March 25, 2009

"Roscoe"

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

I don't always have a back story when reinterpreting someone else's reference. I just really liked this guy's Walter Matthau impression. I was surprised to discover that Roscoe was a Maine Coon, given up for adoption at 6 months of age due to the fact that he didn't have the classic long thick coat. I've been told he does however have all the other typical traits of a Maine Coon, from being a one person cat to "chirping." His "Grumpy Old Man" look has been Roscoe's look all his life. This cat was born an old man. Roscoe is also well traveled, having lived abroad for a couple of years. He is 13 now and Diabetic.

March 23, 2009

"Blessed are the cheese makers"

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

The cheese portrayed in this painting is a small sampling of the selection presented to us in Paris at Restaurant Guy Savoy. To try and describe the culinary experience of that night in mere words on these pages would be futile. Suffice it to say that it was the most amazing, decadent (and expensive) meal I have ever had.

March 18, 2009

"Anna" - R.I.P.


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

I suppose you've been wondering what happened to me. Had my muse run off to Monaco to play baccarat? Had I shuffled off this artists life and joined a monastery? Not quite. Sadly, I had been nursing my dear Anna who was battling two powerful foes - cancer and old age. She finally succumbed to their one-two punch yesterday and I had to intercede on her behalf. Not the way I would have chosen to celebrate St. Patrick's Day I assure you. This kind of intervention is not conducive to the creative process. Perhaps if I were a watercolor painter my work would have taken on a Grace Hartigan quality. Salty tears make for some interesting effects while working in a wet medium. I was able to steel myself to paint a commemorative portrait today. God speed, Anna. I hope you are frolicking with Vincent, Theo, Marco and your mom. At least you are no longer in pain. I wish I could say the same.

March 11, 2009

"Art Nouveau Harley-Davidson"

Oil on Canvas 27 1/2" x 42"

This piece has been knocking around the studio for quite a while. Intrigued by Alphonse Mucha's use of heavy delineation to flatten the figure, I decided to see if I could update it with the help of my Ultra Classic Harley-Davidson and my model Stephanie. The painting was quite a departure for a staunch realist like me. It is certainly unique. That 1997 wine berry and charcoal paint scheme on the bike was a knockout. I learned, too, that I am way too lazy to own a bike with white walled tires.

March 9, 2009

"Chloe"

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

What is it about Jack Russells that make them so endearing? Who among us has not been amused at Eddie's antics on the TV show Fraser? An interesting factoid: the dog who portrayed Eddie was named "Moose", an odd name for a little terrier. The few Jacks that I have crossed paths with have been a bit on the nervous side and would shake uncontrollably if I so much as looked at them funny. Yet they all, without exception, had sweet dispositions and although they looked rather fragile, were tough as nails. This old gal belongs to my friends Tom and Dave.

March 4, 2009

"Lochi"


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

This little guy is named Lochi or is it Lockie? It is short for "Low Key."
How he would spell it is anyone's guess:


The naming of cats is a difficult matter
It isn't just one of your holiday games
You may think at first I'm mad as a hatter
When I tell you a cat must have three different names

First of all, there's the name that the family use daily
Such as Peter, Augustus, Alonzo or James
Such as Victor or Jonathan, George or Bill Bailey
All of them are sensible, everyday names

But I tell you a cat needs a name that's particular
A name that's peculiar and more dignified
Else how can he keep up his tail perpendicular?
Or spread out his whiskers or cherish his pride?

Of names of this kind, I can give you a quorum
Such as Munkustrap, Quaxo or Coricopat
Such as Bombalurina, or else Jellylorum
Names that never belong to more than one cat

But above and beyond there's still one name left over
And that is the name that you will never guess
The name that no human research can discover
But the cat himself knows and will never confess

When you notice a cat in profound meditation
The reason, I tell you, is always the same
His mind is engaged in rapt contemplation
Of the thought, of the thought, of the thought of his name

His ineffable, effable, effanineffable
Deep and inscrutable singular name
Name, name, name, name, name, name

T.S. Elliott

"Vodka Martini with Three Olives"

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

Scotch whiskey and I are old friends. We go back years and years and I still like a wee dram in the evening, after I have put the brushes down, of course, and am reflecting on the day. The peatier the better. I could easily retire to Islay and drink Laphroaig when I'm near the end. Lately however, I have embraced the dirty, spicy vodka martini as my drink of choice. Last year dear friends of mine gave me a bottle of home infused pepper vodka. They are master gardeners and pepper heads and grow some very interesting and uncommon varieties of hot peppers like "Biker Billies" and "Chocolate habaneros." Let's just say the stuff would put hair on your chest. It was not for the faint of heart but right up my alley. This year they gave me a bag of assorted capsicums and I took them to Lars, my favorite mixologist at the Dogwood restaurant in Baltimore to infuse with one of his organic Vodkas. He keeps it behind the bar for me to have with my short rib meatloaf special on Thursdays. I doubt mere mortals could touch the stuff. It really is wonderful in a dirty martini. This is one of Lars' concoctions.

February 24, 2009

"Crustaceans"

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

Baltimore has long been called "the land of pleasant living" in advertisements for National Bohemian beer. Natty Boh being the proper drink of choice to wash down a dozen steamed crabs. Tossed unceremoniously on brown Kraft paper or on yesterdays news, these steaming hot crustaceans are what makes living in Maryland so special. In New England, arthropods are treated more upscale, often accompanied by a tenderloin filet and a fine Cabernet. The French take seafood to yet another level, pun intended. Their "plateau de fruits de mer" is a thing of beauty. Assorted shellfish and crabs are artfully arranged on a tower of ice filled splendor. You can find these in just about every brasserie in Paris. I hated to deconstruct these glorious edible works of art, although they were delicious.

February 23, 2009

"Olive and Friend"

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

Have you ever wondered why some words are invariably coupled with a particular qualifying adjective? For instance, have you ever heard pride described as anything but foolish? It's always "foolish pride." Olive drab is another. Why are olives drab, I ask you? I painted this painting of Anne Stark's Whippet, Olive, to prove not only is this Olive not drab, but she is quite vibrant. Well OK, perhaps her companion is the vibrant one but I say guilt by association. All that pink reflects well on her.

February 19, 2009

"RibN"

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

I'm not sure why I was reminded of the menu of the late lamented Hausner's Restaurant in East Baltimore when I was working on this. Possibly because the restaurant was brimming with late 19th century art and on the menu cover was an image of a particularly sentimental but sweet painting of a little girl and a Saint Bernard from their collection. RibN, my friends Marianne and Steve's Australian Shepherd bears little resemblance to a St. Bernard. Perhaps it was the bits of pink hinted in his snout that jogged my memory.
My mother was a product of German immigrants. She was what you might call a "disinterested" cook. Her limited culinary bag of tricks was distinctly 50's - no herbs, no spices (except Adolf's meat tenderizer, S&P (not freshly ground pepper- Heaven forbid!), maybe some dried oregano to throw in the spaghetti, canned vegetables, and then cook the hell out of everything (sorry Mom). Although her father was a professional pastry chef, I'm afraid the apple fell very far from that tree. To be fair, my mother was a diabetic and an ex model and actress, so I guess food wasn't high on her list of priorities. Thankfully for me, my boyhood friend Keith's parents allowed me to tag along when they went to Hausner's. My palate, dulled by years of bland cooking, was desperate for new experiences. Imagine a 14 year old boy tucking into his first plate of hasenpfeffer...Yum!! Did I mention that Hausner's was known for their strawberry shortcake?

February 18, 2009

"The red coats are coming!"


Oil on museum quality ampersand gessobord panel 5" x 7"

I probably should have painted this a bit larger as the detail in the tack and coat required the use of my trusty opti-visor. I am not Jean-Leon Gerome by any stretch of the imagination but once upon a time I painted a lot of miniatures. There are only 27 Vermeer paintings in existence. There is a reason he wasn't a daily painter. I tried to have some fun with the paint and keep the background loose and free. I should have channeled Degas. He could have knock this out in 20 minutes.

February 12, 2009

"Three Foxhounds"



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

The last few days have been most illuminating. Recently my painting lamp gave out after years of faithful service. I didn't think much of it at the time, I just assumed that I could go to the hardware store and get another one. Boy was I wrong. In their zeal to save Mother Earth, merchants have pulled from their shelves any flood lamp over 75 watts. Their intentions may be good but how am I supposed to see what I am painting? I bought one of those new-fangled curlique floods and it was passible but not great. My old reveal floodlight bathed my palette and canvas in lovely natural light. This new one bare lit up my work. I went back and bought a clip light and a 40 watt mini flood to light my palette and the Kelvin temp is close enough. I did find a source on the internet called Bulftown that still had some 150's so I may be back in business. If your neighborhood hardware store has any high wattage bulbs you may want to stock up while you still can.

February 9, 2009

"Salsa - the early days"

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

February 5, 2009

"We're all in this together"

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

I went to Centerstage on Tuesday and saw a fine production of Lynn Nottage's "Fabulation, or the re-education of Undine." A line from the play that stuck in my head was, and I paraphrase - "I dreamt of fish last night. That means I'm comin' into money." I, too, dreamt of fish that night, but for a completely different reason. When I started this painting, it seemed to be a fun little exercise in color and texture. It roughed in well, but soon I was lost in the myriad of iridescent hues and glistening reflections that had my head spinning. Each little fish had its own subtle character. Some seemed happy, (as happy as a dead fish can be) and others sad, or at least resigned to their fate. Sheep may all look the same, except perhaps to the shepherd, but I am here to tell you that all mackerel are not created equal. The variances in hue and shape caught me by surprise. Painting one was a challenge; painting a dozen soon became overwhelming. I fought the desire to do a wipe-out and the resulting painting turned out fresh and colorful. Lesson learned - push on though and try and come out on the other side. I'm glad I did.

February 3, 2009

"Eat Bertha's Mussels"

Oil on Canvas 15" x 20"
It is amazing how much time and thought goes into building a new house. Extreme care must be given to the choosing and placement of the smallest detail. As we get closer to being "under roof" the decisions about plumbing and lighting are coming fast and furious. Not wanting to make a mistake, we are spending hours and hours perusing lighting books and the Internet for that perfect sconce, just the right farm house sink, etc, etc. Sadly, my head is spinning from all this and I have not been able to concentrate. I did stand at the easel today but it just wasn't there. The painting laid in nicely but I couldn't see it through. I am going to freeze the palette and try again tomorrow. In the meantime, here is a painting a did in'05 that hasn't been posted.
There is a bar/restaurant in Fells Point called Bertha's which is famous for their steamed mussels. It is not uncommon to see their ubiquitous "Eat Bertha's Mussels" bumper stickers all over town. In one of the little side rooms, in a room painted chalk board green, is a table that has what I consider to be the perfect light for a portrait. I took my model friend Stephanie there one early afternoon for lunch, hoping my special table was unoccupied. It was and this is the result. They have excellent mussels by the way, if you should find yourself on the waterfront in Baltimore.

January 27, 2009

"Dino"

Oil on museum quality ampersand gessobord panel 8" x 8"
When Piper had her kittens last summer we named the litter after the rat pack. Although perhaps not politically correct, the little black one was obviously named Sammy, the black and white one we named Dino and the little girl we called Shirley, after Shirley MacLaine. Dino's black and white spots are more Robert Motherwell than Dalmatian. I was more open to the abstract expressionists back in my youth. I remember going to a Halloween party dressed as Motherwell's Elegy to the Spanish Republic number 57. It was during the mime years so I had ready access to grease paint. I wore my beatnik black and painted Motherwell's painting on my face. No one at the party knew who I was supposed to be, imagine that. Then it occurred to me that I had painted the painting using a mirror so the image was backwards. Did I feel foolish. We had a couple in inches of snow today and Dino is really enjoying playing in it.

January 26, 2009

Stage Makeup

Oil on museum quality ampersand Gessobord panel 5' x 7"
One of the nice things about moving, if you are a pack rat like me, is you have an excuse to look through all the boxes and storage bins in the basement, attic and studio once again. It really is like Christmas. Phrases like "Hey, I've been looking for this," "Oh wow, I forgot I had one of these" etc., etc, spring to the lips. I am getting marginally better at editing out the true dreck from the "I might find a use for this someday." While foraging in the bowels of the cellar recently I came across a treasure trove of old photos from my theatre days. I thought it might be fun to stroll down memory lane and paint a mime once again. This is a young Tom Casciero from the Towson Mime Troupe putting on classic white face.

January 23, 2009

"Two horses with braided manes"

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

One of the most challenging things about recording the pageantry of the Blessing of the hunt held every Thanksgiving in Gyndon, Maryland is the intermingling of the hoi polloi and the hoity toity. The bucolic landscape of the valley is littered with petters in sweaters, mothers with strollers, teens with their iPods and photogs with tripods. Trying to get a clean shot is nearly impossible. Thankfully, as a painter, I can often just edit them out in the composition. While it might have been nice to include the quaint St. John's Episcopal Church in the background, there was something pleasing about the simplicity of this painting. The focus is on the magnificent beasts and the intricate harnesses and not the scene wherein they play in. I chose to use a simple blue into green gradient although not without trepidation. I had a back-of-my-mind fear that it may come off looking like the colored tissue paper that folks in the 50's put over their black and white TVs to simulate color; blue for the sky, red for the people and green for the grass. My fears turned out to be groundless, no pun intended, and the gambit paid off. The tack and harnesses proved to be much more labor intensive than I first imagined, but I always look at my reference and think I can lay it down in an hour and 6 hours later I am still pushing paint around. I may have to paint some fruit or oysters tomorrow just to prove to myself that I can paint a sketchy painting.

January 21, 2009

"Cleo"

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

I am posting this late tonight and hope to write a bit more tomorrow afternoon. This is Cleopatra, a long haired Eastern German Shepherd. She was 13 weeks when she posed for this painting. Sorry about the huge file. I lost photoshop when I lost my computer and can't figure out how to resize things in lightroom.


January 14, 2009

"Dabo"

Oil on museum quality ampersand Gessobord panel 6" x 6"
The intensity of color got lost in translation on this portrait of the late Dabasir. I haven't had a chance to paint many birds. It was fun to have a new texture to play with after all the fur I've been painting lately. Dabo was 40 when he passed and hopefully he is flying high among the morning stars.

January 13, 2009

"Monet in a cable knit sweater"


Oil on museum quality ampersand Gessobord Panel 6" x 6"


I've been spinning my wheels since the break-in, trying to recoup my lost images and data. I did order a new computer today and am looking forward to my shiny new PC. Yes, I have returned to the dark side. I'm sure Macs are fine for some but I never really loved mine. It did have a beautiful monitor but it was like riding an Italian motorcycle; pretty but full of quirks, and what's with the CD drive? That alone kept me from getting another one.


Monet here was a fun little piece to help get me back to the easel. It reminds me of a George Rodrique blue dog painting.

January 8, 2009

Strange request (ndp)


An artist friend of mine made a strange request the other day. He said "Mark, I tried to paint a painting of my daughter's dogs and it didn't turn out well. I know you paint dogs. Do you think you could touch this up?" I, of course, was flattered but had never over-painted someone else's work before. I said I would see what I could do. It had quite a thick impasto of white on the panel which had to be removed before I could proceed. The original reference was of Kate, Emmie and Bandit laying on a white fur rug, which was probably taken at a Petsmart or some such place. I applauded my friend's artistic licence in creating the landscape instead of laying in the backdrop used for the photo and left it in, feathering the "snow" up to it. It's ironic that my first painting of the new year isn't really mine. It was an interesting exercise and a good way to get my hand back in it. How many of us have lost a painting and would have the nerve to ask someone else to save it? Of course he may not be thrilled that I posted this. Oops.

Here is the scraped down original so you can get an idea of the challenge:

January 6, 2009

"Self portrait with Vincent"

Oil on Canvas 16" x 24"
Tomorrow the theme of the daily painters is self-portraits. I was really looking forward to doing something fun with it until the robbery. Today was spent dealing with insurance people and data recovery so I didn't get into the studio to paint. To tell the truth my heart just wasn't in it. The other problem is I look kind of weird right now (er, more weird than usual). To celebrate my birthday we had a few folks over for a 50's themed dinner party. Since I was halfway there already, given my propensity for black turtlenecks, bongos and berets, I decided to go full beatnik daddy-o. I trimmed off the Santa beard and left the goatee which I dyed dark brown. To add to the authenticity I had my copy of Allen Ginsberg's Howl in my pocket in case an impromptu poetry reading was called for. I fear I may look like one of those sad men who use Clairol "just for men" a bit too long. I thought it would wash out but this stuff is good. I cut what was left of my beard really short and the grey is just starting to peek through. Before you know it I'll be getting the senior discount again.
I did this painting in 2005 after my beloved Vincent went to join his brother Theo in the morning stars.

January 5, 2009

Burglary

Ah! 2009 - Time to put all the bad stuff that happened last year behind us and look ahead to a bright new year. So what happens on day 3 of this bright new year? Someone breaks into my house and steals my iMac computer. Yes, the one that has taken me 9 months to finally get used to. Did I back up all my reference material that was on that machine? Yes and no. I had an external hard drive that automatically backs up the mac every hour and the perps left it behind. The trouble is that my auxiliary laptop is a PC and cannot read the data. Since I have to get a new computer anyway, I am going back to a PC. I never really loved the iMac other than the beautiful 24" screen.

Stay tuned. New work is coming, I promise.

December 19, 2008

"Down the tubes"

Oil on museum quality, archival ampersand gessobord™ panel - 6” x 8”


Every time I go to the John I  am reminded of Wall Street. Why do you think that is?  I guess we are all concerned about our nest eggs being flushed down the loo.   I was in New York last week at Bond 45 for lunch. Nature called and I answered. While I was attending to the business at hand I found the plumbing intriguing. Hope you do, too.

December 18, 2008

"Champion Piper's Roman Gladiator"


Oil on museum quality, archival ampersand gessobord™ panel - 8” x 8”


I deleted this by mistake so I am posting it again.  Be sure to look down for todays painting which is underneath this one.  It's a shame I lost this to cyberspace, there were some very lovely comments attached that I will miss.  BTW - this is another of Anne Stark's dogs.   You can find them at: www.piperspuppies4u.com

"Wilt on a Cold Day"

Oil on museum quality, archival ampersand gessobord™ panel - 6” x 8”


As you can see, I am still in Dog Mode. Not that there's anything wrong with that. What appealed to me about this reference, other than the fact that he looks like Michael Phelps after winning his second gold medal at the summer Olympics, were the red and green blankets - quite apropos given the season.  City street lights, even stop lights, blink of bright red and green.  There is something magical about this set of complementary colors that isn't present in blue/orange, violet/yellow or other spectral variations.  If you read my tag the other day you may have noted that I am mad for hot food.  On a recent trip to New Mexico I was dining in a Tex-Mex restaurant and ordered some enchiladas. The server asked if I wanted my sauce, "red, green or Christmas?"  Christmas, of course, meaning both.  This little guy looks like he's plopped down on a plate of Christmas chile sauce.  I have always been a Christmas kind of guy.  In fact,  I'm starting to look like a bit like Santa.  By that, I mean I'm letting my white beard grow long, though I have been working harder on that bowl full of jelly than I should!  Heck, I named my daughter Holly.  Speaking of the holidays.  I may be very busy this coming week; making lists and checking them twice, etc., so this may be my last post for a while.

December 16, 2008

"JJ upside-down on a hooked rug"

Oil on museum quality, archival ampersand gessobord™ panel - 6” x 6”


I had an e-mail from a friend the other day who complained that I had been remiss in my blog duties, that I have not fleshed out the posted paintings with my usual amusing stories and bon mots.  I'll grant you les mots justes have not been readily at my fingertips.  Perhaps it is laziness on my part or is it that I have spent my creative energy on creating the painting and have nothing left for the blog?  I usually tell myself that I will do the write up in the morning when I am fresh. Sometimes this happens but more often than not it doesn't.  Gene Fowler said "Writing is easy: you just stare at a blank sheet of paper until drops of blood appear on your forehead." 

Henceforth I will try and give the paintings a little background.


JJ brought me a little present tonight; a live mouse he found in the basement.  He was plainly pleased with himself, since he isn't allowed outside and has hitherto only had various faux mice to play with.  His delight turned to frustration when his treasure made a break for it and wound up behind my bookcase.  JJ is in there still, biding his time.  

December 8, 2008

"Rover and Moe"

Oil on museum quality, archival ampersand gessobord™ panel - 8” x 10”


I didn't get too much of a back story on these little guys. I know that Rover (on the right) has gone to join the morning stars and his owner misses him terribly and wanted a posthumous portrait to commemorate his short life.  Short in stature only.  Judging from his grey muzzle he had a long and happily life.  His notched left ear is a complete mystery.  I should follow up on that.

December 3, 2008

Getting the Blues

Oil on museum quality, archival ampersand gessobord™ panel - 6” x 8”


I was at the art supply store yesterday and finally decided it was time to replace the ancient tube of Cerulean Blue paint that I've had in my paintbox since high school. I needed a dab of it the other day and found it lacked a certain youth. I also bought a tube of Cobalt Teal on impulse. (Cobalt Teal? Who knew?) I have been impressed with some of my fellow daily painters pool/ocean paintings and wanted to play with the genre. Splashing around in all that blue paint was totally foreign to me. My early palette layout was decidedly Dutch, with just a touch of Ultramarine keeping the earth tones company, to cool down the shadows. Although Salvador Dali disapproves of the pigment in his book "Fifty Secrets to Magic Craftsmanship," I also keep a bit of Prussian Blue on my palette. Laying on the paint in such a free manner was cathartic. It is good for a realist painter to remember what the medium is capable of. I didn't wait 30 minutes after eating to jump into this painting. I'm happy to report that I did not get a cramp.

"Maryland Steamed Crab"

Oil on museum quality, archival ampersand gessobord™ panel - 6” x 8”


There is a song that is popular around this time of year called “[Oh, I want] Crabs for Christmas.” You may think that crab season is long gone. Au contraire, mon frère! Some of the best crabs we have ever had were consumed in the winter. Granted they were brought up from Texas or Louisiana but they were meaty and delicious. This little guy was the last of the local Chesapeake Bay harvest. Small, but fat and sweet. A pitcher of Natty Boh (National Bohemian) is the perfect accompaniment to these delightful crustaceans but sadly, at our favorite crab house we have to settle for Coor’s Light. It is visually identical to Boh, so use your imagination. Cheers!

December 2, 2008

"Tally Ho"

Oil on museum quality, archival ampersand gessobord™ panel - 6” x 8”


I have attended the Blessing of the hounds at St. John's Episcopal Church in Glyndon, Md for the last couple of years.  The church is a charming neo-gothic cathedral nestled in the heart of horse country.  It has always been pet friendly. For instance; my wife and I often attend Christmas morning service there where our dear friend Father Frederick Hannah has been the guest rector. I grant you it is a tiny church but I can only surmise that the bulk of the congregation was in attendance on Christmas Eve since the 10:00 am morning service never boasted more than two dozen or so parishioners.  One Christmas morning, as we knelt at the alter awaiting communion, we notice a tiny nose poking out of the jacket of the man next to us.  He had a tiny puppy with him.  Father Fred gave the man the host and blessed the little dog, he did not let the puppy drink from the common cup.


I don't normally cut off heads in my compositions but this painting cried out for ambiguity and abstraction.  The negative spaces, the pull of red and green, and the free brushwork came together to form a very pleasing painting (at least to me).


November 27, 2008

"Please sir, I want some more."

Oil on museum quality, archival ampersand gessobord™ panel - 6” x 8”


We weren't lucky enough at my high school to have our own composer like Kelsey from High School Musical to create something original.  For our senior musical we were forced to use the work of Lionel Bart.  I must that say our production of Oliver! was very professional, and not just because of the great scenic artwork in which I had a hand. Right by the computer are two large french doors and very often one or more little faces are pressed up against the glass, looking in with pleading eyes for more food.  Even if I slide the door very slowly, they scatter.  All except Sammy that is, he comes just inside the door to have a look.  There is a scene in Oliver! when young Oliver, having finished his meager bowl of gruel goes up to Mr. Bumble for seconds. "Please sir, I want some more." he says.  I often think that is running through these little girls' heads. This is of course Piper and her new daughter Shirley.


This painting looks better in reality.  The photo doesn't show off the softness of the fur very well.  For the record, my high school basketball team were the Parkville Knights.  "Get your head in the game!"


November 24, 2008

Tag - you're it!

Tagging season is in full swing and I've been tagged by two fine artists this week.  Alice Thompson and Susan Beauchemin both honored me with this distinction.

This is a fun way to get to know your blogger friends in art! The rules of this great game are:
1. Put a link in your posting to the person who tagged you.
2. List 7 unusual things about yourself.
3. Tag 7 other bloggers at the end of your post and comment on their blogs to let them know.

These are my seven;

1.  I can recite Oscar Wilde’s “The Importance of Being Ernest” word for word.  Once upon a time I went for light treatments for a skin problem I was having, which required me to stand naked in a tall cylinder filled with tubes of UV lamps for 30 minutes at a time. There is not much to do in there but contemplate life. To pass the time I would recite the play out loud. I nearly got up to Act II before the timer went off.    I can only imagine what the nurses in the office thought listening to me arguing with myself in a pronounced British accent thusly:

Jack. How can you sit there, calmly eating muffins when we are in this horrible trouble, I can’t make out. You seem to me to be perfectly heartless.
Algernon. Well, I can’t eat muffins in an agitated manner. The butter would probably get on my cuffs. One should always eat muffins quite calmly. It is the only way to eat them.
Jack. I say it’s perfectly heartless your eating muffins at all, under the circumstances.
Algernon. When I am in trouble, eating is the only thing that consoles me. Indeed, when I am in really great trouble, as any one who knows me intimately will tell you, I refuse everything except food and drink. At the present moment I am eating muffins because I am unhappy. Besides, I am particularly fond of muffins. [Rising.]
Jack. [Rising.] Well, that is no reason why you should eat them all in that greedy way. [Takes muffins from Algernon.]
Algernon. [Offering tea-cake.] I wish you would have tea-cake instead. I don’t like tea-cake.
Jack. But I hate tea-cake.
Algernon. Why on earth then do you allow tea-cake to be served up for your guests? What ideas you have of hospitality!
2.  I love to eat spicy food that mere mortals dare not.  Wilbur Scoville consults me for heat ratings on peppers.  It must be the endorphin rush from the heat, like a runner's high.  That said, I find those silly XXX hot sauces like Endorphin Rush to be nasty bitter extracts.  I like taste with my heat, which leads into tidbit number 3.
3.   I am an avid cook.  I do the lion’s share of the cooking in our house, my wife does the baking.  Baking is science, cooking is art.  Don’t get me wrong, my wife, Susan, is a great cook, too.  Baking requires precise measurements for things to do what they are supposed to do and that’s not my way.  My maternal grandfather was a professional pastry chef and explained precise measures to me as a boy as he poured baking powder or salt into the palm of his hand.  Years of practice taught him to know what a teaspoon of whatever looked like.  Where measuring is concerned, I am a palm of the hand guy myself.  
4.  I’m gay -- Well, maybe not actually gay.  I often listen to show tunes or vintage disco while painting.  Lately it’s been “High School Musical.”  How many straight men over the age of fifty do that?  My mother,  an aspiring actress, would wake me for school every day with her best Debbie Reynolds rendition of “Good Morning, good morning, we talked the whole night through. Good morning, good morning to you...” from "Singing in the Rain.” Of course I couldn’t really be gay, aside from the obvious choice of the gender of my partner; I dress like a biker (or a beatnik) and have the body of Balzac.  One of my models likes to rub my tummy for good luck while whispering under her breath, “Buddha Belly.”  This brings me to number 5.
5.  I slept with David Hasselhoff.  Well, maybe not actually slept with him, it was more of a sleepover.  When I was a small boy, my parents were very good friends with his parents, Joe and Dolores Hasselhoff.   (My mother pronounced their name Hazelhoff, as in witch hazel, back then.) When my parents would visit Joe and Dolores, they would pack my sisters and me in the car with our PJ’s.  Eventually we and the Hasselhoff kids would fall asleep watching TV waiting for our parents to finish playing Canasta or whatever parents did in the fifties.  I haven't seen him in fifty years.  It’s a pity we lost touch, I know he rides a Harley and I’d love to go on a ride with him sometime.
6.  My mother was an ailurophobe, I am an ailurophile.  I didn’t grow up with cats but now I couldn’t imagine my life without them.  But then anyone who reads my blog regularly knows that.  J’embrasse mon chat sur la bouche.
7.  I suffer from terrible stage fright.  Painfully shy as a small boy, my mother thought the stage might help bring me out of my shell and enlisted me in a summer stock production of “Rumpelstiltskin,” where I played a peasant.  I did get to wear a cool costume, but seeing all those people looking at me freaked me out. I was an acolyte at my church for four years, which petrified me, but I kept on despite myself because I loved the robes.  The theatre is in my blood and in high school I became involved in set design and construction.  I did a bunch of scene painting for Peabody Opera Theatre back in the 80’s.  To this day I love to wear costumes. On any given day I either look like Maynard Krebs or a Hell's Angel.  But if it’s Oktoberfest, the lederhosen comes out.  Renaissance Festival?  No problem. Christmas?  Ho, Ho, Ho.  Indeed I have so many fencing shirts, capes and waistcoats hanging in my closet, the cleaning people are beginning to wonder about me (see number 4).  
My 7 victims, er tags are:
I don't know if I mentioned this, but we are designing and building a new house/studio which is really eating into my painting time.  Hopefully tomorrow will see me at the easel.

November 20, 2008

"Max"

Oil on museum quality, archival ampersand gessobord™ panel - 8” x 8”


I've never painted a Cornish Rex before today.  The coat of a Cornish Rex is curly and extremely fine.  It's more like down than fur.  Indeed, Max here would get hypothermia on a day like today if he was allowed outside. Not unlike JJ, Max has found a recently closed laptop to perch on. He lives with my friend George and his antics are legend. In case you were wondering what is in the background of this piece; it is huge glass bell dome covering a stuffed crane atop an ornate carved chinese stand.


As I am typing this, some drama was happening just outside.  I had given Piper and the kids a bowl of kitten chow about 10 minutes ago and when I looked out, a very large raccoon was woofing down their food.  They were cowering in their cooler/cathouse.  I chased off Rory and checked on the gang.  Everybody was OK, thank goodness.  I still don't have the heart to separate Piper from her children.  I am working on gaining there confidence.  


It felt good to be back at the easel today.

November 18, 2008

Art - A seeing and feeling process

I am not going to wallow in creative self pity once more. Suffice it to say that I just couldn't summon up the inspiration to push around the paint today. I have many wonderful images and ideas in the queue but they all seemed flat. I passed up dinner and Quantum of Solace tonight because I felt that I had to create something. (Sorry Steve, a vodka martini, shaken, not stirred, might have cheered me up) Some artists can force themselves to work when their heart isn't in it, and successfully come out the other side. If I try and do that, it is reflected in the paint, which just makes me feel worse. Performance anxiety sets in when I have been away from the studio too long. I hate to disappoint everyone who has subscribed to my blog and who look forward to wonderful new things from me. Sorry guys, I'm working on it. This economy is getting to me. Did I mention we are building a new house? How's that for timing?

November 13, 2008

They're Baaack - and I'm gone


These paintings swam back upstream to the studio.  I held a few paintings back for the "Fish and Fowl" show at the Ice House Gallery in Berkeley Springs, WV last month. The works below are now available, all framed up for the holidays. If you'd like to have one click this link: www.dailypainters.com and click "Artists," then find me and open my "Gallery"  click on the painting you want, click the PayPal button and voilà.   

In case you haven't guessed, my creative batteries are depleted (again).  I am off to the Big Easy to recharge them.  New work on Tuesday, I promise.













November 10, 2008

"Kittens in a wall"

Oil on museum quality, archival ampersand gessobord™ panel - 8” x 8”


Maybe it's the little guys frolicking just outside the studio that made me want to paint this piece. I have been spending way too much time watching the "rat pack" as we call them. Sammy, Dino and Shirley are destined to make the move into the studio before the snow flies. I made a make-shift house by cutting a 8" x 8" hole in front of an old igloo cooler and put a heated dog bed in it, which they have taken to, so I am slightly less worried about them being cold. Piper is still a hissy little bitch but the kids are starting to think the big pink monster is O.K.


These little kittens looked at first like they were stuck in the wall of my friends barn, but I was assured that they could come and go with no problem and that they felt safe in their nest. Having a farm can be a challenge. People seem to think they can dump kittens off with impunity. After all, everybody knows you can't have too many barn cats. At last count my friend has 50 some outside cats and 16 inside. She is more of a bleeding heart than I am, God bless her.

November 6, 2008

"Toasted Marshmallow"


Oil on museum quality, archival ampersand gessobord™ panel - 5” x 5”


Experience has taught me that two weeks away from the easel requires a slow progression back. Too often have I set myself up for a creative crisis by starting in on a complex new piece without warming up.  You wouldn't start a marathon without limbering up; the creative process requires no less. 
 
While camping on Long Key last week, I met a gifted pastry chef named Kelsey who had the site next to ours. My riding buddy Hugh, a.k.a. the "Beast," and I had a large bottle of Tanqueray Rangpur Gin and some Rose's lime juice and she had homemade marshmallows and a roaring campfire.  It was a match made in heaven.  I should mention it was cold, cold, cold.  Temperatures in the low 50's was not what I was expecting in the Florida Keys but with the help of a few Gimlets and the campfire we didn't feel the chill.  You can never go back to Stay-Pufts once you've had Kelsey's.  She was kind enough to leave us a whole bag of them when she broke camp the next day.  This painting features one of her creations freshly charred by the fire and seconds before being happily devoured by me.