Finally, it is done!

Pop the champagne, drop the confetti! Well, I have reason to celebrate any way. I finally finished this blasted painting! It's hard to believe I started this painting of Venice LAST YEAR, but there it is. I struggled with it at times, set it aside, tackled it anew, only to come away with yet more to do. I had to completely rework certain areas, especially the background buildings, because even though I was trying to be true to my photos, my hubby (one of my best critics) told me they didn't make sense the way I had them before. I do think he was right. I've said it before...if it makes a better painting, change it. In any event, I am glad I persisted because I think I am finally reasonably happy with the end result. Today is a pretty gray, low-light kind of day so I may need to reshoot it to get better clarity in the photograph (done). But I have to take advantage of a napping baby by sneaking this post in when I can.

"A Private Tour" Oil on Linen, 30x24"

In all of the times I've been to Venice (it's been several but I've lost count), I've never taken a gondola ride. I always say that I'm going to, but I never seem to want to justify the expense. I guess I'd rather eat a delicious Venetian dinner instead!  From walks along the waters' edge, I've always enjoyed seeing  couples gently drifting down some narrow passageway. It's something I really should try to do before I hang it all up. Next time, for sure!

A Painting Completed (at last)

Happy New Year everyone!  Ok, so I know I am a tad behind, but this is my life right now!

"Wildflowers in the Grove" (Tuscany) Oil on Linen, 20x24"

This is one of a few paintings I had gotten to a point of 80 to 90% complete and then set aside for- like- ever! Even though baby E. is now 6 months old, sleep is still the most precious commodity at our house. Yes, I know--excuses, excuses! But I never knew what a challenge this life-change would be on creative work. So hats off to creative people everywhere who still manage to "do their thing" with a baby at home! (And while I'm at it, any tips?)

I had to finally table the Venice painting I'd been working on in my prior post (before Christmas- ack!) I'll come back to it at some point soon, but progress was really slow and it got to the point where I had looked at it for so long that I couldn't "see" it any more. So for my own mental health, and to feel like I can still complete *something* in my life every now and then, I did the old switcharoo and returned to one of my favorite subjects- Tuscany in springtime. 

Hubby and I discovered this olive grove strewn with wildflowers on a well-remembered drive one day in the beautiful Val d'Orcia. It does my spirit good to meditate on that day of abundant sunshine, especially when we are in the midst of a mostly gray, soggy winter here in Virginia.

Venice W.I.P.

"Start by doing what is necessary, then what is possible, and suddenly you are doing the impossible." -St. Francis of Assisi

My husband presented me with this quote at breakfast one morning recently, and I think I would do well to have it become my mantra. Even with part-time childcare, I can't seem to get more than a few hours of weekly studio time right now. With a little baby at home, tending to the necessities of my daugther comes first, and that is as it should be.

Perhaps as I hit my stride as a mother, doing more as an artist will also become possilble. At present, though, what used to come easily in the studio now feels like a real struggle. This painting is kind of crawling along in fits and starts. Here's what I have so far:

Given that I am only getting about 2 hours of painting time in at any given session (which unfortunately still doesn't occur all that often) I can't really work alla prima (wet-into-wet) which has always been what I prefer.  The canvas size is 30"x24", and each time I return to the easel, the paint has dried pretty much completely. I feel like I am doing extra work at each session just to try and open it back up again. 

It's not as if every other painting I have ever done has been completed in one session, but for some reason, this multi-sessioned piece feels like more of a struggle. Maybe it is just the lack of continuity that has me stumped. Or maybe it's the lack of decent sleep! But whatever it is, I feel a bit like an inattentive reader, who keeps having to read the same page over and over again because her mind keeps wandering.

Still, in spite of my difficulties, I do feel grateful that it's possible to have a little time to paint again. Just starting something new and moving the paint around a bit feels good, even if finishing anything still sometimes feels like an impossibility!

A small commission, with just weeks away...

Given how long it has been since I've posted anything new here at all, I am almost embarrassed to write another "yes I'm still here" post. But here goes! The baby is now less than a month away from her due date and I am finally feeling as if I have gotten our household in some kind of order to prepare for her arrival. Unfortunately, now that I'm getting a little respite from the baby books, the shower, the classes, and prepping the nursery, I am, in this final trimester, also feeling my least energetic and creative. In truth, I don't think I was prepared for just how exhausted I'd feel throughout the pregnancy. But now that I'm getting really big, I can't really seem to do any one thing for very long before I start to feel quite uncomfortable. So needless to say, painting has pretty much taken a back seat during most of my pregnancy, and it's hard to say when that will change to any great extent after the baby comes. However, I do have one new little piece to share. It's a small watercolor/pen and ink painting  (8x10" on 11x14" paper) that a client commissioned to commemorate her daughter's upcoming wedding:

"Flavor of Fagiolari" Watercolor and Pen & Ink on Paper

The scene is of a B&B in the Chianti region, not far from where I myself have traveled a number of times. It's a special place to the betrothed because they met in Italy and stayed at Fagiolari during their travels through Tuscany together.

When I paint from photos, I prefer to work from my own references. I just have a much better feeling for the place if I, myself, have traveled and painted there, and my photos serve as a trigger to call forth those experiences. I also take several different viewpoints of a given scene, plus a number of details, so that I can have as much information as possible when I get to work. So it's always with a bit of reservation when I consider working from a client's photo, which is normally more of a one-off tourist snapshot.

But this commission was actually quite a joy for me. Not only was it great to be doing something in the painting realm again, but the photos provided were excellent. Having also traveled the area fairly extensively myself helped a good deal as well.  Plus I was given much leeway as to how I wanted to interpret them (the photos) and what I wanted to include, rather than being tied to making an exact, literal interpretation  (a.k.a. an illustration) of a scene.

What was most important to the client was that I caputre the "flavor" of the place (hence the painting's title). Luckily, the client was delighted with the finished piece, and I had a good time getting my hands back in some art-making to boot. I tend to feel somewhat more intimidated by watercolors (as opposed to oils) but given its manageable size and the properties of the medium, I was able to stop and start more easily than I can with oils. It's not without reason to think that maybe I can even attempt a few more before "D-day" (or make that B-day) but we'll see. The one thing I can say about my life this past year is that it is anything but predictable!

Bellagio from above; more oil painting w/out solvents

Following up from my prior WIP, here is the final painting. This is a view of Bellagio from a hike we took up to Villa Serbelloni. The villa is now maintained by the Rockefeller Foundation, who uses it as a retreat for  the Bellagio Study and Conference Center for artists and writers (wouldn't that be nice?) For this reason, we couldn't go inside the villa when we visited, but we could tour the grounds, which offers gorgeous views over Bellagio.

"Bellagio From Above" Oil on Linen, 20x16"

SOLD!

Both this piece and my previous Lake Como painting, were done without the use of solvents or any other medium other than small amounts of walnut oil to clean brushes and thin paint when necessary. But even when used judiciously, the walnut oil served to slow drying considerably. At present this is not a huge problem, as I am spending most of my time painting/renovating/preparing home and life for the new baby! But it does change the nature of things and the overall result became more impressionistic due both to the behavior of the paint, and probably also the gaps in my working sessions.

I know that an oil painting requires a certain length of time for all of the layers to fully dry (sometimes as much as 6 months or a year.) But normally the top layers will dry to the touch in about a week's time.  Not so with the walnut oil method, which seems to require at least an additional week to my usual handling time.

Maybe it's just that my painting habits are not particularly suited for this method, or maybe I just need to get used to new ways of doing things. Overall, except at the very beginning stage, I don't paint in thin layers. In fact, while I don't lay it on with a palette knife, I do paint passages that are relatively thick and juicy. But oddly, I experience the most difficulty in the lay-in, (early stage) which I am used to having set up rather quickly.

First of all, in order to follow the "fat over lean" rule, I have been trying not to make the paint too "fat", too soon. So I keep the walnut oil I use in my initial lay-in stage very spare. The result is that instead of a thinly painted initial sketch and color block-in, I find myself with trying to move paint around that has a definite drag and is less fluid. The lay-in becomes more often a "rub-in" with a rag or a "scrub-in" with an old brush, and the edits and corrections are very hard to lift off the canvas.

On the other hand, if I use more walnut oil at this stage, the paint can get too smeary and unmanageable for successive layers, not to mention less stable (with any medium you use, you should only use no more than 20% total volume when mixed directly into the paint, and I usually err on the side of caution and use rather less than that.)

One solution may be to use a runnier paint in the lay-in stage. M. Graham walnut oil paints are such a paint. I do have a few tubes on hand, as I've tried them in the past. As much as I wanted to like them, I normally prefer more body to my paints. But they might just work for my purposes now--but still probably just in the initial stage only. (Incidentally, it's perfectly okay to mix walnut oil with linseed oil based paint, so even if you want to paint solvent-free, you do not need to buy their paints exclusively.)

Aside from walnut oil to thin,  there are other oils to try. Linseed oil is commonly used by artists, both in mixtures of ground paint and in various mediums. And while both linseed and walnut oils are considered to be "drying oils", linseed tends to be the faster-drying of the two.  However, I seem to read a lot about how linseed oil tends to yellow over time. Maybe this is an exaggerated worry, but a quick look at experiments like this one swayed me to first try the walnut oil over linseed.

So, to sum up from this layperson's perspective, some of the pros of using walnut oil to thin/clean are:

• Non-yellowing
• Non-toxic/ solvent-free painting (though other oils can also serve to achieve the same thing.)
• Odorless
• Does not evaporate like solvents, so it seems fairly long-lasting
• Conditions brushes nicely

Cons:

• Walnut oil is expensive! (If you are only using oil to clean your brushes, you could probably get by with a less expensive oil.)
• Slows drying considerably (this could actually be a "pro", depending on your painting technique.)
• Compared to solvent, it requires using more brushes and/or more wiping of brushes between colors in order to keep the color clean.
• Walnut oil is expensive!

A WIP and oil painting without solvents

After a couple of wipers, I finally have at least a work-in-progress to post. I've continued with the Bellagio theme, this time with an ariel view. I guess I'd call this a color block-in:

Why the wipers? Well, I've been oil painting without solvents, and it's taking some practice to get the hang of things. Now as a fairly long-time an oil painter, I'm quite used to being around solvents. I do try to be conscientious of the risks and precautions, so I minimize odor (through ventilation and the use of a high quality OMS) and contact (wearing nitrile gloves) when handling my paints. But otherwise I admit I haven't thought too much about what potential hazards might be involved.

I guess I've been fortunate, in that I haven't experienced some of the allergies that other artists have suffered. But allergies or not, now that I am in the midst of  pregnancy, taking the utmost care in the studio has taken on a new significance. So I decided to do a little investigating....

* Warning, this post is rather long...it's the first in a series of postings about what I've learned on alternatives to my usual oil painting method, presented in my usual rather rambling way. It's certainly not the definitive source on the topic, but may hopefully provide some insight or a jumping off point for other painters who may be wondering about some of this stuff.

Pigments

When considering alternatives to my usual method of painting, I first took a look at the  pigments I was using, simply because they are essentially the same substance found in oils, watercolors, acrylics, casein, etc.  Pigments are the ground powder, either natural or synthetic, that comprises the "colored part" of the paint.

From what I can gather, due to the risk of inhalation, pigments seem to be most hazardous when in their ground, dry form. Some folks using manufactured paints from the tube are rather indifferent in their attitude about pigments in paints, saying, "Well, as long as you don't snort or eat your paints you'll be fine."  Nevertheless, some pigments do contain toxins and heavy metals, which could potentially be ingested or absorbed through the skin on surface contact. So for this reason it's always a good idea to wear gloves when handling them, and avoid eating, smoking, etc., around them, at least not without thoroughly scrubbing with soap before hand.

I put the question of hazards in manufactured artist oils to the maker of the oil paints I use most frequently- Winsor Newton. The technician, Amy Faris, was extremely helpful and very quickly responsive to my queries. Here's an excerpt of some of what she wrote about pigments:

"Depending on the color, our oil paints contain either linseed oil or safflower oil, with the possible addition of a drier, again depending on the color.  Other than than, I am unable to give you any specific recipes regarding the oils, because that information falls under the category of proprietary, and they won't even share it with me." (*Jen's note: this last sentence is one I heard over and over from the manufacturers of artist's materials that I queried directly.)"

"What I can tell you is that all of our products are tested and labeled for health and safety by an independent toxicologist at the Art and Creative Materials Institute (ACMI).  An AP label - or a non-toxic label signifies that the toxicologist has not found anything in the product that can cause you harm, as long as you are using the product in the manner for which it was created - in other words, you are not eating it, applying it to your friend's body, etc.  A CL warning label signifies that the toxicologist has found something in the product that can potentially cause harm.  This CL label is usually followed by a statement on how to use the product safely."

"All health labeling can be found right on the back of every tube of paint we manufacture and on every container of medium, solvent etc.  If you would like more information on the toxicologist or on health and safety in general, please visit the ACMI website at:  http://www.acminet.org/"

"In terms of pigments:  some mineral or metallic based pigments can be hazardous to your health if they build up in your system over time. Lead, cadmium,cobalt  and chromium are some problematic pigments that spring to mind. Generally, the biggest hazard comes in to play if you are working with these pigments in their dry, powder form and are breathing the pigment dust into your lungs.  In terms of the pigment while it is contained in a vehicle (contained in the paint form we are all used to working with) as long as you are not spraying the paint (cadmiums breathed into the lungs prove to be cancer-causing), or ingesting it in large quantities over time ( I sometimes joke about eating it, but if you point your brush in your mouth or eat or drink in the studio with paint covered hands you run the risk of ingesting the paint)  you should be okay.  Paint that contains lead (usually whites such as flake or cremnitz white)  needs to be handled with great care - the lead can be carried through your skin layer if the paint has been diluted with a thinner - you never want to clean your brushes by rubbing them in the palm of your hand - doing so can drive pigments directly into your skin.  Cobalt can be a skin irritant to some people."

...And the vehicles?

So basically, since I don't grind my own paints, I can take care in handling and just make note of the labels (and manufacturers that use such labeling) to make my choice of paint. But what about the vehicles used to suspend the pigment in the paints and give them their characteristics? In many cases it is nothing more than a seed or nut oil (linseed oil, walnut, poppy, etc.) But in other cases, there are other additives, and they seem to be both more mysterious and potentially more hazardous to me (and my unborn baby) since they can be inhaled as they float about in the air. Paint manufacturers are, as I said, pretty hush-hush about the specific additives used in their formulas.  As artists, even with the labeling, it's often difficult to impossible to derive specific information on which elements beyond the pigments in the paint are potentially toxic. But through a very cursory look around the web, I learned that  some of the potential additives to common artist paints (oils, acrylics, etc.) could be various solvents and resins that are volatile organic compounds (toxic inhalants), formaldehyde, preservatives, and mercury. Yikes!

And contrary to popular belief, in terms of tubes of paint, it doesn't seem to me that oil paints are necessarily any more toxic than say, acrylics. In fact, while acrylics clean up with water, many acrylics use vehicles that contain ammonia and formaldehyde that off-gas as they dry.

So, being at best a dabbler in watercolors, not having enjoyed my past experience with water soluble oils, and seeing no compelling reason to jump over to acrylics, it looked like oil painting without solvents was still worth pursuing for me. It would require some changes in my work habits, but if I could use precautions and avoid both the use of solvents to clean my brushes, as well as solvents, driers, and other potentially noxious fumes that come from various painting mediums , it could be done.

And that has been my aim. The W.I.P. pictured above, as well as and the one from my prior post were both done without the use of solvents. I'm using my usual paint brands--just using walnut oil instead of OMS to clean my brushes and a very tiny bit to thin my paint if needed. But it's slow going. This old dog is still having some trouble with her new tricks, and it's taking some getting used to. I'll write more about those challenges in a future post.

A Game-Changer

"How long did it take you to paint that?" I think any artist who has been painting for a while has to have heard that question a million times. I always find it a little hard to answer, because the question seems to imply a kind of value judgement, such as "paintings that take longer are worth more" (which isn't always the case.) But if I were to answer the question in regards to the painting below, I'd have to say that it's taken about 3 months. More aptly put, 1 trimester.

Yes, that's right...Back in early November we received some surprising and life-changing news. Turns out we're expecting our first born, due in July of 2010! Having been married for 15 years with no expectations of having children, let's just say we were happily surprised!

What it has meant for me professionally (at least in the short run) is that my painting came to a screeching halt for the rest of the last quarter and the early part of 2010. Not only did I feel oil painting (with solvents) to be not good for the developing fetus, I was so constantly nauseated and exhausted that I had no  problem staying out of the studio altogether. Heck, even sitting at the computer for any amount of time gave me some serious vertigo, so I had no choice but to unplug for much of last quarter as well.

What it will mean for me in the future is a little unknown. I'll still be an artist, but this one's certainly a game-changer, at least in terms of the way I'll play it. For sure there will be more periods of absenteeism once the baby makes her big debut. For now, I'm in my 2nd trimester and have both better stamina and the blessing of my obstetrician to get back to work, so I am finally tip-toeing back into the studio to have a  go at painting again. Here's my first attempt, after a "pregnant pause"; a painting of lovely Lake Como:

"Gilded Afternoon, Lake Como" Oil on linen, 24"x20"

So...since it took me all these months to finish, do you think I can charge more? Nah....I'll just price it as per usual. Mama needs a new nursery! ;-)

Important/ Not Urgent (a long post on the long view)

"Tuscan Patchwork", Oil, 6x8"

Not much painting this week. After briefly traveling to Texas for a long weekend celebrating my mom's birthday (happy 80th Mom!) I returned to spend the week FINALLY tackling the mountain of paperwork I've had on my "to-do" list for some time.

I used to think I was pretty organized in my art business, but lately I feel like I am forever playing "catch up". There was a time during my studio move when I was literally operating out of boxes. But I'm all set up now and I really can't blame my floundering on the move any more. The only explanation I really have to offer is that during my little break from the routine I'd set up for myself, I developed the bad habit of....well....not having a routine!

"White Road in Val d'Orcia", Oil, 6x8"

I recall a conversation I had some time ago with a gallery owner. I was admiring the work of a fellow artist in the gallery and commenting on how much this artist's work had grown and matured. The gallery owner agreed. They were good paintings, and popular with collectors too. If only they could get the artist to give them more work!

As it turned out, the artist had just recently changed from being a part-time painter with a day job to being an artist full-time. Only, this person was anything but, watching movies, surfing the net--doing most anything rather than painting. According to the gallery owner, ironically, once given the luxury of unlimited time, the artist's productivity plummeted. I could understand this.

So many artists I know can so easily get into the habit of working toward deadlines. But when no deadline looms, (no shows, openings, classes or other projects on the horizon) their commitment (and often their work) can languish. I'm sure all working artists with kids and/or day-jobs everywhere are playing the world's tiniest violin in sympathy! But there is something to be said for having externally imposed time limits.

Of course there are many possible reasons why artists don't create (such as emotional constraints brought on by fear, insecurity, depression, etc.) But when I had a day job, I was forced to carve out a finite amount of time in which to do my creative work, and looking back I am amazed at how productive I was. I remember being up until 2 a.m. painting, even after a full day of work at the bank, going to the gym, showering, and scraping together some dinner (I also remember being single then, and younger too!) Of course, I lamented not having more time to paint, but at the same time, my time limitations lit a fire under me to make the most of each window of opportunity.

But once I started working full time at my painting, I, too, languished for a time due to complete lack of structure and many, many distractions around the home studio. Being the ADD sort that has many other interests doesn't help!  What did finally help me was that I began to structure my business in such a way that it set exteral limitations and schedule requirements. But I may have overdone it a bit. I traveled a lot, I maintained a rigorous work schedule to supply work to the 8 galleries I was working with at the time. And when that wasn't enough busy-ness for me, I taught classes, maintained my website and blog, and eventually opened a studio-gallery with montly shows.

But here's the thing. Even though for a while, the money was good and the trips were fun, ultimately this "system" didn't work for me either. Everything was urgent and important, and constantly being in emergency mode was like going from zero to 100 with no brake in between. And you know what can happen when you speed along at 100 miles/hour? Crash. (Of course you can also crash going 20 miles/hour, but it doesn't hurt nearly as much.)

A part of me began to realize what I was doing, so I began eliminating again. Fewer galleries, fewer trips, and eventually letting go of the downtown space and again setting up a home studio. But what I hadn't realized (or had forgotten) was that eliminating  much of the externally imposed deadlines and obligations without creating an internal structure to replace it would leave me feeling more lost and disorganized than "free."

Many of you readers out there are probably familiar with Stephen Covey's book The 7 Habits of Highly Effective People. It's become a real classic in the business/success genre, and I'd heard his audio version many years ago but had rather forgotten about it until recently. My favorite part of the book is "Habit 3: Putting First Things First," which includes his famous "Time Management Matrix":

	Urgent	Not Urgent
Important	Quadrant I (crises, deadlines)	Quadrant II (planning, relationships, R&R)
Not Important	Quadrant III(interruptions, some calls, etc.)	Quadrant IV(trivia, busy work, time wasters)

According to Covey, Quadrant II is the place where "successful people" spend the bulk of their time. This Quadrant is filled with proactive things like planning and prevention, as well as growth activities like relationships and recreation (and many creative pursuits!) Instead, Quadrant I tends to be where most people spend their time (crises, deadlines, etc. --AKA emergency mode.) I don't think I'd be too far afield if I said that there are many artists who hang out in this quadrant. I've seen it in myself, and I have known many artists, both professionals and beginners who do not even work at all unless they have an external deadline to work toward (art exhibit, workshop, etc.)

Having externally motivated goals isn't always a bad thing. But, at least for me, it's dangerous if it becomes too much of a habit. In fact, some of us can get so addicted to emergencies (ahem!) that we tend to put off Quadrant II activities until they become Quadrant I activities. And then we get so freaked out and exhausted that we escape to Quadrant IV!

If you're still with me, I'll tell you what all of this Quadrant stuff has to do with art (or at least my art.) Pretty much every goal I have as an artist and as an individual has associated tasks that can ideally be categorized as a Quadrant II activities-- from health goals like proper diet, exercise and adequate sleep, to artistic goals like x number of plein air paintings/ week, and things like experimenting with different mediums, subject matter, or techniques. And if the tasks are managed properly from the get-go, they need never become "urgent" Quadrant I's.

Quadrant I stuff happens. Sometimes even in spite of their best efforts, people lose their jobs, get sick, or just plain forget to deal with things. But while not every emergency is predictable or preventable, I am fortunate to be able to say that, at least at this time, many of them are.  I can prevent stress by getting adequate sleep and exercise. I can prevent freaking out before a show or a workshop by planning and/or preparing for it with a calm and steady production flow in advance. I can position myself for success and future opportunities, even if right now business has slowed. For me, the most obvious path to keeping myself focused on important things before they become urgent, is to create a daily schedule that whittles away Quadrant I and includes as many Quadrant II actvities as possible. I've mentioned this before, but here's the key; you gotta stick to it! In short, it's called discipline. And the last time I checked, discipline requires commitment, not just saying "I'll try."

Ultimately the whole art/artist thing wreaks to high heaven of Quadrant II. I'd venture to say that even for those of us who depend on their art sales as their sole source of income, the vast majority of artists are doing their work first and foremost out of love for it. After all, if it were just about the cash, there are many more efficient ways of making more money in less time.

Will we die without being able to create our art? Will others die without being able to experience it? Well, in reality art doesn't have that kind of urgency. But if life is to be truly enjoyed, we have to move beyond merely surviving to thriving, which for me includes being uplifted, challenged, or inspired. That's the benefit of art, and in that way, it is so very important.

p.s. By the way...I did manage to eek out a couple of small Tuscany studies, playing with the idea of pattern. You can now see purchasing details for these and the other two small paintings mentioned in my previous post by clicking here.

Chore avoidance via a Tuscany landscape painting

Back home this week to face the music (which in this case is my studio move.)  As I'm going through the painfully boring task of packing up my studio, I'm coming across a few unfinished paintings. I'm ususally pretty disciplined, but I think between the overseas travel in the spring, working endlessly on plans for a new studio, and doing as much plein air painting as I can this summer, I've gotten distracted enough to leave partially-finished works lying in my wake. Here's one of them, now complete, of a sweet little vista of sunflowers and the Italian countryside :

"Tuscan Fields*" Oil on Canvas, 11x14"

It was fun finishing up this little piece, and I'm not sure why I shelved it for so long, especially since it's relatively small. But if I had to guess, I'd say that I find starting paintings more fun than finishing them. That fact coupled with the general craziness of my schedule has meant that lately some paintings have fallen through the cracks.

Overall my track record has been pretty good though, and I do finish quite a few. But it's time to show some reslove and either finish up some of these "W.I.P.'s" or throw them out. Ah, who am I kidding? It's not as much "resolve" as it is chore avoidance. Whether it's starting or finishing, painting is still a whole a lot more fun than packing!

*p.s. When I went to title this piece my mind drew a complete blank. I'm sure there's a better title than "Tuscan Fields" but it was the best I could come up with. Any ideas? If so, feel free to leave them in the comment area!

Lakeside Chalet

I'm not sure if this painting is finished yet, but I feel like I've been looking at it for so long that I can't see it any more. Time to get it off of my easel for a while and work on something else! This is one of two Lake Como paintings I started working on side-by-side:

  "Lakeside Chalet" Oil on Canvas, 30x40"

 I eventually left off of this method and focused on one painting at a time. I think working back and forth might be okay if I have one small painting and one large, but with two big ones it was getting me nowhere fast.

We've had some gloomy weather this week and between that and the wet glare of this painting I'm having a hard time getting a good photograph. Once I reshoot it in better conditions I'll upload it to my website  (Update: Sunshine today! Image reshot). Meanwhile, please contact me for more info about this piece.

Art for Food Auction- "Golden Days" Tuscany painting

Today I have a new offering up for auction to benefit the Central Virginia Foodbank. This is another watercolor/pen and ink painting of the golden sunflowers of Tuscany:

"Golden Days" Watercolor/Pen & Ink on Arches Paper 7x10" (Image size 5x7") This painting has sold, but you can see the current auction by clicking here.

A two-fer; Lake Como Paintings

My schedule has been NUTS lately so unfortunately my blog has suffered a bit of benign neglect. Still alive and kicking and painting, however. Here's something I thought I'd try to see if I might be able to save a little money on paint. A lot of times when I paint I can mix too much color, (which I still think is far better than mixing too little). These mixtures can be reused of course, especially if the subsequent painting needs similar hues. But I'm not always good about consciously planning my subjects like that. So here's a conscious effort to get two paintings going at the same time with color mixtures that relate to each other:

 The key will be not to just lazily use what's already mixed if it doesn't really suit what I'm painting. In hindsight it might have been better to start one large painting and one small painting instead of two rather ambitiously sized pieces, (they are both 30x40".) But I guess I was feeling cocky when I started these! 

While I did the transparent color block-ins  one after the other, what is happening  as I proceed is that I am still focusing on one individually, with an occasional switch-off when I need a change.  I don't really know if I'm conserving much paint, but it does keep things interesting. ;-) In case you can't tell what these are, the subject matter for both pieces is Lake Como, Italy. The painting on the left will be a more fleshed out version of the little watercolor painting I did for my last charity auction.

Speaking of which, a new Art for Food Auction will be posted by tomorrow morning!

New art Auction: "Mountain Chalet", Lake Como, Italy

The "Art for Food" charity art auctions continue! This 7-day auction is for a landscape painting of a little chapel and mountainside chalet overlooking a small fishing harbor on Italy's lovely Lake Como. The Mediterranean trees and buildings are set against a dramatic backdrop of the Pre-Alps, making this one of the most stunning destinations in Italy.

"Mountain Chalet" Watercolor & Ink, 8x10"

According to the Central Virginia FoodBank, $25 could provide as many as 200 meals. So, with that in mind, opening bids for these auctions are set at the mega-bargain price of about 200 meals or $24.99 per item! 95% of the proceeds for these auctions will be donated to the CVFB.

A week of breakdowns

Last week was like the black hole of productivity for me. Let's see...

1. Our plumbing conked out, which meant we had to get our pipes replaced by way of a now huge hole in our guest bedroom where the ceiling used to be.
2. We discovered the starter on our car died after we came out of the grocery store with arms full of groceries.
3. My internet connection has been refusing to cooperate (fingers crossed for this post.)
4. I have what I *hope* is not turning into bronchitis!

Still I did manage to eek out this painting, which brings to mind the lovingly tended gardens of Tuscany. Ah, la dolce vita. Life is, after all, on the whole very sweet.

"Wall Flowers, Pienza" Oil on Canvas, 24"x20"

Just posted- original Tuscany painting auction-$24.99!

I hope you fared better on your Valentines day than we did- we're dealing with that awful flu that's been making the rounds here in Richmond. But I've momentarily arisen from the dead to post a new "Art For Food" auction. How's that for dedication? 95% of the proceeds will be donated to the Central Virginia Foodbank. The title of this painting means "The Heart of Tuscany", and to me, the Val d'Orcia in Southern Tuscany was just that. I loved the way the Cypress trees punctuated the winding country roads:

"Il Cuore della Toscana" Watercolor/Pen & Ink on heavy deckled edge paper 8x11" (image size 6x8")

This auction has ended, but you can see the latest Art For Food Auctions here!

Art for Food auction for the CVFB- Italian landscape painting of Lake Como

The online art auctions for the Central VA Foodbank are doing great. So far the auction sales have made donations that will provide over 800 meals! A note of my sincerest thanks to the winning bidders, and everyone who has taken the time to bid. I plan to keep the project going for the next 6 months, so I hope you will too! Today I've posted another "Art for Food" auction. This sweet original watercolor/pen and ink painting on paper is of Italy's beautiful lake Como. The vantage point is looking over the terra cotta rooftops from a lovely terrace lined with flowerpots:

"Patio View, Varenna"

Watercolor/Pen & Ink on Paper, 7x9" (Image size 4x6") Visit the auction and bid! This auction has ended, but click here to see the current auctions.

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Art for Food: Tuscany watercolor charity auction for the CVFB

This Tuscany watercolor vignette is the second in my series of charity auctions begun last week for the Central Virginia Foodbank. Opening bid is just $25 (providing the equivalent of 200 meals.) 100% of the proceeds from the sale are donated to the CVFB. My husband suggested I call the auctions my "Art for Food" program (a clever riff on "Oil for Food"). I like it :-) Please, if you'd like to be alerted to new auctions as they are listed, consider signing up for my auction alerts, or just subscribe to my blog.

"The Sloping Grove" Watercolor/Pen & Ink on Paper Click to bid Bidding is closed for this item, but you can see available auctions here!

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Lake Como, Italy painting 6x6" mini

When we were last visiting Lake Como Italy, we splurged on a private boat tour around the lake. It definitely was a splurge for us, but worthwhile because we took different routes than you'd normally take on the larger lake transports (vaporetti). This little painting was done from reference shots taken as we were approaching a precipice near the charming village of Varenna:

"Varenna Vista" Oil on Canvas, 6x6"

The private boat also stopped in intervals so that we could take pictures without worry of camera blur. If only I could find a way to hire a boat to use for an extended period at the lake as a floating studio, the way Claude Monet did  with his studio boat on the Seine. A girl can dream.

A few gallery snaps from the "Small Stuff" show

Don't let anyone tell you that hanging a show for a bunch of small works is an easy task. But after it was all in place, we were very happy with the results, and I'm glad to report that my husband and I are still married. ;-) Here are a few shots from the show, on view now through Jan. 30th: When we were looking at this space for the gallery, one of the first things I noticed was this cute built-in. It's a perfect display for my minis and my new line of watercolor/pen and inks. Here I've decorated it with some lights and mistle toe:

A close-up that shows some of the ornaments--I like the little silver and gold Christmas balls along the bottom shelf:

On the opposite wall are the landscape paintings of Venice and Lake Como:

Close-up shot of the mantlepiece decorated with paintings. To the left of the large Venetian landscape are a series of little square 6x6" Lake Como paintings. Anyone who has read my blog for a while, or my squidoo lens on hanging art must know I'm a fan of grouping big and small paintings together like this. I'd love to do something similar over my fireplace mantle at home.

A small grouping from the next room of some of my more local autumn scenes:

I  guess that's really all I had time for, photography-wise. I may share a few more snaps and I will definitely share more info on some of the individual pieces in the show very soon.

Miniature landscape painting of the Tuscany sunset

This painting sold last night at my gallery exhibition preview, but it's still on view tonight for the First Fridays downtown art walk. It is a companion to another Tuscany painting I blogged about a couple of days ago:

"Lingering Light, Tuscany II" Oil on linen, about 3.5" x 7.75"

If you're doing the downtown art walk tonight in Richmond, come by Jennifer Young Studio & Gallery and see all of the "Small Stuff" -- miniature paintings and prints --on display for the holiday season. The gallery is located at 16 East Main Street between 1st and Foushee.

If you're not in Richmond, I am continually uploading new paintings to my web gallery, or you can see them offered first here, on the blog. I'm also offering free shipping (with some restrictions) until the end of the year, for holiday shopping convenience.

Useful links:

Ideas for hanging "small stuff" How I pack paintings for shipping My purchasing FAQ's My gallery information (and virtual tour)