I got to revisit this painting this summer. I wanted to keep the original version so offered to repaint it for an interested buyer. This new version was equally special to me, so I gave the collector a choice between the two and she liked the original. It was a little more dynamic in the angle of the figure and had fewer facial features. This one turned out to be more of a portrait of my daughter at this age. So its a nice one for us to keep. Right now my kiddo is in the stage of life where she doesn't like to see images of herself so I'll save it for her later in life. Scooby thinks its awesome though. Teenagers! ;-)
Can't wait for summer to draw to a close - and the heat to abate - so I can get outside and paint more scenes like this. I so enjoy painting from life - love the loose edges and open brushwork I get when working from something in front of me. I have to learn to stop then and not go back and tighten up!
"Dog Days" is available at Russell Collection Fine Art in Austin.
May 1 opens the spring showcase at Castle Gallery in Fort Wayne. I wish I could be in attendance, but will be here in Austin enjoying our beautiful spring weather. We already had summer-like temps, so I am happy to be back in the 70s for a bit longer. I sent some good summery paintings and hope people will enjoy them.
This one isn't quite done, but far enough to share. The canvas was one I recently painted over with white oil primer and, unfortunately, the primer seemed to suck the oil out of my paint making it hard to move around or even stick. I will have to go over the darks and improve the color. It's all a little dull.
This is continuing with a theme I seem to be stuck on - girls/women as focal point. I have quite a collection and many more ideas. I have been sketching these out regularly too - planning the composition - making notes about color or light source and direction.
I started this painting awhile ago as a demo for Plein Air Austin. It was my first demo in awhile and rather intimidating knowing how talented a group of artists were watching! I have since done more demos and have become more comfortable with them. Sometimes I might even make sense!
Thursday night I will demonstrate with a model at Castle Gallery. Come and see me - and artist Diane Lyon - as we share our processes from 5-10 pm.
I had so much fun with this painting. The color is so rich and vibrant. Its framed in a simple white floater frame, perfect for a bright beach house! It's on its way to Tidewater Gallery now.
What's a Mudhead?
Over one hundred years ago, Charles W. Hawthorne devised a unique way to teach his own method of painting. Instead of focusing on line and form when composing a painting, Hawthorne stressed the importance of carefully observing "color spots" and the representation of light and shadow. To help his students understand this concept, Hawthorne posed models with their backs to the bright sun, often wearing hats or beneath umbrellas. As their faces fell into deep shadow, students were unable to see the model's features clearly, and were forced to focus on broad areas of color rather than details. The featureless faces became known as "mudheads". Of this approach Hawthorne said, "My artist friends are surprised at my having students paint a model out-of-doors, something which they consider extremely difficult. But I consider it the quickest way to get under your skin the idea of the way to paint everything."
-- Provincetown Art Association and Museum
The quote from Hawthorne I shared yesterday got me thinking more about his teaching and what I do with my own work (and plan to share at our workshop.)
The idea is to focus on the big shapes of color/value and paint those. Rather than going into the landscape or a city scene and trying to depict every tree, shrub, bench, lamppost, etc. we learn to focus on big blocks of color and not end up with a patchwork of complicated material to force into one cohesive design. Get the big masses right and then you can begin to further divide, as Henry Hensche taught, expanding on Hawthorne's instruction.
Use the big shapes to create an interesting pattern of light and dark. Compose and plan the balance of your painting with the big masses and then go into details. Or not.
A Painter's Journal
Chasing the light. Capturing life.
Keep in touch
Receive updates about new paintings, books or videos, live events, and special subscriber sales!