Monet's Garden Painting W.I.P.

While it may appear that my poor blog is suffering from benign neglect, I actually have been working on it, albeit on the back end. Recently my blog has been attacked and completely overrun by comment spammers. Hopefully the issue hasn't  been too evident to readers, but it completely overtook my blog (and my email) for a while . After a few attempts at a "quick fix," I decided I really had to take the time to do a Wordpress upgrade. It's something I should have done a long time ago, but have been loathe to do because it involved a good deal of time that I dearly need in order to attempt any kind of painting these days.  Unfortunately, upgrading has caused me to lose my sitemap and all of my prior post tags, so I am very bummed that I have yet to spend more time trying to figure out what happened to them. Hopefully I can recover them, but otherwise I guess I am looking at manually creating new tags for each post that has been added to my site since the dawn of man. Arrrgh!

Well, thanks for letting me get that off my chest!  I actually do have a painting under way, of Monet's Garden. Still quite a bit of work yet to do on this 18x24" canvas, but at least I've mapped out the main elements:

When I have free time in the evenings (which lately isn't that often) I have been watching a fascinating series of educational videos on the Impressionists produced by the University of Texas at Austin. It's basically a lecture format, which at first, kind of made me feel like I was back in art history class. But after a while it did draw me in, and it is probably the most through and in-depth investigation on this incredible group of artists that I have seen on DVD. It is so inspiring to go back in time and visit with these incredibly innovative masters (Manet, Monet, Pisarro, Renoir, Degas, Morisot, etc.)

So this was the spark that made me want to revisit my photos of Monet's garden. It has been a while since I painted this subject matter. What an amazing place ! Hopefully I can finish this painting soon. However, if the weather cooperates and I can find a chance to paint outside, I may do like the Impressionists and forgo the studio to grab the opportunity. We will see....

Top ten reasons to paint your back yard garden

1. You can paint it better than it actually looks (a few more roses here, a few less weeds there...)
2. Unlike a public garden, you likely won't get taken unawares by the sprinkler system.
3. You are intimately familiar with how the light travels through the garden at different times of the day.
4. You are intimately familiar with the location of the latrine (and more than likely it will be free and fairly clean.)
5. You can leave all of your gear set up during breaks (and probably won't need to get someone to watch your stuff as you break for the above mentioned latrine.)
6. You can do your part to reduce the carbon footprint (no need to drive anywhere.)
7. Forgetting to pack an important supply is easily remedied.
8. Plenty of opportunity to take weeding and pruning breaks (okay, this might not be such a good thing for your painting, but your garden will love it.)
9. You won't look like a crazy lady wandering through the park staring at trees, with luggage, a big floppy hat, and a compass. (You'll just look like a crazy neighbor wandering around her yard with luggage, a big floppy hat, and a compass.)
10. The reception to the wireless baby monitor extends just to the edge of your yard!

"Under the Limelight" Oil on board, 8x6" Contact me to purchase.

This little painting is kind of a cross between a still life and a plein air painting. The Japanese lantern sits at the corner of my garden under the limelight hydrangea (hence the title.) Since the hydrangea isn't yet in bloom, I've punched up the corner with some potted geraniums.

Rooftops, St. Cirq Lapopie (final)

I've been struggling with a killer cold or allergy or something for over a week now, so it's really thrown me for a loop in the studio. But I have now finished the French village painting I have been blogging about in my last couple of posts (here and here). I did not have a chance to take any more progression shots due to the amount of time I lost, so my apologies to those who were following the progression of the work-in-progress.

"Rooftops, St. Cirq Lapopie" Oil on Linen, 30x24"

There was a certain quality of light I was after in this painting...a slight haziness that comes on a warm day when the sun begins to filter through the clouds after a soft rain (the weather when I visited there could best be described as "changeable"!) So there are a soft edges and close values to tackle, especially in the middle and far distance.

St. Cirq Lapopie is a fortressed village dating back to the Middle Ages. Sitting high above the Lot River, it is, as I mentioned in my prior post, dripping with so much charm that it really does invoke fairy tales of knights and damsels in distress!Narrow cobbled streets wind their way through cliffsides, leading up to a fortressed peak that allows stunning views of the steep tiled rooftops and the Lot valley.

St. Cirq Rooftops WIP (cont'd)

As it turned out, there was too much weather and too little opportunity to do any plein air painting last week. But I have been plugging away at my studio painting of St. Cirq La Popie. The images below show my continued progress thus far. Laying in my lightest passages, I worked on the sky and distant cliffs and ruins first. Next, I started on my rooftops. In this region, I noticed that there were a lot of gray-blue undertones along with the terra cotta-tiled rooftops, so I experimented with laying in a gray base to start. I am not really sure if doing so helped me or hindered me, but nothing ventured, nothing gained.

At this point, I need to refine, work on the garden, and bring out my highlights, so this is what I'll be working on today. This painting is all angles and not much actual landscape, so my progress has been a little slow going at times. Nevertheless, the composition and the concept interest me. I do miss plein air painting, but I have decided I need to make the most of being studio-bound by experimenting, working on new challenges, and working out some new ideas.

In the works- Rooftops, St. Cirq La Popie

Just thought I'd do a quick post of what is currently on my easel. It's a 24x30" painting of  a location I visited on my last trip to France; St. Cirq La Popie. St. Cirq La Popie is probably one of the most storybook-pretty villages in France that I have yet seen. I am actually hoping to do a little plein air painting today during baby E's naptimes, so this will be brief. Let's hope the nap gods are with me!

Gardens Above the Valley Dordogne

As I ponder my now sporadic studio time, I think it might behoove me to aim for some small victories with some smaller paintings. So that is how this 20x16" canvas came about. I will say though that smaller doesn't always mean quicker. I meant to finish this piece some time around last Wednesday but by Friday evening I still found myself putting on one more "final dab".  Any way, it is, for the most part, complete enough to come off of the easel and go into a frame for one final look. Sometimes just framing a painting can help me to see it anew and tell me what more (or less) it might need.

"Gardens Above the Valley Dordogne" Oil on Linen, 20x16"

The painting is of a garden  scene in the picturesque village of Beynac, made famous by the Chateau de Beynac, which I have painted and written of before here and here. The walk up from the river banks to the the chateau is every bit as memorable as a visit to the chateau itself. Everywhere one turns there are charming views up narrow passageways, or  breathtaking views over the Dordogne valley.

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!

Summer's End

The Paint Annapolis plein air exhibition ended on Sunday, so on Monday I drove up to Annapolis to pick up unsold work from the competition. It would have been nice to do some more painting up there while I was at it, but I had to get back home so it was rather a whirlwind trip. I rather like this little skipjack, patiently waiting for some action as it sits in a drive just behind a veggie garden. It's probably my favorite piece from the event.

"Summer's End" Oil on board, 9x12"

Small works invitational

There's been a lot happening around here so unfortunately the blog neglect has continued! I do hope to ramp up to more regular posting (and painting!) by early next week. Meanwhile, here are two new little Key West pieces I've done for a small works holiday invitational that opens at the Miller Gallery on November 20th in Cincinnati.

"The Shady Side" Oil on Canvas, 6x8"

"Towering Bougainvilla" Oil on Canvas, 6x8"

I am so honored to show my work in such a lovely looking gallery alongside artists of such fine caliber. Check them out!

Happy birthday studio!

It's hard to believe it is already October...I am still trying to figure out where September went. The leaves are starting to turn, so I've spent a good deal of time this week in the garden trying to get some new shrubs in the ground around the studio. Needless to say, I haven't any new paintings to share, so I thought I'd share a slide show of my year-old studio and the even younger gardens. This slideshow is from a web album I created for readers of my email newletter. It shows the development of my studio from groundbreaking to what it looks like today. Blog readers will recognize many of the photos from the studio build because I blogged about the whole process ad nauseum! But here it is easier to see the progression, and the garden pictures are new: 

To page through the album at your own pace (and read the captions) click here. I'm only in my 5th year of gardening, and while there is a great learning curve, it's been fun. I certainly had a blank canvas to work with after the studio went up! Hard to believe the groundbreaking was only about a year ago.

A Spot of Shade

I can always find something to paint in my own Bellevue neighborhood.  This is a lovely back yard garden down the street from us. I painted this from across the street so as not to be too voyuristic. ;-) :

"A Spot of Shade" Oil on Panel, 10x8" Contact me for purchasing info!

There may be few homes in Bellevue proper that would qualify as sprawling mansions. But what it lacks in that department, it makes up for in beautiful gardens and loads of charm. When my husband and I walk through our 'hood, we always note how lovingly the yards are tended. More often than not, even the smallest bungalow and the most modest yard tends to have some touch of personality to it. It's a special place.

The Cook's Garden

Lately I'm wanting to try my hand at a bit more architecture, so I figured there'd be no simpler place to start than in my own back yard. I painted this piece en plein air right in front of my studio:

"The Cook's Garden" Oil on Linen, 16x12" Click here for purchasing information!

The view is of our back door that leads into the kitchen. I love to cook, so I am a bit of an herb nut and have a small potted garden filled with herbs and flowers along our back steps leading up to the kitchen. In summer it is so nice (and convenient) to step outside and grab some handfuls for a salad, marinade or other dish. I started most of the potted herbs from seeds and have many different kinds of basil (I kind of went a little overboard with that one!) plus thyme, lemon balm, and parsley all within reach. Climbing up a small mounted trellis are super sweet "Sun Gold" cherry tomatoes given to me by our friend Al--a favorite snack at our house (the tomatoes, not Al!) The little pot sitting at the very top of the trellis is catnip, which had to be mounted up high to be "rationed out" to the kitties in order to keep it from being annihilated in one sitting.

The light only stays put in this spot for a short time, so I started this painting one morning and put the finishing touches to it on the next. It's something I rarely do, but since I have the convenience of living at the site, it worked out okay. This one took me a bit longer to resolve than many of my other outdoor paintings. Mostly I prefer to try to finish everything en plein air alla prima. Not only is it a hassle (and not always possible) to have to return to the same spot with the exact timing and weather conditions, but it is often hard to recapture the same mood and feelings and thought processes about a place if I spread the work out over consecutive days. But this is the view I see from my desk as I work on my computer (in fact, I'm looking at it right now!) and it has become so imprinted in my mind that I don't think the painting has suffered from the interruption.

Painting again! Plein air @ Lewis Ginter

Well, I think I am back from my "blog break" now. I even took a brief painting break as well to get some much needed rest and physical therapy for my neck/shoulder/arm troubles. But since I'm, also feeling the need to excercise my "plein air painting muscles" for the upcoming Paint Annapolis event, I'm trying to ease back into outdoor painting again.  Here's a happy little vignette I did this week at Lewis Ginter Botanical Garden:

"Garden Companions" Oil on board, 12x8"

The botanical garden is really gorgeous right now and full of summer blooms. Even so, I had to forgo a lot of really good potential painting opportunities in order to find a spot of shade. The August sun and my fair complexion do not get along for any length of time, so shade is a real must. My painting umbrella does little more than shade my canvas and easel, leaving the rest of me high and dry (or hot and bothered, or whatever!)

I finally managed to tuck myself into a little corner to paint this potted urn surrounded by purple cone-flower, perennial grasses and towering hibiscus. Is it a landscape or a still life? Your call. Any way, it's rather wild and impressionistic. Guess I was happy to be painting again. :-) I'll upload it to the website this weekend, but meanwhile contact me for purchasing inquiries. (Note: It is done. See the link above!)

"All Things French" opens tonight

Off to Greenville for the show opening. Y'all come! For those who can't make it, here's a slideshow recap of work I've delivered for the show:

Where: City Art Gallery, 511 Red Banks Rd., Greenville, NC 27858 When: Opening August 6, 6-8 PM. Show continues throught the month of August. What: All Things French! Paintings from France travels by Jennifer Young and Hilarie Lambert

Ahh, oops, ah-ha, and ouch!

I have one more work to share today from the group I'll be taking to North Carolina for the "All Things French" show next week. This was done alla prima. More fun with light and shadow, and lots of paint! Ah, it's been such fun revisiting these lovely places through the act of painting them.

"Coleurs dus Sud" Oil on linen, 20x24"

For this painting and the last one I posted, I experimented with an interesting double primary palette- Titanium white, Cad Yellow Pale, Golden Ochre (Rembrandt) , Organic Vermillion (Daniel Smith), Quinacridone Rose, Ultramarine Blue, and Manganese Blue (Old Holland).  I must say it was a lot of fun playing with these different colors. The gold ochre is dangerously lovely, and the organic vermillion was nice change up from cad. red light. In fact, it's similar, but the tinting strength isn't quite as strong so in some ways it was easier to use.

I went with this palette for a couple of reasons, but the key word is "economy". First it's an economy of time. The increasing pain in my arms was making it difficult to spend an inordinate amount of time mixing certain colors, even though I've learned enough about color mixing to know how to acheive most of what I need. I almost never use any color directly from the tube any way, but it helped to have a premixed earth, for the buildings for instance, and when such warmth in the scene predominates.

Second, it's an economy of money. I mentioned before that I have a lot of art supplies that kind of fell by the wayside once I discovered some preferred methods and materials, but now I'm starting to revisit those supplies to try and economize where I can. All of the paints and substrates are archival, quality materials, but I do have some far-out tubes of colors--some dating back to before I started painting landscapes!

The paint department at the Lowe's hardware store near our house has something they call the "oops bin". These are mixed paints of specialty colors that presumably didn't come out as expected. I guess you could say that I have my own "oops bins".  After limiting myself to nothing much larger than a double primary palette for years (without much variation), I think it's time to mine some of these strange old friends. Maybe the "oops" will even lead to some ah-ha's along the way!

p.s. I think I'm narrowing down what the problem in my arms might be. Unfortunately it's not limited to just my arms and hands, but radiates from my neck and shoulders all the way down both sides. It's taken a couple of days to write this post, so suffice it to say that my blogging will slow down a bit for a while. (I know I said that before but I really mean it this time!)  Sadly, I will probably have to take a brief rest from painting too. And gardening. I'm typically not too good at "resting" so let's hope I don't go nuts in the interim!

Garden Sentinel

I have always had a thing for these ugly guys:

Garden Sentinel Oil on Linen, 20x16" Contact for purchasing info.

Typically you might think of gargoyles peering their gloomy countenances over the edifice of some Medieval cathedral. But there are also garden varieties, and in southern France I enjoyed seeing a number of them lurking in the shadows the private garden nooks and flower beds last year when I happened to pass by on my walks in the countryside.

Throughout the course of the spring, I've been trying to fashion my studio garden with favorite elements from the gardens I've enjoyed during my travels. It's the feeling I'm going for more than any kind of exact replica, but I'm aiming for something of a cross between the gardens of Provence and the Aquitaine and the courtyard gardens of New Orleans and Key West. ( I plan to post some photos of my studio garden soon.)

I painted this piece en plein air in about 2 1/2 sessions. The dappled light changed very quickly in this spot, so I really only had about 1 hour per session . I had to just take note of the time of day and report back at that same time so that I could work with the same lighting conditions. I have been told that my little garden gargoyle is called a "house protector." Dave just calls him Ed.

Happy 4th of July weekend everyone!

French doorways and windows

If anyone were to look at the hundreds of travel photos I've taken, they'd soon see I have a thing for French and Italian doors and windows. Especially in the rural villages, the French and Italians seem to have a thing for them too. They are always so lovingly adorned with fresh flowers and tiny gardens-- along the steps and window sills, and even climbing up the wall. Since I won't be going to Europe this year (  :-( ), I thought I'd celebrate my delight for this charming tradition by armchair traveling (easel traveling?) with a little series on the subject. Here are the first two, both of southern France, both measuring 8x6" (and both soon to be uploaded to my website. Meanwhile, contact me for additional details.)

"Shadow Play," Oil on canvas

"Garland Welcome", Oil on canvas

I may use some of these small works as studies to develop larger pieces. Others may not translate and will remain as little vignettes. Working small is often a nice way to figure out compositional considerations and problem-solve in other areas before tackling something larger, without such great investment of paint and canvas. You'd think with such small paintings, the time investment would be less as well, though unfortunately that ain't necessarily so!

Landscape painting demo of southern France- conclusion!

Well there's nothing like computer woes and an out of town trip to keep up the momentum for a painting demonstration! But at long last, here is the resolution to the demoI started in late April:

When I last left off, I had my concept and composition well planned out, so now I set to work on finishing. This involves painting in the foreground and punching up the highlights of the middle distance and background, where needed.

But something happens at this point. I kind of get too lost in the irises, making them too defined and pronounced. Soon I find my tunnel vision has gotten me so lost in the irises that they start to take over.

Argh! Attack of the irises! They've taken over and are rather too big and too saturated, creating more of a competition with the old abbey. I've also lost the lower wall in the middle distance almost entirely, which I rather liked, as it helped to lead the eye further into the painting.

My solution? Basically I scraped down the entire lower portion of the painting! Eh, it happens. The paint had become too thick to really rework, and sometimes it's easier and less distracting to just scrape it off in order to open it back up. In this case I felt a "do-over" was warrented.

"Irises at Abbaye Nouvelle" Oil on Canvas, 40"x30" Click here for more info!

Ahh...better. (At least I think so!) I've gotten my herb-covered wall back, and reworked the irises in the foreground so as to frame but not overpower. I've treated them a bit more impressionisitcally too,  to flow better with the rest of the painting. I also decided to tone down some of the greens and golds in the middle distance to make them "sit back" in the picture plane.

At this point I'll conclude. If I touch it any more it will be only a tweak here and there. I've shot and reshot the final several times but we are getting such dark days lately with all this rain that I can't seem to get the nuances in the colors quite right in the photo. This picture is close, but I'll likely try another shot once the sun comes out.

Southern France painting demo continues

This post continues a demo I started last week. To start from the beginning, click here!

Before going too much further I like to get a good feel for my area of interest, so I lay in the general colors and highlights of the wall of the Abbey ruins. I've worked wet into wet to blend the purple shadow colors with the warm local colors of the Abbey wall, which gives me a nice mixture of golds, browns and muted violets.

At this point I am ready to dig in to the rest of the landscape and get that canvas covered. To keep the flow going, I try not to be "stingy with my paint". For this painting I'm using a somewhat more expanded palette than I do when I paint on location.

I  want to have large enough puddles of the colors I see so that I don't have stop every five seconds to mix up more paint. This process is pretty organic so it's difficult to give a step by step process of mixing colors. In addition to blending paint wet-into-wet on the canvas, I also tend to dip into various larger puddles to make new blends as I go along. The most important thing during this process is just to compare one color, one value to the others, constantly asking myself, "Darker or lighter? Warmer or Cooler?"

I also decide to indicate the basic iris colors so that I know where I'm at. I have to be careful here--even the middle value of the purple/blue flowers has a lot of white in it, so I really don't want to paint these too thickly or it will be hard to control the darks, making them muddy and less pure. A lot of these preliminary iris lay-ins will need to be restated, and, of course defined, but I felt like I wanted some indication of them in there at this point so I wouldn't get lost (if that makes any sense!)

Here you can see that I've continued on working my way down the canvas so that eventually everything is pretty well laid in. I've held off putting down much of my strongest highlights. That will be among my next steps, along with further refining, defining, tweaking, and adjusting.

Up to this point I have used just a few brushes. Aside from the one round I used for the linear drawing of my composition in the earliest stages, I've used my larger flats and filberts. Being the very messy painter that I am, I can't tell you the size numbers of any of these, as there is old smeared paint on all of my handles, completely obscuring any info that once was printed on them! I think probably the smallest in use is around an 8 or 10(flat) but the ones I used the most were the largest filberts I have, with widths ranging from 1 and 1/4" to 1 and 3/4". I love these large filberts, as you get a nice thin edge at the tip and a broad flat side too, making them very versatile for my purposes. I could even stand to go to a larger size brush for this size painting, but I need to conserve my expenses so I'm trying to use what I have on hand right now. Even so, if I use the broad side of the brushes I can get a pretty broad and loose stroke and avoid getting too fussy with too many details too early!

To be continued...

French country garden painting WIP, cont'd

Now that my gardens are right outside my studio doors, I'm finding it far too easy to get distracted with gardening instead of painting--especially now that spring is here. I did do some more work on the painting of the garden passage in St. Cirq Lapopie started earlier in the week though, so I thought I'd continue to post the progression. It's almost there, but I will probably do a bit more work on it before it's all said and done:

I've learned something from the last few oils I've done and I'll share it in case it may be of help to other painters. As odd as it seems, I am finding it is actually easier to manipulate the paint and have better effects with my edges if I use a lot more of it. I've never considered myself to be terribly stingy with paint to begin with, (and it may not be all that obvious in this picture,) but lately I've been laying it on pretty thickly and it's like, "Wow, that makes things so much easier!"

When I've taught workshops, I've definitely noticed a certain "stinginess" in beginning painters, both in terms of the amount of the paint colors they'll mix up on their palette, and in the application of the paint onto the canvas. This usually stems from just being uncertain, tentative, and maybe even a little intimidated. But what I try to get across is that in alla prima painting, they are actually creating a lot more work for themselves by mixing up flat little puddles of paint and using skinny, dabby little strokes.

There is a caveat, though (isn't there always when it comes to any kind of painting "rules"?) It helps to have a certain amount of confidence in your drawing and compositional skills if you're going to lay it on thickly (and in fact, this may be part of what's going on with beginners who are feeling tentative and intimidated). Otherwise when painting thickly, you may find yourself needing to do more scraping to make significant changes.

But over all for the kind of direct painting I'm doing, using a lot more paint is helping me to actually have better control AND keep it looser at the same time (if that makes any sense.) Manipulating thicker paint to soften edges and refine shapes does require a light touch though. You aren't moving it around to such an extent that you're smearing it or picking up too much of the underneath and surrounding paint layers. If you do that, there's a danger of having a mud-fest on your hands.