"Sammy"

Oil on panel  - 8" x 8"

It seems odd to sit here knowing there is no place to put my work anymore.  Well, to be fair, there is still facebook and this blog.  I was speaking more of an internet commerce site.  Five years ago I became involved with the daily painting movement - a collection of artists motivated to paint and post a painting every day of the week and some weekends as well.  Those familiar with this blog know that I failed miserably at the "daily" part. I did post 149 entries in 2008, less in 2009 and continued to fall off from there.  It's not that I couldn't have done something everyday but I didn't merely want to dash out a piece just for the sake of saying I showed up.  I think it's like Cal Ripken's continuous 2131 game streak or better yet, Lou Gehrig's.  It may be blasphemous to say but I suspect there were days when the manager put them in for one "at bat" just to keep the streak going.  I am going to miss my fellow painters at www.dailypainters.com.  Some of them were stellar and did manage to produce quality work on a more or less daily basis.  I endeavor to become more disciplined in the coming months.  Hopefully, with better time management, I can do both gallery work and some small pieces.  

It's fitting that my farewell piece is my boy Sammy looking wistfully out the studio window.

"Two Fox Hounds"

Oil on museum quality Ampersand Gessobord panel  - 8" x 10"

Still picking at this but I wanted to post something tonight.

"Hands" - The July 2012 Diana Moses Botkin Artist's Challenge

Oil on museum quality Ampersand Gessobord panel  - 8" x 8"

Challenge indeed!  This month's theme is "hands" - the bane of many a painter, myself included. Upon seeing this month's challenge theme, I had half a mind to paint the face of a clock.  After all, Diana didn't exactly specify what kind of hands. I suppose if it wasn't difficult or slightly "out of the box," it wouldn't be a challenge, would it?  Why is depicting the metacarpus so difficult?  Why are our paws so hard to portray?    I have often heard that the expression, "that will cost you an arm and a leg" was based on early portrait painters who charged the least amount for a bust, more for a painting that included the arms and hands, and yet more for a full length portrait.  Further research on the internet seems to debunk that explanation, but I am sticking with it. 

Here is another theory:

 

Adam told God he was lonely, so God said, "I will create a perfect companion for you who will always look after you, do all the house work, cook all the food, carry your children, look after you when you are sick, love and cherish you always. When you have an argument your companion will always be the first to say "I'm  sorry because you were right."
"That sounds too good to be true," said Adam.  "How much will this cost me, God?"
And God said, "An arm and a leg."
Then Adam said, "What can I get for a rib?"
And the rest is History.

Hands, often even more than faces, express a lot about a person.  Why is that, I wonder?  My mother was a particularly expressive, theatrical talker - her hands waving and gesticulating wildly as she spoke.  Yet even at rest, her slender hands proclaimed her style and grace.  

I would have loved to have had even just ten minutes with John Singer Sargent while he was painting the hands on one of his portraits.  Painted with an exiguous amount of strokes, they are almost abstract when you get right up on them.  The fluidity and expressiveness of his hands are almost too much for this artist to bear.    

Here are my  fellow challengees' mitts:

"Blue Egg"
Oil on hardboard 6"x6"
©2012 Diana Moses Botkin

"'lil Mama-San"
6x6" Oil on Linen
© V.N.Ross

"George"

Oil on museum quality Ampersand Gessobord panel  6" x 8"

It's been a while since I was standing at my easel.  A motorcycle trip to upper-state New York and a plethora of domestic stuff have kept me away.  As you know, cold starts scare me, but to paraphrase Professor Higgins " By George, he's got it, I think he's got it."  Apropos, as this venerable Jack Russel is named George.  I have painted more than a few Jack Russel terriers and they have all been wonderfully sweet.  George was no exception.

"In the pit - Dress rehersal for Washington Summer Opera's 2002 production of Ariadne aux Naxos for the June Diana Moses Botkin Artist's Challenge - Chiaroscuro"

Oil on museum quality Ampersand Gessobord panel - 7" x 10"

Quite a title, eh.  I was trying to outdo Turner for longest title.  His "Snowstorm - steam boat off a harbor's mouth making signals in shallow water, and going by the lead." has been imbedded in my brain since Studio class back in '69.  Each week our instructor, Charles Wagner, enlightened us with what he called "The story behind the painting," the back story of various famous paintings through the ages. But I digress.  This month was my turn to pick the theme and I chose Chiaroscuro.  This sketchy little study isn't quite as I had envisioned it in my mind when I chose the challenge.  I was hoping for more Caravaggio and less Lautrec (I should be so good).

Here are my fellow challenge artists work:

"Theological Studies"
Oil on hardboard, 5"x7"
©2012 Diana Moses Botkin

"Basque Dancer"
oil   7" x 9"

©2012 Mary Maxam

 

Vicki Ross
10x16" Oil on Linen
© V.N.Ross

"Artist Reference Photo Challenge - May"

Oil on museum quality Ampersand Gessobord panel - 8" x 8"

Not much back story on this guy.  I stumbled upon an artist challenge on facebook and thought this looked like fun.  The facebook page is called "Artists reference photos."  It's a site that shares imagery  - very cool.

"Penny"

Oil on museum quality Ampersand Gessobord panel - 8" x 8"

I'm finally getting back into the swing of things and what better way than with a hound?  We had a beagle named Emily when I was growing up.  She was a sweetheart and certainly earned her keep.  Not that anyone had an alarm system back then but it would have been redundant with Emily guarding the fort. Her Ahooo, Ahooo alerted us (and the neighbors) to impending visitors, both wanted and unwanted.  

This little girl is Penny.  She and her cohort Chloe, who I painted back in  March of '09, happily accompany her owner to work most days.  Since he owns the company, no one seems to mind, with the exception that Penny has a penchant to abscond the lunch off anyone's desk who is foolish enough to turn their back or go off to get a soda.  Her malfeasance is so notorious that the head of the company has vouchers for the local deli just in case she is successful.  With a face like that and those soulful eyes, who could stay mad for long?

"Dogwood and Azeleas" - The May Diana Moses Botkin Artist's challenge

Oil on museum quality Ampersand Gessobord panel - 8" x 10"

THINK that I shall never see 

A painting lovely as a tree.

 

A tree whose hungry mouth is prest

Against the earth's sweet flowing breast;

 

A tree that looks at God all day,

And lifts her leafy arms to pray;

 

A tree that may in Summer wear

A nest of robins in her hair;

 

Upon whose bosom snow has lain;

Who intimately lives with rain.

 

Paintings are made by fools like me,

But only God can make a tree. 

 

 

Forgive me Joyce (Kilmer) for taking liberties with your poem.   This month's artist challenge was to paint a tree indigenous to your area.  Perhaps I'm not a big picture guy or maybe I just like the intimacy of these dogwood blossoms set against a backdrop of crimson azaleas.  They remind me of Andy Warhol's "Flowers" circa 1964.




I don't know if there were dogwoods in the forest of Arden, but there should have been.  This artist's life, my studio nestled in bucolic woods, pleases me well.  [My] life, exempt from public haunt,  finds tongues in trees, books in the running brook, sermons in stones, and good in everything.  ~ William Shakespeare




As for my fellow challengers, some have acquainted me with their woodland endeavors but alas, not all.  There is an slight abatement of imagery.  I fear this forest is but a glade.




 

                    "Reaching for the Sky"
                    Original oil on hardboard 11.5"x6"
                    ©2012 Diana Moses Botkin

 

 



 "West of Healing Springs"
11x14" Oil on Linen Panel
© Vicki Ross

 

 

 



 

 "Palo Verde Sunset"

14"x18" oil

 Becky Joy Fine Art

 

 

 

"Grace"

Oil on museum quality ampersand gessobord panel 8" x 10"

One of my fellow internet artists, Dominique Eichi, was kind enough to send me some reference photos of her chocolate lab, Grace, back in 2008 when I was looking for grist for the creative mill.  Four years later her long wait has paid off (I hope).  You can see from her blog; http://artbydominiqueeichi.blogspot.com/ that Grace is very much her constant companion.  I saw today that she, too, had a go at painting her in September of 2010.  Thanks, Dominique!  She was fun to paint.

"Baby O"

Oil on museum quality ampersand gessobord panel - 6" x 8"

I was going to title tonight's entry "Burn Out" - not because I am burned out, far from it.  Because, once again my painting light has burned out.  It is now nearly impossible to buy a high wattage flood light.  Thanks to those good folks in Washington, we have to suffer the cold pallor of CFL bulbs.  Yuck!!  Today I was experimenting with a tandem light source - a supposedly "full spectrum" CFL and a warm 100 watt "Reveal" bulb in a clip-on lamp just below.  I am not unhappy with the results.  That said, I am not thrilled with the reproduction of this painting. It is much, much nicer in real-life.  The reds of her pigtails on the right got lost and there is a bit of glare on the left. C'est la vie.

"Laissez les bons temps rouler!"

Oil on museum quality ampersand gessobord panel - 8" x 10"

Attention shoppers! Yes, this month's Diana Moses Botkin's challenge is shopping. I was in New Orleans recently, which is why there has been no new work here lately, NOT because I've lost the spark. These girls were in a souvenir shop trying on masks and boas and were kind enough to acquiesce to an impromptu modeling session.

My fellow challengees had some fun takes on the subject:

"Shopping Without A List"
Oil 8"x8"
©2012 Mary Maxam

"Shop 'til You Drop"
Original unframed oil 4"x6"
©2012 Diana Moses Botkin

"Petco with Poppy"
Oil on canvas 8x11"

©2012 Vicki Ross

"Gangsta Tupi in the Sunlight"

Oil on museum quality ampersand gessobord panel - 6" x 8"

More info tomorrow.

"Kerri and Chi Chi"

Oil on museum quality ampersand gessobord panel - 8" x 10"

I was going to call this, "The Tattooed Girl with the Dragon" because Chi Chi looks like a little baby dragon here. Perhaps more like a gremlin that has been splashed with water, if you remember your movie trivia. My friend Debby leans more in the area of fruit bat when describing her. This little girl was rescued from the shelter and did yeoman's duty as constant companion and protector (!?!) to Debby's father-in-law during his last months of convalescence and subsequent hospice care. Chi Chi's two compadres, if you can believe it, are a leggy Great Dane named Emma and Walter, the Wonder Wiener. If you think Emma (or Debby) rules the roost in this household, think again. Chi Chi doesn't take a back seat to anyone!

"Sunlit Nude in a Victorian Boudoir"

Oil on museum quality ampersand gessobord panel - 8" x 10"

A while back I was invited to a modeling session held in a grand Victorian townhouse belonging to a friend of mine. This friend is an accomplished photographer and a master at depicting the female form. He also belongs to a "meet-up" group of like-minded photographers. Since there were 10 or 12 of us at the shoot we elected to have two models and split up to find the perfect light and setting. One of the models was a seasoned pro who was familiar with the routine. The other was her novice friend, who I am certain was coaxed to come and try modeling with her. I can almost hear the, "Come on, it'll be fun!" She did her best, although her scared "deer in the headlights" look was ever-present. Another issue that one insensitive photographer took issue with was that the new model had a serious sunburn and tan/burn lines. Being a painter, it didn't bother me. I did contemplate painting in the tan lines but I thought she might look like an advertisement for Coppertone. I really like this little painting. The light is fun. This was another experimental painting I did using the Zorn palette and is the warmest painting I've done since I started using that limited palette.

"Missy and Walter"

Oil on canvas - 15" x 20"

This was actually my very first attempt at the Zorn palette for the Diana Moses Botkin March challenge. Although it lit the fire in me, subsequent small studies such as "Laura and Vincent" and "Sunlit nude in a Victorian Boudoir" had more of an over-all Zorniness. You can see by the lush(?) foliage out the window that Mary and Becky were right about the lack of a range of greens, although I find it works OK here.

"Study for Amy Angel"

Oil on museum quality ampersand gessobord panel - 8" x 10"

As you can see, I am still enamored with the Zorn palette. For more than eight years I have had a life-sized variation of this piece sitting in my studio. The statue is mostly finished in it, and the mirror. The loosely sketched in, ghostly figure of Amy has haunted me for nearly a decade. I think I can finally finish it now, thanks to Mr. Zorn. I kept this study loose, as I was more concerned with the flesh values than creating a precious jewel. although, frankly, I am quite fond of it. I call this "Amy Angel" because the statue reflected in the mirror reminds me of Angel wings.

"The Zorn Palette " - Diana Moses Botkin's Art Challenge - March 2012

"Laura and Vincent"
Oil on museum quality ampersand gessobord panel - 8" x 10"

Rather than go into a lengthy biography of the artist Anders Zorn (1860-1920), I have linked to a very good one by Mattias Sammekull. (Just click his name above.)

Sweden's answer to John Singer Sargent, Zorn is best known for his lush society portraits, sunlit nudes, bravado brushwork and his use of the so-called "Zorn Palette," a palette limited to just four pigments: vermillion, yellow ochre, ivory black and lead white. A perusal of his oeuvre would give evidence to the fact that he was not slavish to this limitation. Indeed, many tubes of blue pigments were found in his paintbox, but that could be said of any of us. I have dozens of tubes of paint that I have never, or seldom, opened. Perhaps this self portrait, showing him with this limited palette, started the whole thing. Who knows?

In any case, I am grateful to him and to Vicki Ross, who choose this month's challenge, for inspiring me to new heights. Indeed, I have not felt this electrified in a very, very long time. This challenge has provided the missing link for me, the piece of the puzzle that has been missing in my flesh formula. With the inclusion of cold greys and greyed out yellows, I am seeing in a completely new way. Although I did use a variation of Zorn's, my old palette was very dutch in nature, heavy on earth pigments such as burnt umber, raw umber and Van Dyke brown. The problem with a dutch palette, at least for me, is that it dries extremely fast and you can't paint wet on wet for very long. With Zorn's palette you have almost two days to move things around. While I am thanking people, I should give a shout out to whoever it was that gave me the tip about freezing one's palette at night to keep the paint from drying out and skinning. Good one!

Below are my fellow challenge artists' works for the month. I think the landscape painters had to have the toughest job of all as Zorn's palette, while perfect for figure and portrait work, is not well-suited for Mother Nature's vast spectrum. Brava!

"Pensive" 10"x 8" oil

Diana Moses Botkin ©2012

"Water" 6"x 6" oil

Becky Joy ©2012

"Isabelle" 14" x 11 oil

Vicki Ross ©2012


"Travelers" oil 9"x7"
Mary Maxam ©2012

"JJ on a leather sofa"

Oil on museum quality ampersand gessobord panel - 8" x 10"

Just for fun.

"Roxy on the Beach"

Oil on museum quality Ampersand gessobord panel - 8" x 10"

There is an expression on Glee for when two songs are combined together. It's called a "mash-up." (Ooh, did I just out myself as a Gleek?) That mash-up moniker would be apropos of this painting as it is both pet portrait and seascape. I can count on one hand the times I have painted the ocean. Loyal followers may remember my painting "Out of the Box" as the other daily painting of the beach.

This is Roxy, the Pembroke Welsh Corgi. Last week her owners gave her a final hug and sent her across the rainbow bridge. For many months she had been fighting a form of degenerative myelopathy and since December had been using a doggy cart/wheelchair to take walks – which she thoroughly enjoyed. This worked well until she finally lost the use of one of her front paws. She continued to go downhill and they then had to make that terribly painful decision. I've been there too many times myself and know the pain they are going through. I hope they find some solace in this painting.

I wish you could see this painting in person. It is one of those rare paintings that pops off the canvas. I have always had a soft spot in my heart for Corgis. I had a little guy named Pippin back in the 70's.

"Voltaire"

Oil on museum quality ampersand gessobord panel - 8" x 10"

The fact that I feel I can post this painting, a surprise gift for a friend, with impunity speaks volumes about how last year was such a loss to my artistic creditability. The few faithful souls who clicked on this blog day after day, searching in vain for new work, were left mostly unfulfilled from May until year's end. I'm trying to not let that happen again. Voltaire, or Volt for short, is an American Bulldog and a real sweetie. Alas, once again the photo isn't nearly representational of the real piece. Subtle pinks and blues appear garish and disjointed...Arrrgh! David, if you do see this, it is really pretty nice.

"Hammie"

Oil on museum quality ampersand gessobord panel - 6" x 8"

This is Hammie, the pot-bellied pig. He lives in Hampstead, MD with a menagerie of his friends. He is the lone pig among a host of llamas, donkeys, goats, sheep, chickens and cats - lots and lots of cats. Hammie has a face only a mother could love (and his human mother does, dearly - in fact this porcine portrait is a surprise birthday gift for her so those of you who know her please keep it to yourselves), but as the saying goes, "He has a winning personality." Indeed, you might call him a stupendous pig.

"Amy smoking"

Oil on linen mounted on wooden panel - 8" x 10"

It's ironic that that act of lighting up a cigarette has been elevated to fetish status. It wasn't that long ago that "smoking or non-smoking?" was a question asked before being seated in restaurants and on airplanes. How times have changed.

(This was another painting that didn't photograph well. It is quite nice in reality but the subtle hues in the flesh are lost and the glare in the hair spoils the piece. Arrrgh!)

"Tujaque's Sazeracs"

Oil on linen mounted on panel - 6" x 8"

In honor of Mardi Gras, I have painted the bartender at Tujaque's Restaurant on Decatur Street in New Orleans mixing up one of the Big Easy's most famous cocktails - the Sazerac. Made with rye whiskey, bitters and absinthe, it is an acquired taste. I just happen to have the ingredients on my bar so I may just have to make myself one. Laissez les bons temps rouler!

Sazerac cocktail:

• 1 cube or 1/2 teaspoon sugar
• 4 dashes Peychaud Bitters
• Splash water, about 1/2 teaspoon
• 2 ounces rye whiskey
• Splash Herbsaint (or Pernod), about 1/2 teaspoon
• Lemon peel for garnish
• Ice

Tools of the Trade - Diana Moses Botkin's Art Challenge - February 2012

"Tools of the trade - Bartender"
Oil on museum quality ampersand gessobord panel - 6" x 8"

As I mentioned in my previous post, I am flattered to have been asked to join the Diana Moses Botkin's Art Challenge Group. The February subject was "tools of the trade." Since it need not have been one's own trade, I choose the tools of a profession I very much admire. Having the proud distinction of having a cocktail named after me at The Dogwood, one of Baltimore's best restaurants, I have had occasion to see these tools put to good use. The drink is the "Mark Adams" martini:

Mark Adams $11
spicy and dirty: Serrano pepper-infused
vodka, shaken and served up and dirty, garnished
with olives and pickled okra (not for
the faint of heart)

Also, as a Harley guy, I am partial to chrome. There is a biker saying (which I don't subscribe to): "Chrome won't get you home!" After a few of these a cab will get you home.

Here are my fellow challenge artist works for February:

"A Painter's Handful" 10"x8" oil

©2012Mary Maxam



Barber's Tools

6"x 8" oil on hardboard
©2012 Diana Moses Botkin

"Paints" 6"x6" oil
©2012 Becky Joy



"Bluebird En Plein Air"

oil on panel, 4x4"

©Vicki Ross




"Tool of the Trade"

Oil on canvas
10"x30"
©2012 Suzanne Berry

"Ruby"

Oil on museum quality ampersand gessobord panel - 8" x 8"

As you will see in my next post - I have become a new member of fellow daily painter Diana Moses Botkin's "Art Challenge Group." Challenge groups like these are very beneficial in exercising the little grey cells. Once a month a new subject is chosen and explored. The finished works are kept secret from the other members of the group until the day they are revealed and posted. This month's topic was "tools of the trade." As you can imagine, some of the group did not venture past the tools at hand in the studio. A wealth of material is there to be sure. I guess technically I, too, did not leave the confines of my workspace, but how many artists have a fully stocked bar in their studio? It's a good thing there is no Guinness on tap or I would get even less done than I do.

What does all this have to do with little Ruby here? I'm glad you asked. I almost used her as my "tools of the trade" painting. You see, Ruby was a tool of the trade, a casualty of a puppy mill. A retired breeding bitch, she was cast off and sent to a shelter after her usefulness as a breeder was gone. Her teeth are non-existent. Her jaw was broken and poorly set. Her tongue, with no teeth to hold it in, hangs from her mouth in a sad, but smile inducing sort of way. (I painted her "good" side, but she is adorable on both) Weighing in at a mere 8 pounds, even for her breed she is tiny. The shelter reached out to an Italian Greyhound rescue group and my friends down in Texas fell in love with their first Iggy. Ruby could not have asked for a better forever home.

"Louie"

Oil on museum quality ampersand gessobord panel - 6" x 8"

I still had a bit of paint mixed up from the previous night's session and thought I could put it to good use. Whoever it was that gave me the tip about freezing the palette to retard drying - thank you, thank you, thank you!

The leftover pigment was used to paint this piece. Have you ever known a standard poodle that was afraid of the water? Well, I have. His name is Louie (or should that be Louis?) Whatever. Anyway, Louie has the same enthusiasm for the water as I have for boats. He'll fetch a tennis ball all day, but throw it in a pool, river, stream or estuary and all you get is a quizzical look, as if to say "Surely, you don't expect me to go in there and get that!" This day, my friend was determined to show him how much fun it is and gave him a little(?) nudge into the pool. He was not amused.

The photograph of the painting is not particularly too good. I didn't post it last night, thinking that a wash of north light might help. It didn't. Like people, some paintings just don't photograph well. Here it is nonetheless, just to prove I'm still stroking away.

"Tennis anyone?"

Oil on museum quality ampersand gessobord panel - 6" x 8"

I wanted to have a bit of fun tonight so this seemed appropriate. I like the abstract quality of the water. The local pool welcomes dogs to come and swim on the last day before closing for the season. There were a lot of happy pups enjoying the day. This guy was no exception.

"Owen and Ellie"

Oil on museum quality ampersand gessobord panel - 8" x 8"

I was amused by these little imps sitting on a pile of cookbooks with an empty dish beside them. It's as if they are saying "You don't need a recipe, just put something in the dish please." My boy, JJ, is notorious for sitting on anything I am trying to read. I'm sure none of you ever have that problem {;-)>