee Krasner was done by Igor Pantuhoff, a fellow artist with whom Krasner had an eight year relationship before meeting Pollock.  A drawing using the features of Marcia Gay Harden was done for the movie.

The front of the house.  By all accounts the relationship between Pollock and Krasner was tumultuous at best, but their home was and is a lovely, peaceful place.

A few blocks from the house is the famous Springs General Store.  It looks much the same as I imagine it did in the forties and fifties.  There is a scene in the movie where Pollock can't pay his tab at the store so he offers the owner a painting.  I was dying to ask the people working behind the counter if the story was true, but didn't want to sound like some nut from the city.  It would not surprise me though. Every once in awhile a story comes out about someone finding a painting in the attic that may or may not be a Pollock. (Update-while looking for a link for the store, I happened upon this NY Times article and the story is true!  The painting is now hanging in the Musee National d'Art Moderne in Paris.  They sell a poster of it in the general store.  Mystery solved :)

This gal was greeting everyone who came into the store

We had lunch there and I had one of the best veggie burgers that I've ever eaten.  The store is in a really  beautiful spot.  You can sit outside and eat or sit on the front porch and they have kayaks for rent to take out to the pond.

I'm not sure why all of this resonated so strongly with me, but I suspect it's because every once in awhile I fantasize about giving up my apartment and New York City and moving to a quiet area and doing nothing but painting.  I don't think I could live in a rural area as this was when Pollock and Krasner were there, but I'm fascinated by those who can make that leap to fully support their art.  

If you find yourself on the East End of Long Island, do stop in to the museum and the general store.  We had a great afternoon filled with art history, good food and beautiful scenery.  And check out the movie.  Ed Harris and Marcia Gay Harden gave amazing performances.  It's one of my favorites.

Pollock-Krasner House And Study Center
830 Springs Fireplace Road
East Hampton, NY  11937
(631) 324-4929