An exhibit called "Coyote Connections" is now showing at the University of New England's Art Gallery. The inspiration behind this exhibition is the wildlife biologist, Geri Vistein
The artists found the many arched doorways at Spannocchia to be great subject matter. Fig trees and vines grew over them, reflected light in the interior revealing stairs leading up and out of sight - fascinating!
Lisa at her Painting Station
|September 18 -21th workshop at Rhodora, Frederic Church's camp on Millinocket Lake in Maine. Please send me an email at email@example.com for information on joining me at this historic site.|
|Maple Leaves on the Lakeshore|
|Signed, limited edition Giclee Print|
|My Unfinished Plein Air Painting|
|Painting in our Garden|
SO WHAT HAPPENED?
I always emphasize to my students that having a "story" or a "concept" for a painting is very important. Sometimes I have a title before I even begin a painting and I love it when that happens! Then I can see clearly what colors will help to set the mood.
Here's an example: in a small village on the east coast of Newfoundland I walked by an abandoned house that had all of the windows boarded up except one. And in that window was a collection of fancy hats on a hat rack. I was so surprised; what woman had lived in this house and left all of her hats behind?
As I looked through the window, the sky and trees behind me were reflected in the glass. I immediately had a "story". This painting was done completely in opaque pigments. Their particular characteristics made it possible for me to create the textures of crushed velvet cloche, a fuzzy knitted bag and felt hat. When you see the painting in real life, you can almost feel the fabrics.
Do you see how the soft, muted colors contributed to the overall mood of the painting? I love this painting because of the story that I have in my mind about the woman and her life, even though it is a melancholy image.
My First Reference Photograph
I decided to put the set-up on a mirror. These are the two photos that I used for my composition.
|I continued with the patterns on the fabric. Perhaps you can
see the value changes in the folds of the fabric. I painted the shadows
in the folds using a wet in wet technique, and after that was dry, the
stripes and flowers, and also the geometric patterns were added;|
I was also careful to change the colors and values of the strips as they moved from the light into the shadowed areas.
| "Reluctant Ballerina" |
I spent a day adjusting the values of the shadowed areas on her bodice, the dark background and I can't tell you how many times I touched her lower lip with rose! It just disappeared time after time. Finally used a bit of quinacridone rose and that worked.