Yarn Shop Through the Looking Glass

Yarn Shop Through the Looking Glass

Occasionally my husband and I wander through local estate sales. We usually come away with books or DVDs and he is always on the hunt for unusual tools.   Last year I found this solid wood embroidery hoop.     Its sturdy, large size triggered the idea that it could be used as a frame for a piece of painting canvas.   I mounted the canvas and trimmed off the excess and there it sat.    I toyed with the idea of doing some kind of round abstract painting just for fun.   I started making circular marks in southwestern colors. I doodled on it a bit.   I finally decided that whatever it was, I wanted it to relate to fiber art.   Thus, here it is; the interior scene of a yarn shop - a porthole view.

Haberdashery

Haberdashery

There were three big, exciting purchases that I made when I graduated from college.   A car was first; a Dodge Omni, (brand new and shiny forest green)  and, hard to believe - a mere $4800.   The second seems a little strange now that I think about it, but it was an Electrolux top-of-the-line vacuum.   I think I actually paid for that via installments.  I hardly remember, as it certainly wasn't as exciting as the automobile!   The third big purchase was a Singer sewing machine.   It was state-of-the art at the time and I remember the sales person convincing me that the embroidery wheels were so easy to use that I was going to want to use them often.    For the record, I have never used them.  :)

The car and the vacuum cleaner are long gone, but my sewing machine is as functional now as it ever was.  This truly was an investment - and still going strong.    It has been set up in my studio now for a couple of months as I worked on face masks for my loved ones.  I clustered together some of the sewing notions (a.k.a. haberdashery) attempting to arrange a pleasing composition.   My composition expert helped with it, and soon it was time to break out my paints.

Little Dolls

Little Dolls

What is sweeter than a little toddler fresh out of the bath in her new pajamas and robe?   The day was a busy one for all the baby dolls and it was time to relax with a big book. 

I purposely subdued the colors and supporting elements (doll and carriage) which gave it a serene, tonalist feel.   Have you ever checked out tonalism?   The restful feel of the tonalist palette is a way of communicating emotion in a two dimensional painting.  

Christmas Carol and Red Ribbon

Christmas Carol and Red Ribbon

All the Christmas decorations are up and over the years, like many people, we have added to our collection.   I selected a few favorite items and combined them on the still life shelf in my studio.   This still life features some "rustic" pieces (a basket, greens, pine cones, berries and a book.) 

In our house, "A Christmas Carol" is a favorite, both book and movie (George C. Scott version :)).  That is why this was the volume featured in this Christmas still life. 

See Starry Snowman (previous post) blog for the photo of my studio still life shelf with two still life set ups, one of which is this featured piece.

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Autumn Bounty with Bottles

Autumn Bounty - Drawing Stage

This is a fairly large painting at 24 by 36 inches.  I mounted the canvas myself.  I have been dissatisfied with many ready-made canvases as they can be poorly gessoed, mounted crookedly and not tight enough.     I had not yet made a single brushstroke, yet
this painting had extra labor invested, and that was nothing compared to what was to come.

Autumn Bounty - Stage Two

My hydrangeas were hardly impressive this summer producing few blue flower heads.  With the arrival of autumn however, the few greenish blossoms started turning color, pretty combinations of blue, green, pink and maroon - foliage?   I cut the flower heads, leaving extra-long stems, and displayed them in a tall turquoise vase on my dining table along with my oil and vinegar bottles.   I started adding more bottles and the last of the tomatoes.   What else,what else...onions, avocados, apple garlic.   So colorful!

Autumn Bounty - Stage Three

Each day the ever lowering of the angle of the sun had created a colorful and shiny display.   By mid-afternoon, the sun illuminated the vase, green bottles and red fruits.  I sensed a new still life coming on and started rearranging the objects in various ways - at least six or seven change-ups before settling on this arrangement.

 The biggest challenge and one that makes the painting unique are the abstract shadows, the reflections in the glass top table and the sunbeams pouring in from the window on the left.   You may have to click on the picture to better observe this detail.

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Autumn Bounty with Bottles

Hydrangeas and White Aster

Hydrangeas and White Aster

I love having fresh flowers in the house.  They can be wild blooms (a.k.a. weeds), flowers and roses from my garden, or a professional bouquet.    The arrangement in this painting was sent to me by a very special lady who wanted to come to my Studio Sale, but could not make it.    She sent me this beautiful arrangement to wish me luck on this undertaking.  It was the ultimate in not necessary, but I did get maximum enjoyment from them.  Thank you!

I loved the unusual color combination of blue hydrangeas, white asters and lime green mums.  It even had a couple of pieces of driftwood as accents.   I immediately began plotting when I was going to have time to capture the blooms in paint, given the amount of time needed for the sale and post sale activities!

Soda Water with Lemon aka "Distracted"

Distracted

I liked the casual pose of this figure at the bar.  She had some kind of refreshment with lemon and was talking on the phone.   She had a distracted look, and it was as if her sidelong glance was saying "I'm not buying it."   ... or something to that effect.  :))

The face and hands were worked in a glazed, realistic manner, but the rest of the painting was loosely painted, giving a more abstract feel.

Lilacs in a Watering Can

Lilacs in a Watering Can - Stage One

This painting was conceived in reverse.    I came across this beautiful little frame that had a 5x5 inch opening.   I have never used the 5x5 inch size, although I have been enjoying the square format.  It was simple enough to cut and mount a linen square and stretch onto a 5x5 barn board square.    With this style of the frame, I envisioned a painting depicting a delicate floral image of some kind.   Lavender or bluish flowers would be perfect complements to the silvery tone of the frame.    I created a square thumbnail drawing that seemed to have a "not too symmetric" feel.







No fresh lilacs were available, but I found some fine images that were usable.   The light source in my favorite image was from the left so I imagined a nice country window casting light on the blooms, watering can and antique chair.

Universal Remedy

Tea and Honey

The low November sun was pouring into my south facing windows, illuminating this little stool with the nice crackle finish.   Such a little stool, but casting such a dramatic design!   There was a strong contrast between the bright light and deep shadows while the sunlight was passing through the honey jar, casting golden abstract shapes of its own.   A varied pattern of shapes like this generally improves the composition for any painting whether it is landscape, still life or figurative.

As for the subject, tea and honey ... a universal healing elixir, no matter where in the world or what in the world the issue is.  This particular honey is special because it was given to me by a friend who is a fairly new at  beekeeping but has been successful in pulling lots of honey this year.     It's tone is very pale and clear in appearance and it has a deliciously floral taste. :)

Tea with honey can make you feel better - and maybe a painting of it could make someone feel better too.


Wine and Oysters

This painting still life features the classic table - wine, oysters and flowers.

Wine and Oysters

Preparing for the still life was a fun adventure.   I paid a visit to Island Creek Oysters in Duxbury so that I could handpick oysters that had good visual appeal.   The fellow was more than gracious, showing me which oysters had more color or variation in their shells and invited me to choose exactly the oysters I wanted.  He was knowledgeable on taste as well and since I would be eating this still life at some point, I made my selections based on both criteria!   I got a half dozen Duxbury Bay Oysters (one knot on the bag) and a half dozen Sandwich oysters (two knots on the bag).

I made the same speech at the wine store; the wine bottle would be depicted in a still life painting highlighting the delight of food.  The fellow suggested Le Grand Caillou from Southern France where an abundance of seafood would call for such a Sauvignon Blanc.  A whorl adorns the label, a not-so-subtle hint that this wine would pair well with seafood.

For the set-up I included outer shells, inner shells and lots of lemon wedges.   A speckled blue vase with yellow daisies repeated the blue and yellow scheme, and a wooden handled corkscrew on the bottom right was the painting lead in.  

One interesting aspect of this painting is that it provided a good example of adjacent item influence.  Not only do items cast shadows, but depending on the reflective characteristics of the element, they throw their color around as well.   The lemons were throwing strong yellow light on the shells as well as the cloth.  I played around with it a little bit to decide how strong or diluted to make this cast color.   The photo may not pick it up, but if you get a chance to see the painting, the reflective color is there.

Explosion of Color

Colorful Still Life

Here in New England (like much of the country) we are weary of winter and out of energy for bracing against the cold.   I want warm temperatures and my eyes are craving color.  The subtle shades of gray in the sky and snow that I usually love don't have the same allure.   It's time for the next season, so let's get on with it!

Explosion of Color

Assembling this group of splashy and colorful objects was fun and painting them meant using oil color right out of the tube, a real treat after blah grays.   On the left as a backdrop was an old silk scarf that I have been wearing for forty years (yes - from when I was a clerk in Filene's Basement in high school).  The scarf's flower blocks are as bright today as they were then.   To the right of that was a blue vase full of yellow tulips accented with a bright checkered ribbon of yellow, orange, and lime.  To the right of that was a polka dotted gift bag, its orange tissue sprouting up and casting some interesting shadows.  An old metal tin was added which amazingly had most of the same colors, but on a micro scale.  I was happy with the composition at this point and I was hoping that the heavy weighting to the left because of the attention-grabbing color would be balanced by the interesting shadow patterns to the right.  Did the shadows in the painting hold up well enough?  I decided that they didn't, so I added a bow to the top of the rectangular tin which then cast some spikey shadows.   I liked it better but the drapes of the scarf needs work.  

Remember color? 

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Christmas Still Life with Nutcracker

Christmas Still Life Demo Nutcracker

Shown in the photo to the right is the painting I did at Compass on the Bay Senior Residence.  I was looking down at the set up of the nutcracker figure, glass Christmas bulbs and a cranberry colored wire ribbon.  The lighting wasn't great, but a lamp behind the set up cast a few shadows so at least the objects looked grounded.

What a lovely and attentive audience.   They offered feedback and asked questions as it isn't always easy to tell what is developing, especially at the beginning of the painting.  It didn't take long to remember something I already knew about talking and painting at the same time.  I find it very hard, and have great admiration for people who can do it.   Painter and teacher Dianne Paranelli Miller comes to mind; she can verbalize continuously as she paints; so can painter Daniel Keys.

Luckily for all of us at Compass on the Bay, present in the audience was a knowledgeable watercolorist and painting enthusiast.  She sat up front and supplemented my skimpy narrative by explaining what I was doing when I drifted into a muted "right brain" mode.  Many thanks to her!!

Shown here is the finished painting.   Back in the studio I decided to transform the yellow and blue walls into Christmas tree greens with lights and more ornaments.

Christmas Still Life Nutcracker

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*If you have ever read "Drawing on the Right Side of the Brain" by Dr. Betty Edwards, you read that certain types of brain functons are dominated by one side of the brain over the other.    For example, studies have shown that while working on tasks that required logic, analysis and/or verbal expression, the left hemisphere was most active and in control.    While people were working on tasks that were visual and intuitive, the right side of the brain was most active and in control.    Furthermore, the contention was that at any one time, usually people are operating more strongly in one half of the brain with some minor support from the other half.  It was noted that people often have difficulty simultaneously executing tasks that depend strongly on one side of the brain or the other.  So - this is the scientific evidence I offer for my deficient verbalizing while painting!

Pumpkins and Blue Pottery

Demo Set Up

Pumpkins and Blue Pottery Still Life

I like the blue and orange harmony with this set up and you may recognize some of the objects from another recent still life.   This was the painting that I did at the Duxbury Art Association Craft Show last week. I met lots of nice people who were interested in the painting process.
As for the show, the variety and quality of the artisans and their creations was superb.  I stood amid the sights and sounds of crowds and onlookers, as well as the aromas breads, pies, and sweet treats.   Immediately to my left was Sirenetta Seaside Chocolatier and you might know how I feel about chocolate.   Her samples enticed me to buy a box and I can personally state that this is outstanding handmade chocolate!

Yes, it was a true test of my concentration to get a painting done with all the sensory stimuli around me.  I got about eighty percent of the painting done, and then completed it from the photo reference above.

Pumpkins and Blue Pottery

Pumpkin Hugs, Mill Spool Kisses

Pumpkin Hugs, Mill Spool Kisses - Study

The Winsmith Mill in Norwood, MA is a fairly new location for the Norwood Art Association.   The grand old mill buildings house many antique shops on the first and second floors.   On the third floor is a spacious gallery area fully populated with the artwork of the anchor artists and guest artists.  The Norwood Fine Arts Gallery team has done a fantastic job transforming the space and generously provide space at the venue in advancement of the fine arts.   If you are in the Norwood area, plug 61 Endicott Street, Norwood, MA into your GPS and follow the directions to this expansive space with lots to explore.

Pumpkin Hugs, Mill Spool Kisses Final

As a guest artist for the month of November, I spent the day at the gallery last weekend and worked on the still life in this post.  It occurred to me that the shapes were X's and O's, thus the title (too corny?).   A medium sized pumpkin with a nice, long curled stem was the starring element, and a chunky, blue-gray vase that I purchased at the mill was the co-star.   I had brought several mill spools too, some of my favorite rustic props, and certainly suitable for a mill painting.   The backdrop for the set up was a corner with aged brick and original foggy, opaque windows.

I ran out of time before I could put on the finishing touches, but I did get a a reference photo to use for the last five percent.

Little Person Perspective

Little Person Perspective

I love artwork that depicts little children or babies (because I love little children and babies!).  Unfortunately it is very difficult to capture the beautifully-formed, young faces well.    I include myself on the list of painters who has struggled to create a rendering that is sweet and innocent, versus, odd and somewhat alien-looking:. Whereas adults mostly have prominent, sharp features and at least a few wrinkles that make it easier to define the face and achieve a good likeness, children and babies have features that are soft and subtle - perfect really.  The slightest asymmetry or flaw seems much more pronounced and certainly unacceptable.

I would love to be painting cherubs regularly, but for the aforementioned reasons (excuses?), I have not.  So that sets the stage for the painting described in this post.  I challenged myself with this effort to not just include a little one but to make her face the center of interest.  The rest of the painting is intentionally underdeveloped and subordinate to the perfect toddler expression.   She is looking up in all her cuteness at the people who tower over her at a large family party.   The viewers' line of sight in the painting was designed to be eye level with the toddler.   I welcome comments....

Little Person Perspective Stage Two

Decaf

Decaf

Figure painting has become my favorite genre.    I am not as advanced as I would like to be, but there is a lot of satisfaction in capturing a human likeness.  

On this day, our model made the suggestion that we use a comfy, overstuffed armchair.  Evidently she had a terrible night, having been in a hospital emergency room with her daughter, and was exhausted.     Her fatigue was evident as she relaxed into the chair, nursing her Dunkin' Donuts coffee. 

At first I painted her glancing off to the left.  I then decided that having her eyes closed better captured the mood.  I used really large brushes for everything except for the face and hands.  It was tempting to fine tune the chair but I resisted.  I tried to make the blue/orange harmony consistent throughout.

The Concert Reproduction - Post 5 and Final

Have you seen this painting?   If you spot the original in your grandmother's attic or a flea market, and, it is in good condition - and - you can point the authorities to it, you may be able to collect the reward money - a mere $5 million.   You can read much more about the famous heist at the following website.

http://www.gardnermuseum.org/resources/theft

Meanwhile, if you have been following my blog posts on "The Concert", you have seen the development of my copy of the painting.   Its dimensions are just about the same as the original, an odd 28.5 X 25.5 inches.   The "almost" square size was the one that Vermeer liked, but of course, with his mastery of composition, he could make any size work.

My version of the painting is now mounted on the stretcher frame that my husband made (see Post 4).   It literally sounds like a bass drum when tapped.   Once it was mounted on this final support, I finished up by cleaning up the edges, downplaying the paintings on the wall, and adding some scumbling to the wall to hopefully bring the brightness from the left windows to life.

Empty Frame at Gardner Museum "The Concert"

I scoped out the framing options and discovered that a frame that the original's frame, the one that sits empty in the Gardner Museum would cost at least $3,000.   Not bloody likely!   I ordered an ornate gold frame that has some similarities to the empty one in the photo to the left.

So what did I learn from this experience?

Vezina Reproduction of Vermeer's "The Concert"

There was significant planning done by Vermeer in creating the composition.   The painting depicts the three music enthusiasts, but the interpretations of their relationships, given the paintings on the wall, have created multiple theories.   Interesting paintings don't spell everything out.

From a technical perspective, the geometric interest and alignment that Vermeer created by way of the linear elements such as the square pictures on the walls, the marble floor tiles and the placement of the subjects squared to the walls is a way to introduce complexity and even control how the viewer scans the painting.

As for colors and pigments, I learned that mimicking the painting from a modern day image is hardly an accurate representation of the painting from back in the 1600's.    Vermeer's favorite pigment, ultramarine blue, is almost absent from his works, including "The Concert."   One expert theorizes that the expensive blue was used in the painting, but has deteriorated to the point of barely seeming blue.   The flesh tones that look greenish in the digital images are also thought to be the result of deteriorated vernillion and yellow lake pigments.

The lessons do not end here, but the blog posts do as this is the final post on this painting.  If you paint, try a reproduction.   I guarantee you will be glad you did.