Sunday, September 7, 2014

Old Santee Canal Fine Arts Exhibition

We just got in from the reception for the 24th annual Old Santee Canal Fine Arts Exhibition, hosted by the Berkeley Artist Guild.  The exhibit was beautifully hung in the welcome center for the park.  I was delighted and honored to be awarded Best in Show for Kitchen Aria.  I'm grateful to the organizers and the sponsors of the show for their hard work and dedication to showcasing artists, and so impressed by the artworks and the talent they reveal.  It was also a great opportunity to talk with so many interesting and very kind people.  A lovely evening.

Monday, May 26, 2014

Piccolo Spoleto Exhibit

Kitchen Aria has been selected for the Annual Piccolo Spoleto Juried Exhibition at Charleston's City Gallery at Waterfront Park, and will be on display from May 23 through June 8, 2014.  It's one of only 16 paintings chosen by juror Linda Fantuzzo.  (I'm chuffed.)

We went to the opening on Friday evening--what a crush!  Lots of people and food and drink--like nothing in my experience of wine-and-cheesers.  Even Mayor Riley was there!  The exhibit was formerly coordinated by the Charleston Artist Guild and took place at the Visitor's Center, but has come under the city's Office of Cultural Affairs this year, with an upgrade in both space and amenities.  City Gallery is a wonderful space for art and will also be hosting several concerts during the festival.

Tuesday, April 8, 2014

ArtFields 2014

Off to Lake City again on Thursday to deliver Kitchen Aria, which has been accepted into this year's ArtFields, April 25th through May 4th.

Kitchen Aria (2013), 24"x28", oil on linen

The painting will be hanging at Tobacco Row restaurant, 127 Sauls St., Lake City, SC.  I plan to do a demo at the restaurant on May 2nd, a portrait drawing (maybe pastel), and be available to answer questions and get whatever kind of feedback happens by.  Chris has agreed to be my model and we'll be there for at least an hour starting at 1 PM.

Friday, December 6, 2013

Self-portrait in pastel

On a half-sheet of, I think, gray Ingres paper.  Which is now apparently made by Canson.

Ellen Eagle's book Pastel Painting Atelier appeared at my local library and I found it very inspiring.  Her work (at least in the book) is mostly portraits; her drawing is lovely and her pastel technique both skillful and somehow relaxed.

It was fun to work with pastels again after several years; there's a lot I've forgotten and a lot I never knew.  But I discovered that after working with neutral grays in oils, I really wanted more neutralized colors in pastel, especially low-chroma red-oranges ("brown").  So I tried to make some.  But that's another post.

Friday, February 22, 2013


My painting Woman with a Pitcher has been accepted into the inaugural ArtFields competition and festival, to be held in Lake City, SC, from April 19th through the 28th. The painting will be competing with 399 other entries, for one of three prizes totaling (gasp) $100,000--a top prize of $50,000, a people's choice award of $25,000, and a juried panel winner with a prize of $25,000.

Update 2/27/13:  The painting will be exhibited at the Lake City Public Library at 221 East Main Street. It's an appropriate pairing because I love public libraries.  Maybe some promotional bookmarks!

Monday, February 11, 2013

Whitney LeJeune

Hooray for Craigslist: a few months ago, in a frenzy of organization wherein I decided I had Too Much Paint (there was a time when that would have been literally inconceivable), I listed about 50 tubes. Whitney LeJeune responded and took them all away.  What a good painter she is; I am thrilled to contribute to her work in any way.  She came by again today to pick up my unused pigment sticks; I can't wait to see what she'll do with them.

Tuesday, February 5, 2013

Back to the Drawing Board

Study for an upcoming painting, charcoal on gray laid paper, about 11½" x 7½". I'm trying to do more drawing and also to use drawing to figure out paintings before I've got a couple of weeks in them and discover some insoluble or even simply intractable problem. Now that I've looked at this for a couple of days I can see things that I'd like to change before I paint, but I'm developing familiarity with the figure and considering background options. So it's a good step.

Sunday, February 3, 2013

Portrait Workshop with Gregory Mortenson

As Ciana Pullen put it: "I just remembered, I have a blog." Oh, yeah, me too. (Ciana's is better.)

Back in October I took a three-day workshop at Redux with Gregory Mortenson, described as a "chance to develop a single portrait painting in oil [to] learn the fundamentals of painting the portrait with an emphasis on accurate observation and the Munsell Color System."  Greg studied with Jacob Collins and at Grand Central Academy (like Angela Cunningham) so I was very interested both in how he develops a painting and in how he uses Munsell to do it.

The Munsell System of color notation—used in many fields from interior design to soil science—first came to my attention five or six years ago through the Rational Painting forum, and I've followed it with interest since. RP exists to promote the use of Munsell terminology among artists and to explore the use of the Munsell model by painters. There's been a lot of negative chatter in the online art world about "Munsell," most of which seems idiotic to me:  Albert Munsell developed a way to describe vaguely potato-shaped color space that is precise, systematic, and expandable, in which colors are described in terms of their three attributes, hue, value and chroma (H V/C). RP has a wonderfully concise and clear explanation.

While firmly onboard theoretically, I've been lazy about studying color and beginning to apply a Munsell-based understanding to my own palette (both the literal and the figurative). My first foray was to buy the Munsell Student Set (a color theory book that includes a limited set of color chips) and start to read and do the exercises. Later I mixed and tubed a set of neutral oil paints calibrated to the chips in the Student Set. Having a string of consistent neutral grays on my palette streamlined and improved my color mixing dramatically. My paintings are often low in chroma (lots of grays and browns in non-Munsell-speak), and learning to lower chroma with neutrals rather than! Easy-peasy!

My next step was to buy a poster that shows (at least a version of) the Munsell gamut. Eventually I cut it into pieces and inserted them in negative sleeves in a little binder. The sleeves let me dab little bits of paint on the tiny little patches to check my mixes. Not as accurate as the "Big Book," my "little book" at least shows me how changing the value or chroma of a hue works, and how to create color strings as well as the neutral one—whether several values of a single hue and chroma, or a line of increasing chroma that holds the same hue and value (just mixing these can be a challenge).

So this is the background I brought to Greg's portrait workshop.  What I hoped for help with was arranging and efficiently using these strings on my palette—what do you mix? where do you put them? how do you line them up?—as well as the promised fundamentals of painting a portrait in oils. Greg had an ambitious agenda for three days: a full pencil block-in, explanation of the Munsell system, mixing strings of values 2-9 in neutrals and 7.5YR (halfway between 5YR and 5Y in the diagram above) at chroma 4, and then painting a full portrait head. Luckily for me, Greg's class built on Angela's portrait drawing class. I understood what he meant by "block-in," how to measure, and how the process was likely to go (slowly).

Here's my block-in, well, a photocopy of it (I guess I left my actual drawing at Redux).

One cool trick Greg taught us was for transferring the drawing to canvas.  Photocopy or scan-and-print the drawing (you can adjust the size then, too), then on the back scrape—really scraaaaape with a palette knife—a layer of raw umber oil paint. Position the copy on your canvas and tape it down, then trace the drawing with a red ballpoint pen. Ballpoint makes a good fine line and the red lets you see where you've been.  Raw umber dries so quickly you can paint the next morning without lifting your cartoon lines. It works great.

Here is my painting, with about 14 hours of actual painting from the model, Cassie, who was lovely and accomplished. You can see the transfer lines on the right side. We worked in a window-shading way, finishing one section before proceeding. I started on her temple and moved across her forehead then down her nose. On the last day I worked on her eyes and cheeks and then in the last half-hour slicked in her hair and lips and chin.

"Cassie" 16" x 18" oil on linen toned with umber

And my palette. The neutral string is on the bottom, then the 7.5YR string, then my mixing area with some yellows and red-oranges around the outside and a few extra colors on the left. (I used it rotated 90° so the neutrals were on the left.) For skin I often mix a string of 5YR/4, so I think I was adjusting toward red the more yellow string Greg had us mix, maybe because he's used to working in good north light. The lighting in the room wasn't great, a very yellowish theatrical spot on the model and fluorescent lights on our palettes and easels.

"French mistress" palette, walnut, made by my dad

Greg was a very good teacher, with an easy manner. Completely kind, earnest and accessible, and remarkably able to impart a lot of complex knowledge in a very short time. His own paintings are very beautiful, very skillful. His friend Angela Cunningham came down from her new home in Asheville to hang out with him, paint, and help out as she could. It was a treat to see her again, too.

Monday, July 9, 2012


Hairbrush, 2012, 16"x18", oil on linen

Another one for the autumn show at Green Hill Center.

Tuesday, July 3, 2012

A Couple More

Guild's Field, 6"x8", 1995

Spike's Field, 6"x8", 1995