Wet Paint -- The Painting Classroom

GALLERY833 -- ONLINE CATALOG

2011-08-09T16:34:00.000-07:00

WELCOME

to the online catalog

NEW WORKS BY SUSAN F. GREAVES

Presented by

Gallery833

833 Mistletoe Avenue, Suite A4

Redding, California

530-223-2541

Friday August 12 through Wednesday September 8, 2011

Opening, Saturday August 13, 6 PM to 9 PM

Works Included

Please feel free to contact the gallery if you have any questions!

"Lilacs Plein Air"

14" x 18" Oil

$700

"Farm Barn"

30" x 24" Oil

$1800

"Wisteria Cascade"

9" x 12" Oil

$350

"View Above the Lake"

16" x 20"

"Variation on a Theme #4"

24" x 30" Oil

$1800

"Variation on a Theme #2"

11" x 14" Oil

$400

"Hydrangeas Near the Window"

20" x 24" Oil

$1200

"The Awakening"

20" x 24" Oil

$1200

"Embankment in Bloom"

14" x 11" Oil

$400

"Cool Day Near Cambria"

30" x 24"

$1800

"Waves and Foam"

16" x 20" Oil

$800

"Snow and Thaw"

24" x 24" Oil

$1500

Thanks for looking. We hope to see you at the gallery!

"Coastal Haze"

2011-05-11T20:29:00.000-07:00

"Coastal Haze" - Oil - 6" x 8"

"This wonderful effect came about because of the sun's struggle to bore through the moist air of the California coast. This lovely scene is north of Cambria, near San Simeon and Hearst Castle." --- SFG

"May the Hills Sing With Color"

2011-05-10T18:41:00.000-07:00

"May the Hills Sing With Color" - Oil - 10" x 8"

"This is a simple description of a California valley. Its summer grass... it is the 'golden state' after all... was balanced by the receding mountains. A simple joy to see and paint." --- SFG

A Perfect Day

2011-04-29T20:54:00.001-07:00

"A Perfect Day" - Oil - 24" x 18"

"Inspired partly by our first warm day and, also, by the lovely Susan Boyle performance of "A Perfect Day" on her latest CD, I set this arrangement in sunlight and laid on the color. Painting it lifted my heart." --- SFG

More info

WORK IN PROGRESS:

Freshly picked.

I grouped the objects and allowed room at the bottom of the canvas for the edge of the table to show.

Here, I link the darks and create a variety of greens.

Before I can go further, I add the background since it will influence all subsequent colors.

Now I move to the lights of the tabletop, judging value and temperature. Notice how I indicate where the drape falls over the edge of the table by a darker value and cooler temperature. It takes both to show a plane change.

I painted the pear to the left of the vase a "hotter" color intentionally. Sometimes greens can be overpowering. By pushing the color as far from green as possible, I add range to the variety of greens I can use in a painting. I will adjust it in the next step to fine tune the harmony, but will not completely lose those vibrating tones.

It's time to develop the lit areas of the graceful lilac blooms. The lavender ones vary slightly in color from one to another. Note the warm reflection on the underside of the white fronds.

Adding some of the folds and stripes gives more movement to the foreground so it serves the purpose of a foreground, to lead the eye into the painting. They were needed, also, to balance the action of the other objects.

"Lilacs 2011"

2011-04-27T09:19:00.000-07:00

"Lilacs 2011" - Oil - 9" x 12"

"During lilac week in my garden, I paint outdoors and in the studio with great motivation since lilacs bloom for such a short time. The strong sunlight and background shadows on this painting, done directly "from the bush", were a joy to work with." --- SFG

More info

WORK IN PROGRESS:

Finally, we have a warm spring day instead of the weeks of rain that have characterized this spring in my part of California. The lilacs are in full bloom, so I'm setting up next my largest bush.

I elect to paint these clusters near the top of the bush. The shadow on the right in the background gives me the element that created the darks in the background of the painting.

When plein air painting, I use fewer colors and smaller canvases. Not only is it difficult to complete a larger canvas (24" x 30" and larger) before the light changes, but the panel can turn into a sail if the wind whips up.

I place the main elements, being sure that they are not repetitious in size or shape. I make sure that they are not in the middle of the painting.

I add subordinate shapes and indicate the shadow across the background.

And wash in that dark shape.

Here, I indicate the shadow side of the blooms and vary their color accordingly.

Lastly, for this covering-the-canvas stage, I add the darks of the leaves as a mass connected to the blooms and the background shadow.

When I mass the lit areas of the background, I'm careful to vary the colors of the foreground versus the background, making the top lighter and cooler.

At this stage, I have added detail to the leaves, blooms, and branches. The contrast between the shadow and lights in the flowers makes the sparkle.

Even though this is a smaller palette than the one in my studio, I still use the same mixing method and scrape it often to have clean color.

When I returned to the easel after lunch, I did not like the V-shape of the branch of the lilac bush and decided to darken the left side, merging the shapes.

Ocean Fire

2011-04-26T11:56:00.000-07:00

"Ocean Fire" - Oil - 6" x 8"

"This marvelous display warmed the evening even though the effect was temporal. Remembering and capturing such shows are an irresistible challenge." --- SFG."

NOTE TO ARTISTS:

Fleeting subjects like this are unpredictable, changing and passing within minutes. Have your canvas, palette, and several small panels ready and work like a madman. For insurance, keep your camera handy, too.

"Redding Rooftops"

2011-04-15T15:50:00.001-07:00

"Redding Rooftops" - Oil - 8" x 10"

"So often, when painting on location, the better subject turns out to be behind me. After I had finished my first painting of the day, I turned around and saw this composition that did not register when I first arrived at the site. I peered through the foreground trees to see the enough to execute the work." --- SFG.

www.susanfgreaves.com

"Wisteria Cascade"

2011-04-14T10:22:00.000-07:00

"Wisteria Cascade" - Oil - 9" x 12"

"Light and airy. The abundance of blooms on the arbor in a local park inspired a sketchy, color-filled approach. I look forward each year to the spring blooms and set aside those weeks to visit my favorite plantings." -- SFG

NOTE TO ARTISTS:

So often, the surface dictates the result. I used a very absorbent panel, so the oils behaved more like acrylics, setting edges quickly and lacking the ability to make color changes by blending with the earlier color on the panel. Using these qualities to advantage can give a sparkle as the white of the gesso shines through. I could have piled on the paint until those elements were eliminated, but I decided to seize on what was unfolding before me.

"My Imaginary Friend"

2011-04-13T15:50:00.001-07:00

"My Imaginary Friend" - Oil - 9" x 12"

"This wisteria trellis is in full bloom and I hoped to have a model to paint. The subject just called for a lady in a sunhat ... or one with a basket... or one sitting in a wicker chair with mint julep waiting nearby. Unfortunately, the plan didn't work out. This figure is imagined." --- SFG

"Ladies' Day"

2011-03-30T17:19:00.001-07:00

"Ladies' Day" - Oil - 16" x 20"

"I chose to paint this floral as set against cool light from the window. The old-fashioned tea pot suggested the title." --- SFG

More info

DEMONSTRATION:

This simple setup is the inspiration and point of departure for the upcoming painting. The longer I've painted, the more I am able to "feel" what the painting needs. Consequently, I can add items, either from my stock of still life objects or from my head, in response to how the painting develops. The ultimate purpose is to create balance in the painting.

The drawing, too, is simple and subject to correction as I go. You'll notice that I've already changed the location of the vertical parts of the window to divide the canvas in a more interesting way. If I don't have the perfectly proportioned canvas for the setup, this redesign trick makes it work. By pushing the flowers off the top edge, they serve as another division, as will the cast shadows that come forward intersect the bottom edge.

I want to make this a high-key painting, so when I put in the shadowed sides of the teapot, vase, and leaves, I made sure I was using a fairly light "dark". Notice that I started with what looks like a very cool color. A law of light states that if the light source is cool, the shadows will be warm in comparison. If this color choice turns out to be too cool, my corrections later will just make the colors vibrate more. They look so cool at this stage because the canvas is toned with a warm red.

Now, I've laid in the other medium darks of the flowers, peach, leaf, and window frame. I've already begun relating reds to reds, greens to greens, and "whites" to "whites". Of course, these whites are backlit, so I must choose a fairly dark color to represent them.

Besides adding the warm shadows in the foreground, I have started searching for the right value and temperature of the background. It was bright outside, but the slight overcast toned down the color temperature.

The tablecloth reflects a lot of cool light and is almost as light as the background. I am beginning to use warm tones to give dimension to the vase and teapot. Nothing in shadow can be as light as anything in light. Note that I'm keeping the shadows quite warm in comparison to the lighted part of the tablecloth.

After I had modeled the forms of the teapot and vase, I added flowers and petals to the table top to balance the action in the flower arrangement. Notice how the flower arrangement is subordinate to the teapot, whose form is much more developed. If I had expressed the flowers with too much vigor, they would have led the eye off the painting since they touch the top. Oops, I must go back and put a cast shadow under the flower on the left. It must be consistent with the lighting on the rest of the objects for me to succeed in adding something "out of my head".

YOU ARE INVITED...

2011-03-29T14:32:00.000-07:00

My latest work is now showing at Art & Soul Gallery, Ashland, Oregon, from now through May 1. The show is titled "Alla Prima Landscapes". Here is one of the pieces, and I will be posting others in the next few days.

"Farm Barn" 30" x 24" Oil on Canvas

"This is a larger version of one of the other paintings in the show. I decided to do a vertical composition for a stronger dramatic effect. The smaller painting, "Hohenberger Farm", was done plein air, whereas this one is a studio work." --- SFG

"Autumn Evening"

2011-03-28T22:04:00.000-07:00

"Autumn Evening" - Oil - 24" x 30"

"This is a new work, now showing at Art & Soul Gallery in Ashland, Oregon. The show will be up from now to May 1, 2010. This is a richly painted canvas (thick paint) and is a highlight of the show." --- SFG

Collector's Edition of "Getting Acquainted"

2011-01-30T18:51:00.000-08:00

CLICK ON "Getting Acquainted Collector's Edition" (below book image) for more info

Getting Acquainted Collector's Edition | Make Your Own Book

Pocket Version of "Getting Acquainted"

2011-01-30T18:48:00.000-08:00

CLICK ON "Getting Acquainted" (below book image) for more info

Getting Acquainted | Make Your Own Book

"Fruit and Silver"

2010-10-28T17:32:00.000-07:00

"Fruit and Silver" - Oil - 6" x 8"

"Our crop of mission figs was down a bit this year, but I had enough to paint, if not enough to fill my yen for them." --- SFG

More info

NOTE TO ARTISTS: This was done simply and fast. The smaller the painting, the better simple shapes work.

"Heavenly Happiness"

2010-10-19T17:39:00.000-07:00

"Heavenly Happiness" - Oil - 24" x 24"

"'Heavenly Happiness' is a reference to the perfect happiness and inner peace promised to be enjoyed by the soul in heaven. Portions of this painting approached that state for me, since the process is as much spiritual as it is the use of practical skill. Many, many of the artists I've encountered over the years have confirmed this experience and conviction." -- SFG

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NOTE TO ARTISTS:

I'm set up and ready to go. I have the still life set near the window of my studio for indirect, cool light. My canvas is lit by the overhead lights behind me (and not in shadow...something I'm always reminding my students to check).

I've laid out a full palette.For many years I had to chip dried paint off my palette where it had dried in piles because I procrastinated and didn't clean it after painting. Now, I put a layer of plastic wrap under the colors and use the other half of the wrap I've allowed to dangle over the edge to cover the paint between painting sessions. The paint stays workable for two or three days if my studio is cool.

To draw in the subject, I first marked the top of the flowers and the bottom of the pitcher since they overlapped and formed the main vertical unit of the piece. I paid attention to the spacing between objects and the division of the entire space. I made sure the edges of the window did not hit the middle of the left side or the middle of the top.

Apologies for the inconsistency in color. On a tripod, the top of the camera was above my eye level and a dial had been turned inadvertently. Wish I was an expert with a photo-editing program.

As you will see, I did not try to reproduce the colors. My purpose was to paint the RELATIONSHIPS between the colors. This must ALWAYS be done. Without doing so, it just won't work. The colors will not ring true and, more than likely, will be muddy and cold.

At this stage, I decided to paint the vase holding the flowers black so it makes a vertical dark mass with the dark parts of the arrangement. My wash for the drape is warm (remember, cool light yields warm shadows). I've used thin washes, slightly exaggerating the variety of colors I see in the pitcher and the bottles. Also, I've described the differences in temperature of the small flowers.

Look at that! An apple has magically appeared to the right of the blue bottle. It was needed for compositional purposes and nicely repeats the shape of the lower part of the pitcher. I've painted hundreds of apples over 35 years, so I should be able to fake it now and then. ;)

I've also used a very warm and clearly darkened background to contrast with the cool lights on the table top and in the bottles and flowers. As I review these photos, I like this composition with a light area on the right and could have preserved it, but I didn't notice its advantages at the time. It's not a mistake, just another alternative and you work with what you have in all stages of painting. The end product is the result of alternatives chosen along the way.

At this stage, I'm becoming more specific about the various purples of the smaller flowers and have thrown similar hues into the background. I've worked on the apple and the blue vase that has a good deal of light coming through it. Through the window, though the light coming in is cool, the sunlit grass and foliage is quite yellow-orange. I'm beginning to put in the stems of the tiny red blooms with care since their linear quality contributes important directional elements.

Next came more specific notes of color for the green glass and the blue pitcher. When painting glass, I start with the overall color, especially that coming from the farthest side. If you look at the pitcher carefully, you'll see how I've used subtlely different colors to show plane changes that give volume to an object.

You'll notice that I started putting in the stripes of the fabric. Admittedly, I'm a little tentative about it and it shows. I don't want the stripes to take over the painting and I still want a loose effect that flows. I've noticed that faded fabrics have softer colors and are easier to "fit" into a painting. This one is very bright, so I'm not getting the effect I want.

I called it quits for the day. I'm painting more slowly than usual for some reason.

I've worked on the flowers more. Successfully, except for the rose, I think. Still dithering about the fabric, though. As I place each stroke, I look to see how it effects the rest of the painting. At least the apple looks good. The highlights on the pitcher were done sooner than I usually do them, but I didn't want the daylight to change before I did them. They were a lot of fun.

This is my stopping point for now. The flowers are right, especially after I repainted the rose. It was one of the most important elements and, as it was, repeated the circle of the apple too much. Now, it sings.

To judge the other parts, I will keep the painting out in the studio where I will see it as I pass each day. The way the mind works, just a glance will eventually reveal what should be changed. Always, it's best to let your eye cool off in order to see the work with a fresh eye.

Work in Progress... "Variation on a Theme #4"

2010-10-14T09:49:00.000-07:00

"Variation on a Theme #4" - Oil - 24" x 30"

"Continuing this series of rose paintings, I added fresh blooms and more vases. All these set-ups were lit by soft, cool light from my studio window. As you can see, my enthusiasm has not waned." --- SFG

More info

WORK IN PROGRESS:

After painting the first three paintings in this series based on the larger arrangement of roses shown here, I rotated the vase a little and added fresh blooms and more clear glass vases. The pink rose at the lower left of the big arrangement was already drooping a bit, but its color was needed. For compositional purposes, I elected to make the meeting of the blue drape and the wall a horizontal line.

I marked the locations of each vase by marking the top and bottom of the largest arrangement and comparing the location of the other vases to that. I used the "saran wrap" method to indicate the overall shape of the large bunch of roses.

I added a bit more detail to the drawing placing the individual blooms. Notice the dots in the middle of some. Marking the center of the bloom helps me understand from what perspective I'm viewing it. For instance, a dot in the middle means I'm looking at it head on. If it is low and to the left within the circle, the rose is facing up and to the right.

For this painting, I wanted to get the distinct, though sometimes subtle, color differences between the blooms. I massed in the dark green leaves first, since they were the darkest value of the painting and I could compare the various values of the roses to that as I worked through the roses' temperature variations. I started with the coolest and worked up to the warmest. I did all the pink roses and the red one, and, finally, the orange to yellow ones.

My palette is pretty full as I finish this stage, but you can see how I mixed colors next to one another to determine the temperature relationships and value differences between them.

Before I did any detail on the flowers and vases, I made sure that the background and table surface related properly. It would be easy to ruin all the colors I'd worked on by putting the wrong temperature or value behind them.

Finally, I can put the icing on the cake with rhythmic calligraphy on the roses and the sparkle on the vases.

"Variation on a Theme 6"

2010-10-11T11:15:00.000-07:00

"Variation on a Theme 6" - Oil - 8" x 6"

"The last in this series of rose paintings is a closeup of two of the roses. Using a small canvas, I laid on the paint with vigor, thick and decisive. The energy of these small works set them apart and speak for themselves." --- SFG

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"Variation on a Theme #5"

2010-10-10T16:06:00.000-07:00

"Variation on a Theme #5" - Oil - 11" x 14"

"I selected the round vase from the previous setup and gave it a classic light-against-dark treatment. The value contrast makes a strong painting and the round vase, a pleasant contrast to the complex blooms." --- SFG

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"Variation on a Theme #4"

2010-10-07T08:17:00.000-07:00

"Variation on a Theme #4" - Oil - 24" x 30"

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NOTE TO ARTISTS: I will be adding a work-in-progress discussion of this painting in a few days.

"Variation on a Theme #3"

2010-10-06T14:16:00.000-07:00

"Variation on a Theme #3" - Oil - 8" x 6"

"My third painting (see previous posts) was a small 8" x 6" version. I laid the paint on thickly and concentrated on lively, abstract forms." --- SFG

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"Variation on a Theme #2"

2010-10-04T21:41:00.001-07:00

"Variation on a Theme #2" - Oil - 11" x 14"

"For this second painting in the series, I chose a smaller canvas, 11" x 14", and used a more abstract close-up composition. The hues within the roses always stimulate my passion for color." --- SFG

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"Variations on a Theme"

2010-10-03T22:05:00.000-07:00

"Variations on a Theme" - Oil - 20" x 16"

"This is the first of a series of six paintings. My roses are at their peak as the weather begins to cool in October. I start with one bouquet and paint three variations in three different sizes. Then, I added more to the setup and painted three more. I'll be posting them over the next few days." --- SFG

More info

"April in Archer"

2010-09-29T20:35:00.000-07:00

"April in Archer" - Oil - 8" x 10"

"Spring azaleas were spotlighted by morning sun in the little town of Archer, Florida, outside of Gainesville. As often happens, locals stopped by and filled me in on the history of the place. It was once the residence of the owners of the local ironworks located across the street. Still in business after over 100 years, it still prospers. With personable managers who are enthusiastic about what they are doing, it's no wonder." --- SFG

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"Shed at Carter Cabin"

2010-09-28T18:45:00.000-07:00

"Shed at Carter Cabin" - Oil - 8" x 10"

"These quick little paintings are such a joy to do. Catching the quality of light and shadow is the goal and the subject matter is the icing on the cake. This small building is located on the only privately owned property within a wilderness area in the United States. The owners graciously invite my family from time to time. It is certainly one of the most beautiful areas in California." --- SFG

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"Backyard Jumble, McCloud, California"

2010-09-27T16:58:00.000-07:00

"Backyard Jumble, McCloud, California" - Oil - 24" x 24"

"This rickety shed is set among the litter so typical of the charmingly trashy-chic community of McCloud, California. The small-town atmosphere and spectacular views of Mt. Shasta nullify any need for conformity to standards applied elsewhere. Once a rough-and-ready lumber town, it is now a get-away community for those from the Bay area or southern California. Artists who visit are grateful that it maintains this character for it is infinitely more interesting than planned and rigidly supervised resorts." --- SFG

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"Beneath the Palms"

2010-09-26T11:29:00.000-07:00

"Beneath the Palms" - Oil - 11" x 14"

"Artists find subjects wherever they are. This was painted on the front porch of our daughter's business Equigen in Archer, Florida. The landscaping near the building featured this handsome Sego Palm that grows so beautifully in the area. The glare of the sunlight behind the palm was actually the subject of the painting." --- SFG

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NOTE TO ARTISTS:

Look beyond the obvious. Sometimes the negative areas say more than the positive ones.

"Water Garden at Kanapaha"

2010-09-25T14:54:00.000-07:00

"Water Garden at Kanapaha" - Oil - 11" x 14"

"Kanapaha Gardens in Gainesville, Florida is rewarding to locals and visitors alike, even on an overcast day as this one was. Its lush plantings near the stream on the west end of the gardens offered pattern and color." --- SFG

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NOTE TO ARTISTS:

This is a "pattern" composition. Though you can find a focal point in the white flowers against the shadowed water and stone, they are not strong enough to carry the load. Sometimes, when you don't see a very dominant point of interest in your subject, the painting will still be successful if you emphasize patterns and texture throughout it.

"Open Gate"

2010-08-24T17:37:00.000-07:00

"Open Gate" - Oil - 8" x 10"

"My plein air paintings are a diary of my life. A few weeks ago, when we were visiting our son and daughter-in-law, the guys wanted to attend an RC model competition. Having experienced two generations of contests, I went down the road and set up my easel in this picturesque rural setting. I did two small paintings while my husband and son enjoyed the event. I enjoyed myself as much as they did!" --- SFG

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"Springtime in the Vineyard"

2010-08-24T17:03:00.000-07:00

"Springtime in the Vineyard" - Oil - 11" x 14"

"This vineyard, perched on the hills above Cambria, California, defied the image of a slick winery and had rustic appeal of its own. The old barn harkened back to the days when it was a cattle ranch." --- SFG

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NOTE TO ARTISTS:

Yesterday, I started to write this blog, first showing the work as it was when I stopped work on it in the field. Then I had another shot of the "finished" work. When I had both images on the screen, I realized that the painting was better in the "before" view than in the "after".

Before:

After:

I had lost the simple shadows on the barn and overdone the lines around the barn doors. Today, I reworked it and am happier with the result. Sometimes we loose sight of the big things when we begin to "noodle"!

"Nursery Near Hubbard"

2010-08-22T11:33:00.000-07:00

"Nursery Near Hubbard" - Oil - 8" x 10"

"The area south of Portland, Oregon, is where much of the landscaping plants for the west coast are raised. The beautiful patterns such nurseries make as they drape the hillsides and fine landscape painting material. This one is in view of Lenhart Air Park." -- SFG

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"Near the Shed"

2010-08-21T09:19:00.000-07:00

"Near the Shed" - Oil - 8" x 10"

"While visiting our son and daughter-in-law, I painted the farms within walking distance. This one, across the road, had sheds, a small vineyard, and roses at the end of the driveway. The light was just right to enjoy the blooms." --- SFG

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NOTE TO ARTISTS:

These small paintings that I've been posting lately are not masterpieces, but are part of the ongoing discipline of painting. Many are done while traveling with family or friends.

An artist must maintain his skills. Bill Reese, a wonderful teacher, said (often), "If you paint every day, you get better. If you paint every-other-day, you stay the same. And if you paint every third day, you get worse."

"Ann's Table"

2010-08-20T11:58:00.000-07:00

"Ann's Table" - Oil - 16" x 20"

"Fellow artist Anne Laddon sets a lively table when she entertains. With the other Alla Prima International artists, we shared a fun and inspiring time at her beautiful home near Paso Robles, California. Here's a corner of that table, complete with wine, dip, and vegies." -- SFG

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"Tree in Kanapaha Park"

2010-08-19T20:30:00.000-07:00

"Tree in Kanapaha Park" - Oil - 8" x 10"

"This was just a quick morning sketch on location, but it describes the tree and park setting nicely." --- SFG

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"Near Stanford's Museum"

2010-08-13T09:45:00.000-07:00

"Near Stanford's Museum" - Oil - 11" x 14"

"I set up my easel beside the Cantor Arts Center on the busy Stanford University campus. Despite the foot traffic, it was a pleasant and inspiring setting. The shapes of the trees were a good foil for the cars and pedestrians." -- SFG

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"Til the Cows Come Home"

2010-08-12T20:24:00.000-07:00

"Til the Cows Come Home" - Oil - 11" x 14"

"This farm and field in Archer, Florida, was brilliantly lit in the spring light. Cattle ambled through the scene and I added them when they arrived at the best spots for the composition." -- SFG

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"The Yellow Barn"

2010-08-11T20:52:00.000-07:00

"The Yellow Barn" - Oil - 8" x 10"

"I love to paint the farms of Oregon. This one, outside Molalla, was a historic treasure, I'm sure." -- SFG

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"Burney Falls 2"

2010-08-09T22:31:00.000-07:00

"Burney Falls 2" - Oil - 14" x 11"

"Here is another view of Burney Falls in northern California. Situated in a California State Park, the cascade strikes outcrops near the top that redirect the flow. Then the froth free-falls to the misty pool far below.." --- SFG

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"Flowers and Russian Doll"

2010-08-08T18:51:00.000-07:00

"Flowers and Russian Doll" - Oil - 24" x 30" - Private collection

"I painted this about ten years ago and it has been in a private collection since, but I've finally arranged for reproductions of this work to be available. As you can see from the enthusiastic use of color and loaded brush work, an alternative title could have been 'Fit of Joy'! Click on the title to get information about prints and note cards." --- SFG

"Lilacs and Twilight" -- revisited

2010-07-28T14:33:00.000-07:00

"Lilacs and Twilight" - Oil - 11" x 14"

"I'm always attracted to a tranquil scene and this fit the bill perfectly. All was in cool shadow and backlit by the evening sky. The rough condition of the barn synced with the profusion of lilac shrubs left untended. Their chaotic condition added just enough action and texture to draw the eye." --- SFG

NOTE TO ARTISTS: I remember a comment by Bill Reese years ago to a suggestion that a just-completed painting was ready to go on a gallery wall. He said, "I like them to hang around the studio for a while." I took that to mean that it takes a while for the artist to see the work with a fresh, unprejudiced eye in order to see the painting's strong and weak points.

If you look back to my blog on October 9, 2009, you'll see this work in progress. Still, over time, something just didn't look right to me, like the color of the roof and the way the driveway was such a strong diagonal that it led the eye up too fast. Today, I put the painting back on the easel and made some changes.

The before and after:

Adding the reflections from the part of the sky that would be behind me adjusted the color of the roof and related it better to the areas no longer lit by the sun. By adding the bush in the lower right, the shape of the driveway was changed considerably and negated the harsh diagonal movement.

"A Walk in January"

2010-07-27T15:18:00.000-07:00

"A Walk in January" - Oil - 11" x 14"

"This unusually warm day took me to a nearby neighborhood. Though it was sunny, the light was still cooler than that on a summer day. The light and the almost-bare trees testify to the season." --- SFG

NOTE TO ARTISTS: Here is another work that was painted primarily on location, but finalized in the studio. Here are the before and after for you to compare.

The contrast in the unfinished work was a bit too wimpy, though, to stay true to the scene I kept it within bounds. By punching up the white trim on the center house, the architecture is more solid. I added shapes to the plantings to break up the blank walls and reduced the background house on the right to closer values, so focus would remain on the center of interest. I added the mail box on the right to stop the eye and return it to the painting. Otherwise, the sweep of the sidewalk accelerated the movement and swept the viewer off the canvas.

"Doghouse in Harmony"

2010-07-26T16:57:00.000-07:00

"Doghouse in Harmony" - Oil - 12" x 16"

"Here's another version of this oft-painted scene. (I've lost count of the paintings I've done there.) Harmony is a charming, very small town near the California coast. It's buildings and occupants are as unique as the town's name. " --- SFG

NOTE TO ARTISTS: I'm often asked whether a work may be called "plein air" if the artist works on it after returning to the studio. In my opinion, if the concept and majority of the work is done on site, it is a plein air work. Still, I'm careful to conform to the rules of any event or website.

Here are the before and after versions of this painting:

Back in the studio, I evaluated the plein air effort. I felt that the trees were spotty and disorganized. Also, the direction of light on the roof of the building on the right was unclear. After unifying the trees on the left, I lightened the roof. To increase the effect, I darkened the hill in the background slightly and reshaped it to support the composition.

I removed the dark spot in the foreground on the left at the edge of the shadow (I had to use my palette knife to scrape the blob of paint there and restore the surface so it could accept the kind of brush stroke I wanted there. (Sometimes, I use sandpaper to do this.)

I lightened the front of the doghouse to make it stand out a bit more and added more sunlit vegetation on the right to overlap the roof of the building and make the shape more interesting. I changed the dark shape of the shadow side of that shrub, too.

Adding blue hues and sunny clouds to the sky was truer to the day's atmosphere. Lastly, I added Fido, electing to place him in the shadow. This prevents him from taking over the scene.

"View Above the Lake"

2010-07-20T17:03:00.000-07:00

"View above the Lake" - Oil - 16" x 20"

"This vibrant painting expresses California light on a warm... sometimes very warm... summer day. The dried grass of the foreground is broken by a pattern of trees and shrubs. The cooling colors of the atmosphere recede to the background that's made up of hills folding on hills." --- SFG

WORK IN PROGRESS:

As I placed the trees, shrubs, buildings, and lake in my drawing, I paid careful attention to the diagonals I was creating. (I must be in my "diagonal period" since this seems to be a dominant part of my landscapes lately.) I broke with my usual practice of laying in the darks first in order to get the recession of the golden grass as the hills receded, which I felt was more important, and difficult.

Next, I worked on the darks, the trees and shrubs and their shadows, experimenting with the shapes and making them varied and interesting. The distant ones are lighter and cooler.

I eventually decided to eliminate the road in the foreground since it led too obviously to the center of interest, the buildings and the lake. I added color to the buildings and roofs and defined the light reflecting from the lake's surface.

To finish up, I added a bit more detail to the buildings and detail in the distance. I also fine-tuned the cast shadows of the foreground trees.

"Circling the Train"

2010-07-05T20:02:00.001-07:00

"Circling the Train" - Oil - 18" x 24"

"Where I live, the annual rodeo is a big community event and fun, even for the city slickers in town. Before the parade that celebrates the weekend show, drill teams, bands, baton twirlers, city celebrities, and equine groups of all stripes assemble on side streets. Sometimes the wait is longer than expected. This rider with his mule team made occasional circles to distract the impatient animals. The canvas-draped packs flashed in the sun and made a dramatic visage." --- SFG

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WORK IN PROGRESS:

I'm sure that it has been 20 years since I snapped these photos. It was one of those scenes that an artist tucks away in his head until his idea has gelled and his skills are polished enough to handle it. I don't think any earlier attempt would have produced as successful a result.

After toning the canvas, I placed both the animals and the horizontal lines that divided light and shadow. I made sure that the bottom of the top shadow area was not in the center of the canvas and that the shadow in the foreground was more narrow than the lit pavement.

The figures themselves are roughly drawn. I will refine it throughout the painting process since these shapes are very intricate. If ever there was a painting that depended on "putting the right color in the right place," this is one. The interlocking shapes will be carefully drawn and placed.

I start with the darker animals and the shadow area on the rider's mule.

Next, I use a dark wash to create the background shadows. They will be slightly lighter than the darkest mules.

I also wash in the foreground cast shadow.

I've placed a light area behind the rider since he is the focal point. I developed him enough to keep more detail there as I work on the mules and packs.

Now came the fun. I worked shape against shape... positive and negative shapes... to draw the mules, packs, cast shadows under the team and the sunlit pavement. Almost miraculously, the individuals appeared.

What fun it was to do those characters in the back, peaking over the others and their forest of legs that broke up the space.

Halters, ropes, harness, and hat moved value and temperature changes across the line. Breaking up the foreground with a few accent spots and I was finished.

When a painting goes badly...

2010-07-02T15:54:00.000-07:00

"Hydrangeas Near the Window" - Oil - 20" x 24"

"For a few weeks each summer, my three hydrangea bushes offer their color-drenched pom poms. The fully round ones bloom first, so if I miss painting them, I get a second chance with a new strain that has fewer petals and more interesting shapes." --- SFG

WORK IN PROGRESS:

The night before I started this painting, I had given a talk on color that was delightfully well received, so I went into the studio full of vinegar and sure that I'd produce a masterpiece. The expectation and the reality proved to be far removed.

The setup was lovely and inspiring.

However, the composition that fell onto my canvas didn't work well.

That light behind the bouquet was distracting from the bouquet itself and when I put down the color, it was off. (Sorry, no picture survived at that stage.) The folds on the right were awkward, and the composition didn't balance.

When I returned to the studio the next day, the drape had fallen and the painting had not improved overnight. (Believe me, sometimes little gremlins come in and change things.) I felt that the darker color behind the left side of the flowers would work better, so I left the drape as it was.

Whether better or not, I wasn't sure, but I decided to run with this version. I've found that, when unsure, it's better to become more aggressive, making firm decisions and confident strokes, than to wallow in the mess.

I de-emphasized the folds on the right and changed the pink vase to another blossom. For better balance, I added the pear in the lower left.

I developed the blooms in the main bouquet and added the reflections in the glass vase. I was still struggling, but it was getting better.

In the final version, I had changed the pink book - it looked awkward before and did not sit well in that dark corner - and scattered a few more blooms and petals around. Accents and details keep the focus on the main bouquet as the center of interest, but there is a satisfying rhythm through the work now. In the end I got what I wanted, the cool light from the window and how it gives unexpected and appealing color throughout the scene.

The Awakening

2010-06-25T21:18:00.000-07:00

"The Awakening" - Oil - 20" x 24" - $2400

"Spring has a special brilliance and these yellow wildflowers rose to the occasion. I painted this with extra passion and energy." --- SFG

WORK IN PROGRESS:

Apologies. I forgot to take a shot in the drawing stage. As I drew, I paid attention to the shapes I was creating and to the perspective of the upslope. Here I've laid in some of the dark shapes of the foreground and the cooler, lighter, more distant hills and mountains. The big shrub in the upper left serves to stop the eye and provides value contrast and structure.

In preparation for the blooms to be laid on top, I painted the green leaves in a value close to that of the ground.

It was important to reserve the lightest, coolest yellow for the top surface of the blanket of flowers, so I under-painted the area with a warmer, darker yellow. I even picked up the red-orange areas that I saw in spots.

In the finished work, you can see the loaded strokes and the texture that I reserved for the finale. The pattern of the large and small strokes moves the eye around and creates a lively display. A little calligraphy for the shrubs finished the work.

A Day of Tears and Hugs

2010-06-15T21:11:00.000-07:00

I was privileged to join others who so loved and admired Bill Reese (William F. Reese) in celebrating his life today at services in Cashmere, Washington. For all the fine tributes, nothing matched the poem he requested be read at his graveside in portraying his indomitable spirit and love of art...

WHEN EARTH'S LAST PICTURE IS PAINTED

When Earth's last picture is painted
And the tubes are twisted and dried,
When the oldest colors have faded
And the youngest critic has died,
We shall rest, and faith, we shall need it
Lie down for an eon or two
'Til the Master of all good workmen
Shall put us to work anew.
And those that were good shall be happy.
They'll sit in a golden chair.
They'll splash at a ten league canvas
With brushes of comet's hair.
They'll find real saints to draw from,
Magdalene, Peter, and Paul.
They'll work for an age at a sitting
And never be tired at all.
And only the Master shall praise us.
And only the master shall blame.
And no one will work for money.
And no one will work for fame.
But each for the joy of working,
And each, in his separate star,
Will draw the thing as he sees it
For the God of things as they are.

---Rudyard Kipling

The Importance of Photo-Sketching

2010-05-03T21:09:00.000-07:00

Sometimes painting en plein air is more than I can handle, as I experienced on a recent trip. In spite of full-spectrum sunshine accompanied by a banquet of cloud shapes - just pick one that builds the composition - , the wind was howling and the temperature plummeted. Though I was completely absorbed in what I was doing, I finally realized that I couldn't feel my hands and my easel was listing. I had wondered why the painting had taken a turn for the worse in the last few minutes. It was time to fold up and run for the car.

I was in one of the most picturesque spots in the country and couldn't bear wasting any of my limited time there, so I made sure I had a fresh battery, a backup, and a large memory card and hit the road with my camera. In this instance, I was with a fellow artist, so sudden stops and back-ups were not objectionable. We chose a little-traveled back road with eye-popping subjects at every turn and frequently abandoned the car to explore a setting on foot. After all, the masters suggest walking entirely around a possible subject before deciding on a viewpoint.

Similar to thumbnail sketches, these photo series are a great tool for trying out compositions before committing a canvas to the effort. "What if I cropped it here?" "Maybe a vertical composition would be better." "Make the sky more important." "What if I did a closeup?" "High horizon?" "Low horizon?" A two-thirds, one-third split?" "What mass should dominate?" "Where are the subordinate masses?"

As we drove, we found several herds of livestock - cattle, goats, and sheep - and spent a portion of our time shooting (not literally) them. With this resource material, I can rearrange the groups for compositional purposes. I can do this as I paint live subjects, but a dozen shots of the critters as they move about gives me more options. I just have to remember that they were in motion, whether slight or swift, and to paint them that way. No frozen statues, please.

Oftentimes, such photo excursions lead to the elimination of subjects that seemed so exciting at the moment I stumbled on them. Time and a more critical evaluation can prove them to be mundane and uninteresting. Just think how much painting time I've saved by the perspective I gained by experimenting with several views.

After all, I found even better gifts further down the road. Better compositions, better shapes, better vantage points.

"A Life Well Lived"

2010-03-05T10:43:00.000-08:00

"A Life Well Lived" - Oil - 24" x 20" - $1200

"From sadness to celebration. As I read my mother's journal, I was reminded once more of how much she delighted in flowers, gardens, and the passing of seasons. These brilliant tulips, a thoughtful gift of a dear friend, spoke of her enchantment." --- SFG

Wet Paint -- The Painting Classroom

GALLERY833 -- ONLINE CATALOG

"Coastal Haze"

"May the Hills Sing With Color"

A Perfect Day

"Lilacs 2011"

Ocean Fire

"Redding Rooftops"

"Wisteria Cascade"

"My Imaginary Friend"

"Ladies' Day"

YOU ARE INVITED...

"Autumn Evening"

Collector's Edition of "Getting Acquainted"

Pocket Version of "Getting Acquainted"

"Fruit and Silver"

"Heavenly Happiness"

Work in Progress... "Variation on a Theme #4"

"Variation on a Theme 6"

"Variation on a Theme #5"

"Variation on a Theme #4"

"Variation on a Theme #3"

"Variation on a Theme #2"

"Variations on a Theme"

"April in Archer"

"Shed at Carter Cabin"

"Backyard Jumble, McCloud, California"

"Beneath the Palms"

"Water Garden at Kanapaha"

"Open Gate"

"Springtime in the Vineyard"

"Nursery Near Hubbard"

"Near the Shed"

"Ann's Table"

"Tree in Kanapaha Park"

"Near Stanford's Museum"

"Til the Cows Come Home"

"The Yellow Barn"

"Burney Falls 2"

"Flowers and Russian Doll"

"Lilacs and Twilight" -- revisited

"A Walk in January"

"Doghouse in Harmony"

"View Above the Lake"

"Circling the Train"

When a painting goes badly...

The Awakening

A Day of Tears and Hugs

The Importance of Photo-Sketching

"A Life Well Lived"

In Memoriam: Ivie Upshaw Ferguson

"Aaron"

"Our Trees, Autumn"

"Cold Day on the Deschutes"

"Lilacs and Twilight"

"San Luis Obispo Plein Air Festival"

Your palette is a keyboard.

Making Your Art Collection Your Own

More New Work in September!

"Capistrano Arches"

"Sierra October"

"Mendocino Morning Glow"

"Clear Day"

"Half Dome, Yosemite"

"Cool Day at Clear Creek"

"Laundry Day"

"McCloud, First Snow on Shasta"

"November in McCloud"

"Mill and Mountain"

"McCloud Power Source"

"Conversation in the Alley"

"Beside the Sacramento"

"Autumn at the Creek"

"Appy in Waiting"

"What a Life"

"Traverse"

"Sunday Sail"

"Tied Up"

Signing your work...

"Early November"