Sharon in a Reclining Pose in Class

Oil on Gessoed Rag Board, 6" x 8 1/4" $150.00

SOLD

I painted this sketch in homage to my favorite

model, Sharon, because she posed for my class

today. She never fails to inspire me, even though

she has been modeling for me, and for my classes,

for almost fifteen years. She just knows what to

do, modelling-wise, and her wistful and witty

Irish personality (her father was from the Old

Country) permeates the room when she is in

it. Her hair is red now, but for the sake of the

color harmonies of this piece, it isn't.

I enjoyed myself doing this, even though

I had to teach today and didn't have much

time left to do it. It isn't perfect, but I'm

pretty happy with it.

Oil Sketch of a Mexican Girl in Polka Dot Scarf

Oil on Gessoed Hotpress WC Paper,
4" x 4 3/4" $60.00 go to eBay

Even though I absolutely love doing those pastel
drawings of classical images, it felt really good
getting back to oil painting today. It was slow
going at first - I feel kind of like the way a cat
or dog will circle around and around before they
find the right place to sit down. But I got some
much-needed encouraging words from a far-away
guardian angel that made a tremendous difference
in my day. I am very lucky.

I loved this image of this girl. While she is rather
melancholy in appearance, she has the most beautiful
eyes, and I loved the colors in her scarf. The polka dots
weren't there. I made them up, because I thought it would
liven up the composition, and counteract the pensive
look on her face.

When I was showing my work in New York, I was bascially
required to make the most detailed paintings I could. Now,
I don't really have anything against this (although it did
completely destroy the cartiledge in my right hand after five
years of day in and day out painting), but you can't do those
kinds of paintings in a day. So I have had to switch the way I
paint, and it has been a difficult journey for me.

It's funny, I have no trouble doing a twenty-minute gestural
painting of a figure model in class, but when I know I have
to publish it on a blog I think I get hung up about it. I need to
relax!!!! I love to paint. What's the worry?!?

Anyway, this is my offering for today.
Thanks for visiting. I am going to be painting
for the entire month of June, just oils - I've made
that commitment to myself....well. I may do an
acrylic underpainting.... or an occasional
pastel drawing......

After a Roman Patrician Woman of the Flavian Period

Pastel & Vine Charcoal on 18 x 24" White Paper

I was just about to post this yesterday afternoon

when a horrific thunderstorm blew in and knocked

out our electricity until just about an hour ago

(3:00 PM). I've been on a roll with these pastel

drawings, but I'm going back to oil painting tomorrow

because I have some things I want to work on.

So, wish me luck.

Ariadne, after Greek, c. 300 BC

Pastel and Carbon Pencil on 18" x 24"archival White Paper,

image 11" square $85.00 Go Here

This is another "veils of color" drawing, done with mostly

Nupastels, vine charcoal, and a carbon pencil. I could do these

drawings/paintings forever.

It is interesting. Many people consider pastels drawings. But,

yesterday, at the end of a class I teach at the Art League School

in Alexandria, Virginia, called "Painterly Pastel", we had a critique

and everyone put their work up on the wall.

I asked the question, "if you were to just walk in here and look at

these for the first time, would you call these "drawings", or,

"paintings". Every one of them said "paintings". And, I think that

is true. It is because of the power of color, even when there

are a lot of lines involved, as in the drawing above. One is drawn

in by the color. Even in a simplistic color scheme such as this.

Thanks for visiting today.

Priscilla

After Greek Athlete, 2nd C. BC

Oil Pastel over fixed charcoal drawing
on Rag Paper, 2" x 3" SOLD
I cannot tell a lie. I did not do this piece
today. But we had a terrible thunder,
rain, wind, hail, tree-branch-falling
storm here last night, and the day was
too full of distractions to get anywhere
near my studio. I felt it was in keeping
with what I posted yesterday as well.
I love this piece, and have actually
had it for years, not being able to part
with it, but I've decided it's time to
let it go. (if any one wants it, that is...)

The technique for this is fun. You do a
dark, hard -charcoal drawing -- you could
also use Conte or black Prismacolor
I imagine. Then you have to spray the
heck out of it. Next, you take a less
expensive brand of oil pastel like Shiva
or Prang, and go over that with a solid coat
of white, which will be transluscent. You
will be able to see your drawing through the
layer of white.

Next, you work into the white layer with other
colored oil pastels, either the less expensive
ones, or maybe Holbeins, or Winsor -Newtons; but don't
use Senneliers, because, as I said in a previous post,
they are an exceptionally luxurious product, literally
like lipstick, and would probably end up covering up
your drawing. The idea here is to work with
transparency and transluscency - to keep your
drawing partially visible, in other words.

Venus #1

Pastel and Carbon Pencil on White Paper

8" x 9 3/4" SOLD

I don't know why, but I have always been fascinated

by classical sculptures from ancient Greece and Rome.

I have spent a great deal of time doing drawings of

them in many different media. My favorite is pastel,

however, which I usually do on acid-free sketch-weight

paper, using veils of color, vine charcoal, carbon pencil,

and several different types of fixative.

I start out with a layer of Nupastel (hard) in some color that

I like, and draw into that with a very skinny piece of vine

charcoal. The great thing is that if you don't like what you

draw, you can just keep covering it up with more pastel

until you get an image that you think you can work with.

At that point I will usually spray it with Workable Fixative.

Not too much, but just enough to make changes if I want.

Then I start adding more colors, more drawing, more vine

charcoal. I use the carbon pencil (Conte), because it doesn't

smear like charcoal pencil does.

After awhile, I will deliberately spray this with Crystal Clear

or Matte Finish, or other Krylon Fixative (outside of course!!), or

even Sennelier Fixatif Latour, which, being made from a citrus

base, I can spray right in front of my face, but it has a tendancy

to wrinkle the paper, as it has some water in it, I think (it can also

deposit some spots, but this can be a very happy accident sometimes!).

At this point I am deliberately trying to make the picture darker.

Then I continue to work on it with the same materials, until I have gotten

to a place where I am happy with it.

Next to my post is a small example of a larger drawing that I was very happy

with that is not for sale, because it is part of my private collection.

Thank you for viewing my work today.

Christina

Drypoint Etching , 4" x 5" $50.00
Click Here to Bid

This is a drypoint drawn on a metal plate

of my daughter's friend Christina. It is

wiped clean with no plate tone, because I

liked the lines, and tone clustered around

her head.

Impression of a Night in Venice

Acrylic on Archival Paper laid down on board, SOLD

5" x 6" $50.00 Click Here to Bid

This paiting was composed partly from a photo, partly

from memory, and partly from imagination. It was a

long time ago that I was in Venice, but I never forgot

how entranced I was by it. It is so quiet there, because

there are no cars! Just canals and boats. It is very

mysterious, but grand at the same time. I stayed in

a hotel that had a chandelier in the dining room that

was made entirely of blown-glass flowers in many colors,

hanging from the ceiling. It was about eight feet long.

I was amazed. It was probably made at Murano, in the

bay off of Venice, where they do all of the famous

glass work. I would love to go back there someday.

Tiny Pre-Raphaelite Sophie l

Oil on Board, 4" x 4" $50.00 SOLD

This tiny painting of my daughter was done from a

photo I took of her quite a few years ago. I manipulated

the photo in Photoshop - something I love to do - using

the lighting options, so that I vignetted her into this

circle. I just thought it had an unusual, "times past"

look. With her flowing hair, pensive expression, and

colorful kimono, she struck me as very similar to some

of the models used by the Pre-Raphaelite painters, who

seemed to favor extremely pale, long haired, pensive

women. My daughter is actually bright and and happy -

she's just a good model. I've done many paintings and

prints of her. She wanted to be an actress for a while,

and can be quite dramatic, which makes her a great

person to draw and paint!

This is just a quickly-done

painting, but there are things about it that I like.

"Essence" Copy after Degas

7" x 9", Oil Paint on Paper SOLD

This is an example of a technique known
as essence, that was used a great
deal by both Degas and Toulouse-Lautrec.
The oil paint is laid out overnight on
paper towels or blotter paper to soak out
the linseed oil. The next morning the paint
is transferred to a palette. Then, using
only solvent ("essence" is French for "solvent"),
one paints with the oil-less paint on any paper.
The paper does not need to be prepared in any way,
thus you can paint on bond paper, drawing paper,
pastel paper, charcoal paper (like this), Canson
Paper, brown wrapping paper, whatever. It is
really fun - and archival! That's how Toulouse-
Lautrec did all those paintings on cardboard that
are in the National Gallery in DC!!

Tiny Figure

Drypoint Etching, 3" x 4"
SOLD
This really is a tiny figure. I had it
in mind to do a series of these. This
is the first one. It is based on a photo
that I took of woman who used to model
for my classes who was fabulous.
Unfortunatetly, she doesn't model
anymore. She was tall and stately,
and really fun to do gesture drawings
of, because she had really long legs
and expressive hands, and she always
had her hair up, but it was always
falling down into these great shapes.

This was drawn on a zinc plate, and printed
on French Rives BFK printmaking paper.
I only printed a couple of prints today, and I
think I'll probably only get about eight good
ones out of the edition, because the lines are
so delicate. But, I am very happy with the
image.

A Lazy Pear and a Turquoise Background

Oil on gessoed rag board, 6 1/2" x 5 3/4" $100.00
SOLD
I had fun painting these pears. I actually started them
yesterday, so I was able to use some glazes, which deeped
and enriched the colors in the way that I like. There aren't
many shadows, because that is just the way it was set up.

I use bosc pears to teach in my painting class. We do
a really fun exercise, because the class is one in indirect
painting (like they did in the Renaissance and in the early
days of oil painting). The students first paint a grisaille,
which is a black and white underpainting, and comes from
the French word for "gray".

After that dries, they cover that with a very, very thin
layer of a glaze made up of Liquin and Gamblin's Transparent
Red Earth. Voila. Pears! Well, not exactly. They blot the
glaze off here and there, because they have to keep painting,
using a limited palette, and painting into the pears and
background with opaque paint, using little or no medium.
It's amazing the results they come up with, though. Pretty
sophisticated - and some of these people have really never
painted before.

Indirect painting - that's what Jeff Hayes does, if you're
familiar with his blog and all his excellent sequential photos
of his paintings - is really the easiest way to paint. You
basically separate the drawing from the painting part.

Well, it's not quite that simple, but if you're a beginner,
it's worth a try. I'll be teaching it next year at The Art League
School in Alexandria, Virginia, if you happen to live near there.

Tuscan Farmhouse

Acrylic on Paper mounted on Board, 5" square
$100.00 go to eBay

I did this painting as a copy of a gouache painting

that I did in a sketchbook that I had prepared to

show a group of students who were potential

participants in a workshop in Florence. The workshop

ended up getting cancelled for various reasons, but I

was so happy with the gouache painting that I did

another, larger version of it, and here it is.

I love the simplicity of Italian farm buildings. I remember

riding around in the country when I lived in Italy. I didn't

own a car, so that was a very rare treat. The most spectacular

thing was to see the fields covered with red poppies in the

spring. I'll never forget that. It was amazing. Italy has to be

one of the most beautiful places in the world.

Early Evening Boston Studio View ll

Acrylic on Paper, 4 3/8" x 4 1/8", $80.00 SOLD

This one was done from a photo I took out the window

of my studio in Boston when I lived there in the 80's.

I never tired of seeing the different sunsets. I know I

mentioned in my last posting of this view how fascinated

I was by the buildings. The way they seemed to glow here

is not my imagination. There was something about the fact

that they were all made out of bricks, and were up high on

a hill, combined with the fact that the window faced

due west, that created a sort of nimbus around the

building sometimes.

This was easy to create in oil with a glaze of

Gamblin's Transparent Earth Red. This is acrylic, so

I just sort of did the best I could with some burnt umber

mixed with some orange and acrylic medium. A different

animal completely....but I'm developing a fondness for them,

I have to admit.

I'm planning on trying oils over acrylic. I think

that ultimately I'll like the range that will give

better than just straight acrylic.

I'll keep with the acrylics for awhile, though, just

to really get the hang of it. They are fun.

Sketch of Potomac River in the Summer

Gouache and Watercolor, 4" x 6" $100.00

This is actually right near where I live. It is nice to live near the river.
I love to see it in every season, but my favorite is definitely the
summertime. It isn't so great when it floods - which it did a few years
ago, wiping out a lot of my neighborhood. That was not pleasant.
But, we must be crazy. We all know we live in a 100-year flood plain.
And we haven't left ......yet.

I did this in a Canson sketchbook. I have several of them for different
themes. They are great if you keep your pictures rather small. But, if
you do anything larger than 5" x 7" the paper starts to buckle, so it's
better to keep the compositions on the small side. That's OK with me.
I enjoy working small a lot of the time. Everyone's different!

Blue Ridge Sketch

Acrylic, 4" x 4" $100.00

Sunset after a Storm

Acrylic on Gessoed Board, 6" x 6" $100.00

This is another made-up picture. I guess it's the Caribbean. The

places that I have been there have made such an impression on me.

Particularly the skies.

This is one of my first acrylic paintings. You can probably tell....

There are certain aspects of acrylic that I like very much. For someone

who loves glazing as much as I do, the instant-dry factor is very

convenient. But, blending is problematical, and so is getting soft

edges. Spraying water on it, as I read David Hockney does, helps

a little bit. But it certainly is fun to play with. All in all, I think I'll

remain a big oils fan. I love the maleability of it, and the softness

of the edges that you can get with it like nothing else except maybe

pastel, or oil pastel.

Mrs. White's Yard

Oil on Panel, 6" x 8" $100.00

This was a really, really fast sketch I did of the yard next door. I
love very refined painting, as I am a diehard fan of early Renaissance
work. But, every once in a while I just get in the mood to really
let go and paint as fast as I can - even sacrificing reality if I have to
in favor of abstraction if that is what happens. I like the energy in
this little sketch - it was a cloudy day, so that is why you don't see
any shadows.

Christina in a Chinese Jacket

Drypoint Etching printed on Archival
Printmaking Paper, image 5" x 7" $85.00 Go Here

I didn't have a chance to paint today, so I am
posting this drypoint of my daughter's friend,
Christina.

I drew it with a diamond point on a plastic
plate, which has several drawbacks. First
of all, you cannot correct any mistakes, so
every mark you make must be correct or
pretty correct, anyway. Also, it doesn't
tend to have the beautiful plate tone that
copper or zinc have because it is totally
non-porous.

One thing it does do well though is take marks
from roulette wheels. Those are tools used by
printmakers to create texture. They are literally
small barrels attached to handles that have different
types of texture on them, like lines, dots, sharp
points for roughing up the plate, etc.. The texture
that you see in the background of this print was
mostly made with roulettes. Everything else was
drawn by hand with my diamond scriber.

Once I finish my drawing, I ink it up with
etching ink, and run it through my press with a
piece of dampened printmaking paper.

I love drypoint! You can't get big editions,
as you can with etching, but what you can get
is unique and beautiful.

Early Evening View from Boston Studio Window

Oil on Gessoboard, 4" square $100.00

This was the view out my studio window when I lived
in Boston for nine years. I lived on the back side of
Beacon Hill, which was an odd place to begin with -
all those buildings clustered closely together on that
little artificial hill - but there was always something
about this view that reminded me of the Middle Ages.

The odd shapes of the structures on the tops of the
tenement buildings; so many of them were surmounted with
these glass pyramids topped with little balls. The pyramids
would change color according to the light in the sky.
It was intensely urban, that's for sure. Were it not for
the Boston Common and the Public Garden a short walk
away, I think living there would have been unbearably
claustrophobic.

But, oddly enough, sometimes I miss
it. It's probably nostalgia. My studio was only my studio
until my daughter was born in 1986. What joy. Then it became a
baby's room, and the center of my life ceased to be my
artwork for quite a while. If I had to do it over, I wouldn't
change a thing.

Vita breve. Ars longa.