February 26, 2010
Tempe Wick House, oil on masonite, 18x24 in.
This is the last painting in the Morristown series, Tempe Wick House just after the last snowfall. This was painted on a surface called Gessobord, made by Ampersand. It is Masonite that has been coated with gesso and cradled on stretchers.
I began by putting an additional coate of tinted gesso on the surface, I used a professional grade gesso tinted with acrylic paint to a grey-green finish. The surface is smoother to work on than canvas and I found the paint was absorbed a little faster which made things dry a little more quickly, particularly with the earth colors that dry more quickly to begin with.
The palette used is cobalt blue, prussian blue, king’s blue, yellow ochre, naples yellow, alizarin, cadmium red light, burnt umber, burnt sienna, titanium white.
I’m told this piece is “out of character” for me, because of its more traditional subject matter. Yet, it was painted using the same approach I always use to composition, color and brushwork, so to me subject does not factor into things all that much. I’m just painting shapes and getting them to balance in the composition, if the shapes ultimately form a red barn so be it. 🙂
February 23, 2010
White Hydrangeas & Tulips, oil alla prima from life, 16x20
My first painting since completing the Morristown series, I needed a change from urban landscape and found these white hydrangeas and red & white tulips to be just what I needed for a diversion. These were painted in one session directly from life. Began with a burnt umber underpainting and worked the color in directly on top alla prima. Palette = cobalt, king’s blue, prussian blue, alizarin, cadmium red light, yellow ochre, cadmium barium yellow, titanium white, burnt umber and burnt sienna. If this dries on time (by Thursday), I will enter it into the First Annual Sylvia Maria Glesmann Flower exhibit at the Salmagundi Club.
February 20, 2010
Washington's Headquarters, oil on linen, 20x20 in.
This is the second of 2 paintings I will have made into limited edition prints. Washington’s Headquarters is located in the Ford Mansion in Morristown. The mansion is famed for twice serving as headquarters for George Washington during the Revolution, once in the winter of 1777 and again in 1779-80
This painting, as well as the one of Thomas Nast House, will be offered as signed, numbered limited edition prints (only 10 of each will be made) and offered for sale during my solo show at Gallery MacEgan. For more information or to reserve a print before the opening reception on March 5, call the at 973-998-4653 or email firstname.lastname@example.org.
February 16, 2010
Thomas Nast House, oil on linen, 11x14 in.
Thomas Nast was a German-born American caricaturist and editorial cartoonist who is considered to be the “Father of the American Cartoon. He lived in this home on MacCulloch Avenue in Morristown, NJ. Nast’s depiction of iconic characters, such as Santa Claus and Uncle Sam, are widely credited with giving us the recognized versions we see today.
This is one of 2 paintings in my Morristown series that will be printed as limited edition giclees available exclusively through Gallery MacEgan. I will print only 10 copies of each painting, each print will be signed and numbered. More details to come, along with info on how to reserve your copy in advance of the opening reception on March 5.
February 14, 2010
Farragut Street, demo in pastel, 9x12 in.
Just a quick thank you to everyone who attend my urban landscape workshop yesterday at NJ VAC. It was a pleasure working with each of you and I hope to see you again in a future class or workshop.
Above is a photo of my demo in pastel from the workshop. This was done with both hard (NuPastels) and soft (Sennelier) pastels on Wallis paper. I began with an underpainting in burnt umber hard pastel and began layering with hard pastel working from dark to light. For the brightest areas and darkest darks, I used some soft pastel on top of the initial layer of hard pastel. No blending was done, colors sit next to or on top of one another and blend optically to create additional colors. This provides for a fresher, looser look as opposed to one that is highly realistic. It all depends on your preference for the finished product, I prefer more spontaneity and therefore do less blending and allow the colors to mix visually instead of physically blending them on the paper.
February 11, 2010
Fabric study, charcoal and pastel on Canson paper, 9x12 in.
I used to do a lot of studies on Canson paper in pastel and charcoal. However, I had gotten away from that and for awhile I’ve been using Wallis paper for my pastel work, even for demos and studies. That can get very expensive, so I decided to give the Canson paper another try. The thing to remember about Canson is that it is not sanded and therefore you must choose your values/colors carefully because you have a minimal amount of layers that you can apply. For this fabric study, I chose a medium, cool grey sheet and used vine charcoal to start out. Once all my dark values were placed, I began working backwards through the medium values using NuPastel greyscale pastels. To finish up, I hit the darkest darks with some compressed charcoal and used a soft white pastel (Schmienke brand) for the highlights. As you can see, this works quite effectively even though the surface is not a sanded sheet. The key is to choose your values (or colors) beforehand and apply them in the correct places the first time, this also provides for a very confident and spontaneous looking drawing.
February 10, 2010
Hi everyone, just a quick post to say our Thursday morning painting/drawing class at Somerset Art Association has been cancelled for tomorrow, Feb. 11. We will have a make up class at a later date, more info on that when I see you next week. Stay safe and warm and ENJOY the snow!!!! 🙂