Blog
11/27/2017 9:58:49 AM
I painted a still life demo this summer. It was okay, but nothing special. At the end of the session I had paint left over and decided to clean the palette and work on the painting at the same time. Using my silicone brushes I scraped the palette clean and then applied the scrapings to the canvas.
I liked the effect so much that I decided to keep the painting around and play with it when there was a palette to be cleaned. Several sessions later I think I have a finished work and am now looking for another painting to clean my palettes on.
You can learn a lot when you make a game out of a painting. This “cleaning the palette painting” is a way to play with broken color and edges while having fun. There is nothing to lose and lots of learning to gain.
Close up
One of the silicone brushes used to clean the palette and paint with. You could use a palette knife for a similar effect.
11/20/2017 8:42:49 AM
I have recently discovered the work of William Trost Richards. His large oil paintings of seascapes are breathtaking, but it is his watercolor “coupons” that have captured my heart.
What are coupons? While looking at Richard’s work I was marveling at the atmosphere and distance he achieved. Rarely have I seen such a true depiction of the light and largeness of the landscape. My big surprise came upon reading the description of the paintings: “Watercolor on paper - 3x5 inches.”
My first thought was that this was a misprint. There is no way this could be a tiny watercolor. It turns out that this is one of over a hundred that Richards created and sent to his patron, George Whitney.
Whitney was an avid collector of Richards' early oil paintings and would fund trips as a down payment for future commissions. Richards wrote frequently to Whitney to describe his journeys. In one letter he wrote that he wished Whitney could see the light and inspiring landscape and then included a pen drawing of a pond. When Richards turned to watercolor Whitney responded enthusiastically by purchasing and promoting his watercolors which supplied a steady income. To thank his patron, Richards began to send him little watercolor paintings with his letters. They served not only as a thank you but also as a kind of mail order catalog for Whitney to promote his work. The men referred to them as “coupons” and they exchanged letters this way for many years. After Whitney passed away, the catalogue of letters and paintings was treasured by the family as a record of a great friendship and was finally given as a collection to the Pennsylvania Academy of Fine Arts, where Richards studied.
Lucky for us there is a lot of information and many images regarding William Trost Richards. Here are a few of my favorite sites, Enjoy!
William Trost Richards - The complete works
Art Renewal Center - William Trost Richards
Book: A Mine of Beauty by William Trost Richards - A small hardcover featuring all of the coupons.
11/13/2017 12:50:00 PM
Recently I have been frustrated with my watercolor painting. I find myself fussing and poking around in wet paint when I know I should leave it alone. The result: I am spending valuable painting time practicing mistakes.
This is a common hurdle faced by all artists. We practice our mistakes out of habit and fear and it limits our growth. Practicing mistakes is good for one thing only: realizing you’re doing it.
Once you realize you are making the same mistake over and over again then you can create a plan to change it. First you have to identify the mistakes you are making. I know the beauty of watercolor comes when the initial strokes are left to dry undisturbed but for some reason I want to go back into the wet paint too soon and muck it up.
Next you need to create a plan to kick you out of your bad habit. My solution is to do a bunch of very small paintings where I try to lay down the paint as quickly and succinctly as possible. By working small I can approach the problem over and over again in a short amount of time.
Habits are stubborn and you have to be patient to create change. After each session I ask, “What did I want to accomplish and did I achieve it?” This assessment needs to be honest and is crucial to growth. If I repeat the mistakes then I have to come up with a new plan. My attempts have been OK but I don’t have the knowledge to get what I want on the first try. I have recently discovered the work of William Trost Richards whose tiny watercolors are breathtaking. My new plan is to copy his work. This will give me a guide to follow and enable me to carry those skills to my own creations.
That is the plan, wish me luck!
My practice session board.
More about William Trost Richards in the next blog.
11/6/2017 12:10:50 PM
Does the world need another painting of the Duomo and the Ponte Vecchio? That was the question I asked myself this week and then answered, “Sure, why not?”
The Duomo is the Cathedral of Florence known for its giant dome which dominates the skyline. It is an architectural wonder created by Brunelleschi, and tourists from all parts of the world flock to view its grandeur and take selfies. The other equally famous icon is the Ponte Vecchio, which is the oldest bridge in the city that spans the Arno River. The Ponte Vecchio is lined with jewelry shops that jut out over the water in a haphazard arrangement that speaks of age. The Vasari Corridor runs along the top of these shops. This is where the ruling Medici could cross the bridge without mingling with the populace and it now houses a collection of artists’ self-portraits dating back through the Renaissance. The shops and the corridor give the bridge a unique profile that is dominant when you travel across the river. The Duomo and Ponte Vecchio are the images that show up on post cards, refrigerator magnets, and placemats. Every street artist in Florence has some version of these images which they produce over and over again to sell. I never had an interest in painting them but this year that changed.
While navigating the city on my own, the Duomo and Ponte Vecchio were my points of reference. If I got turned around, the location of these landmarks would set me straight. Previously when I thought of painting them the task seemed overwhelming because they are so historically significant and highly detailed that it would be hard to do them justice. This year they took on a more personal meaning. They represented welcoming landmarks that helped to guide me though the city. This changed perspective was my inspiration for painting them.
Ponte Vecchio and Duomo magnets
I began with the Ponte Vecchio. Over the years I have marveled at how this bridge shimmers in the light as it casts golden reflections onto the river below. There are hundreds of widows and shutters begging to be painted but I ignored most of them and painted the shapes of the shadows as they spanned across the bridge. Simplifying the detail on the bridge allowed me to focus the composition on the bounce of color between the gold of the bridge and the water.
Underpainting of Ponte Vecchio: I did this to simplify the values and shapes so I could focus on color.
Yesterday I painted the Duomo and again I had to simplify and edit out the detail to tell the story. I wanted to focus on the dome and how its towering presence always made me feel secure. The cloud added atmosphere and movement to the solid structures.
Duomo 10x8 Pastel
Both of these paintings are small for their subject matter. I wanted to get the images into pigment before my memory faded. I hope to return to them again, but next time painting them larger and clarifying the story I want to tell. So, does the world need another painting of the Duomo and Ponte Vecchio? Sure, why not?
