Combining Creation

I had intended to paint a picture of a diving helmet. I painted a rough version of it, but got bored of it.  I wasn't learning anything.  It was a little too complex for a study, and not very fulfilling as a painting. I borrowed it from a friend who is a diver. It was fun to play with though.  I put it on. it weighed a ton

 

At the end of a full day of painting, I looked at what I had done, and felt nothing toward it, so I scraped the entire canvas down, but there was so much black and yellow on the canvas, that it stained it green.  So I let it dry and used this as a base coat for a new painting. 

I am very interested in the way certain painters handle their paint and application.  I've been reading about the limited palette Sargent was known to use (yellow ochre, black, vermillion (cad. red in my case).  Ivory Black is very blue, and when it is placed near warm colors, the blue is even more apparent.

I opted for the Sargent portrait of Lady Agnew and Michelangelo's God from the Sistine Chapel - combined into one image. I liked the beauty of the Sargent face and the technical virtuosity of his strokes.  A beautiful face and I have painted it before. I can see how much more competent I have gotten since painting it the first time over a year ago. I wanted a profile to accompany the young girl, and opted for another favorite of mine. Michelangelo.  I originally was planning on the Delphic Sibyl - to have two pretty faces 300 years apart, but the strong profile of the old face seemed even more fitting.

This was purely an exercise in using a limited palette.  It forced me to work on my drawing too.

Painting Skulls

I've been reading a great book called Alla Prima by Richard Schmid which is having a tremendous effect on my work and working methods.  In essence, "alla prima" (which translates to "in the first") is a way of working directly with a subject in one setting.  I have been using this technique while doing my landscapes too.  It forces you to make decisions about everything from color to shape to drawing to edges.  It is not about just working quickly, but rather working smarter and more directly - to start with your first stroke being "perfect" and working out from there.  To put down a stroke that is the right color, value and shape and leave it alone.  It is a great book for any realist painter.

So I have been painting smaller canvases to improve my eye and to work with thicker paint.  Schmid says that most problems in painting are not color related, but drawing related.  I agree.  Sargent said a painter should feel as comfortable drawing with the brush as they do with a pencil.  Something to strive for.

The Commission

Above is my first commissioned portrait.  This guy is great and I had a really wonderful time getting to know him.  We did this in my studio, so he got a chance to see some of my other work too. The majority of the portrait was done from life in a 5 hour period over the course of 3 evenings.  It was very fun and very stressful at the same time.  I am also in the process of experimenting with a "new" technique of painting with a loaded brush so there is much more paint on the surface.  As Sargent said "The thicker you paint, the more color flows." he also advocated using plenty of paint.  So I'm actively trying to do this. 

"Stressful" because I had someone sitting in front of me that I was painting - in my studio - where it is usually just me.  I definitely need to work on my set up/studio if I am going to do this again.  My light was not as good as it should have been...  I also was not as "free" as I usually am - meaning I was a bit self conscience at times.  I was completely discouraged after day 3, and actually stopped the session short because I was no longer making good decisions.  I thought the colors were off, the drawing/structure was off (a really bad sign) and I was making "mud".

I went back to the studio the next day determined to get it right, or at least move it in a better direction.   It was good to see it the next day with fresh eyes, because I realized that it actually had some good bones, and that the color was pretty good in the daylight.  I also had a chance to look and think about my decisions and what I needed to do to push it, without having the sitter present.  Bouncing the colors around the canvas, using the shadow colors in the skin in the background and vice-versa.  warm/cool. general paint mixing/handling etc...

I'm learning more and more with every piece.  I'm getting better handling now too.  I finally saw, mixed and laid down the green that I kept avoiding by adding too much blue.  it's the little things.

Productive

In an effort to keep things fresh and possibly interesting to whomever is reading this blog, I give you this entry:

Today I got up extra early (6am) and hit the road for the 3 hour ride to Boston.  The reason for this journey?  To file my paper work with the Italian Consulate in Boston for dual citizenship.  Italian and American.  Two Passports.  A citizen of the European Union. Thanks Nicole.
Things went really easily for me.  The hard part was getting my Mother's documentation in order to prove the lineage.  So now I wait a month for my birth to be recorded in Belcastro.

Tonight I also accepted my first proper portrait commission. This is something I am extremely proud of and really looking forward to.  It is a direct result of the live portrait drawings I did at the Clark back in February. A met a very nice man who sat for me and his wife.  He wanted to give his wife a special present to commemorate her 25th year of being in the States, and decided on a portrait painted by yours truly. I am really looking forward to the one on one interaction.  What a story this guy has already told me after our first meeting tonight!

So after showing him around my studio, talking over the logistics of the portrait, and getting to know a bit about each other,  we will be off and running on Tuesday of next week.  I logged 336 miles in the car, and about 3,200 mental miles in tonight's conversation.  All in all a productive day.  And I even got some fresh paint on the Kripalu painting.

En Plein Air

For my birthday this year I treated myself to a French Easel so I could start painting outdoors.  There is nothing quite like finding a great spot and working on location.  I have been reading a great blog lately by Stapleton Kearns who got me inspired to get outside.  His blog is incredibly useful and full of everything you need to know regarding outdoor painting.  Plus he seems like a fun guy and is a hell of a painter.

For my first venture, I went out to Mt. Greylock, and camped out at the base in a meadow looking south.  I worked for about 4 hours in the field before bringing it back to the studio to finish it off.  Not bad for someone who hasn't done something like this in a while...

 

For my nest venture, I traveled south to Kripalu in Lenox.  Another beautiful place to paint.  Looking out over Stockbridge Bowl surrounded by peace and quiet, I set up my easel on the grounds of Kripalu and set to work.. This is where I am after about 6 hours.  I think I'll take it back to the studio to finish it off, or I might head back out on location.  We will see when I get a chance to get back out.  

 

The leaves are changing and Fall is such a wonderful time to be outside.  I've got a list of places that I want to paint.  I'll try to post them as I make them.  I'm shooting for one a week.

On a side note, I had a catastrophic easel failure today (second time it has happened) where the a leg suddenly collapses.  this time it smashed my turpentine jar and so I had to go home early.  Totally lame.  I've got an idea about how to rig the easel so this NEVER happens again.  Imagine... the whole rig just suddenly falls to one side.  I've got 5 paint brushes in 2 hands, and a paint soaked cloth. The easel has my full palette, extra brushes, turpentine jar, rags, and canvas attached.  what do you drop and what do you grab.  I'm with you.  I grabbed the wet canvas.  It only smudged a little. everything else lay scattered on the ground.

All in all, it was a very fun time and I can't wait to get back out there.

white on white

I created 3 pieces for a show called "White on White" as part of a city-wide art exhibit in collaboration with Barrington Stage Company's play "Art".

They are each 18" square and 2.5" deep.

Materials:  wood, masonite, epoxy resin, plastic bags, joint compound, spray paint, acrylic.

Pittsfield Contemporary

I will be showing new work at the Pittsfield Contemporary show this weekend at the Lichtenstein Center in Pittsfield.

If you can make it to the opening (Friday at 5:30) please come by.   I'll try to post some photos.
should be a fun time.

 "Tools of the Trade" - 2010