Deborah Paris

Off to a Busy Start!

2012-01-25T19:17:00.003-06:00

Edge of the Woods - Study

Underpainting 18 x 24

This year feels more like a sprint than a race at the moment! My new online class Composing the Landscape is going strong and I've spent countless hours in the field and in the studio working on a new Really Big Project. In early February I'll be launching a new blog to chronicle that adventure so I hope you will stay tuned!

A New Year

2012-01-02T16:03:00.012-06:00

The Trout Pool

30 x 24

What is it about a new year we find so enticing? A whole string full of days stretched out before us full of possibilities? A chance to make amends, do better, or shake off bad habits? Whatever it is, I find myself at the beginning of this year feeling full of excitement and ready to begin. There are a number of new projects I am starting this month which I'll share in upcoming posts.

But for now, I want to thank all of you old and new readers, friends, students, and collectors for helping make the past year a successful one. My very best wishes to you all for a happy, healthy, prosperous New Year!

(details- can be clicked on for a larger view)

Whistler (and me !) at BYU

2011-12-20T12:12:00.008-06:00

A few weeks ago I was contacted by a curator at the BYU Museum of Art. They are having an exhibit of prints by James McNeill Whistler at the museum and were looking for images to demonstrate the process of making a drypoint. They asked if I would be willing to let them use some of the images I had posted on this blog explaining the technique. Of course, I said yes!. Today I received these images showing the photo credits (including an image of one of my prints!) and how they are displayed at the exhibit. You can click on them for a larger view.

The last image is one of my drypoints.

Here's a link to more information about the exhibit. http://cfacweb.byu.edu/departments/moa

Forest Floor

2011-12-10T20:40:00.014-06:00

Forest Floor Study

14 x 11

Lately I've found myself looking down a lot. The textures, colors and patterns of the forest floor are endlessly fascinating. You can click on this study for a larger view. This is just one very small aspect of a big new project that I am very excited about. I can't say more just now, but stay tuned!

Autumn, Farewell

2011-12-03T07:40:00.000-06:00

Autumn Road

16 x 20

Available at Hildt Galleries, Chicago

One of the many things I love about fall in northeast Texas is how long it lasts. From early October right through December, there is a constantly changing show of subtle autumn color, increasingly mixed with bare branches and set off by the dark greens of the pines and cedars. This year, despite the drought and perhaps because of it, the color has been a bit more saturated. The wonderful rains that finally came provided enough moisture to turn all the fields an emerald green, creating a delicious color harmony.

This little side road runs off the main route I take on my morning walks.

detail

Stocking Stuffer

2011-11-26T12:52:00.007-06:00

Looking for the perfect stocking stuffer for an artist friend or just a holiday treat for yourself?

Studio & Business Practices for Successful Artists

Success can mean many different things- so this book is designed to help both professional artists as well as those who don’t want or need to make a living from their art, but do want to be better artists, sell more work and achieve more recognition. I share what has worked for me- and what didn’t, and why- over the last fifteen years of building a career in art.

No nonsense information from a working artist.
Here’s what is included:

~ The Three Keys to Success

~ Studio practices that make you a better artist and sell more art.

~ The Pipeline

~ Go Where the Collectors Are
~ Pricing

~Choosing the Right Venues- Pretty Is As Pretty Does

~ How to Approach a Gallery

~Self Promotion

Studio & B...

For Successful Artists

By Deborah Paris

Book Preview

Studio Improvements

2011-11-21T16:20:00.003-06:00

For the longest time, Steve has wanted to build me a drawing table. I resisted and I really have no idea why. But, finally I relented and of course he made it bigger than we discussed- but I am so glad!

The surface is 38" x 72". I use a sketchbook in the studio for thumbnails, so there is room for that plus now I also have a place to make my more finished drawings, work on my drypoint plates, and a place to lay out drawings and color sketches that I use as reference for studio paintings. The other nice feature is that it will fold down flat against the wall when I need more room.

He also made this handy taboret that holds my drawing supplies and room on top for an ink/watercolor palette.

Next up is my flat file which I am really looking forward to having. But, for now, I love my drawing table!

2011-11-16T18:57:00.003-06:00

Dusk Study

6 x 12

Last week was my birthday. We took a day trip to Ft Worth to see the Caravaggio show at the Kimbell Museum and delivered a painting to my gallery in Ft. Worth, Galerie Kornye West, which is just down the street from the museum in Ft. Worth's Cultural District.

As we headed home, we saw a beautiful dusk fall over the landscape. With the intensity of the sun below the horizon, the sky took on a beautiful glow and the reflected light into the clouds was magnificent. I painted this little study from memory.

Grudge Match

2011-11-01T10:12:00.012-05:00

Summer Song

25 x 21

Some paintings just seem to fall off your brush effortlessly. From the first whisper of an idea to the last little tweak, they proceed as if the conclusion is forgone and inevitable, gracefully coming to fruition just as you imagined in your mind's eye. This was not one of those paintings.

This painting came kicking and screaming every step of the way. It started as the demo piece for my workshop in Taos. After bringing it back, I decided I didn't like the composition or the color harmony. I chopped it- from a 30 x 24 to its current size. Now, this is something I never do. But, it needed it, so I took a saw to it. I glazed it, reglazed, it got too dark, I scumbled it, and glazed it again.

More glazes, and then some glaze impasto. Too warm, I glazed it with a cool transparent blue on the left side. The top foliage wasn't right. I painted it out and scraped it back a half dozen times. Some velatura passages in the foliage. Glazes on top of that. I gave up on it. I came back to it. I hated it. Then I liked. Later the same day I hated it again.

Finally, there were little glimmers of hope. I kept at it, finally getting down to a few small adjustments. And then it was done, or I called it so. I've made my peace with it. But, I still hold a grudge.

All images can be clicked for a larger view.

Class Schedule for Winter/Spring 2012

2011-10-19T13:09:00.000-05:00

Evening Meadow

10 x 12

Available at Isherwood Gallery

Newport, RI

A new lineup of online classes is now posted for Winter/Spring 2012 including a new class- Composing the Landscape. Information and registration is here.

More Field Sketching

2011-10-14T22:26:00.013-05:00

Lennox Woods Canopy

pen & ink/wash

6 1/4 x 9 1/2

This week in my online class Field Sketching for Landscape Painters we are using pen and ink and wash techniques. This has been a favorite sketching medium of artists for centuries and it is ideally suited for landscape work. Both Rembrandt and Corot used it to great effect and we've studied examples of their work as well as 19th century American artists like William Trost Richards.

This was done in an area called Lennox Woods, an old growth hardwood forest about 6 miles from us. It is one of the few remaining areas like this in the state and this one is particularly diverse given our location in the far northeastern corner of Texas. The Lennox family preserved it and gave about 300 acres to the Nature Conservancy. The forest is part of the Pecan Bayou watershed. I am working on a series of paintings inspired by Lennox Woods so I am over there a lot sketching.

I used a dip pen with a Hunt #512 nib, india ink and a small brush to apply the washes. The drawing is on Arches cold pressed watercolor paper. All images can be clicked for a larger view.

detail

Field Sketching

2011-10-11T12:36:00.022-05:00

We are in week 2 of my online class Field Sketching for Landscape Painters. The idea for this class came from two of my students who expressed concerns about their drawing skills and the challenges of working outdoors. One of the things I have noticed over the many years I have painted plein air and taught plein air painting is that most students are not really ready to take on the rigors of outdoor work. Most do not have the drawing skills, but those who do, fair much better. That combined with my interest in 19th century landscape painters and their working methods, led me to design a course which would give students some basic skills in drawing the landscape as an important prerequisite to painting it.

Our text for the class is John Ruskin's The Elements of Drawing which was so influential for American landscape painters in the 19th century. Combining Ruskin's drawing exercises with other assignments, students are building drawing skills for creating form, understanding value, and learning to slow down to appreciate and understand Nature as artist/naturalists. Here is some of their work.

Caroline Simmill, Moray, Scotland

Ash tree- Ruskin exercise
Caroline Simmill

Brian McGurgan, Astoria, NY

Ruskin exercise
Bea Lancton, Fredericksburg, TX

Ruskin exercise
Jamie Kirkland, Santa Fe, NM

Ruskin exercise
Jamie Kirkland

Jan Delipsey, Dallas, TX

copy of Wm. Trost Ruchards drawing
Phoebe Chidester, Clearwater, FL

Ruskin exercise
Phoebe Chidester

Kathie Wheeler
Viroqua, WI

Sara Lubinski
Brownsville, MN

Dawn

2011-10-07T11:59:00.003-05:00

Dawn-Study
8 x 10

My infatuation with morning light continues. I have several larger pieces on the easel right now, but I actually did this little study before we left for Taos.

Ten Days in Taos

2011-10-02T16:08:00.026-05:00

We got back home about a week ago and have feverishly been trying to get caught up and back down to earth (literally, from 9,000 ft to about 400!). It was an exciting trip with lots of wonderful interludes- seeing old friends at the PAPNM show, the workshop, meeting new friends, and visiting with family. As usual I failed miserably at taking enough photos. No photos of Steve's "gumbo night" party, Kyoko's tempura feast, and a dozen other things. But, here are a few.

first sunset

PAPNM awards ceremony

class photo

teaching

field sketching on the Rio Grande

visit to the Millicent Rodgers Museum & my work

family fun

last sunset

Moonlight

2011-09-12T20:15:00.010-05:00

Salt Marsh Moon
10 x 12

Moonlight is really the subject of this little painting. Our eyes adjust to the darkness, peer into it, searching. The cool light envelops and softens the nighttime world, revealing and hiding it from us at the same time.

Fall Gallery Night in Ft. Worth

2011-09-09T10:20:00.002-05:00

Meadow Moonrise
12 x 10
Sold

Tomorrow night, Saturday September 10, is the annual Fall Gallery Night event sponsored by the Ft Worth Art Dealers Association. I'll be showing some new work at Galerie Kornye West, conveniently located in the Cultural District. If you are in the Metro area, stop in to visit!

Morning Light

2011-09-01T06:50:00.003-05:00

Morning Light

24 x 30

As readers of this blog know, I am drawn to transitional times of day as the subject of my landscape paintings. For the most part, the evening hours have been my favorite subject. I love those brief moments when the day surrenders to the night. Although I walk at all times of the day, evening walks have always been my favorite. For the last four months though, I've been walking around dawn each day. I have to say, this time has inspired a new appreciation for the morning twilight hour.

This painting is based on a field about a mile from our property. The foreground shadow is mysteriously transparent, something which doesn't really show very well in the photograph. I've included a couple of details. You can get a larger view by clicking on them.

I used many many glazes on the foreground, creating suggestions of form within the shadows by subtle shifts in value and temperature. The road was laid in with thin opaque paint and then glazed over with the foreground glazes to bring it together and keep the value relationships correct. The lightstruck areas were created with thicker, lighter opaque paint.

The trees were laid in with several layers of transparent paint, then form was created with passages of velaturas and glaze impasto passages. Dry paint was dragged over some areas, and in some places the underpainting was left undisturbed.

The sky was painted with several layers of opaque paint and scumbled heavily in some areas. Scumbles were pulled over the trees in the distance to create atmosphere and the illusion of distance.

Busy!

2011-08-29T15:13:00.014-05:00

Late Afternoon Light
16 x 20

The last few weeks have been a busy time in the studio as I am working on several groups of paintings for a couple of different shows. The work for the group show in London and for Atlanta will be shipped next Tuesday and the others shortly after. This painting will go somewhere although I haven't quite decided where yet!

My Trees class has kept me busy as well, with my students doing some lovely work. I'm also getting ready for my Taos workshop, pulling together some teaching materials and images.

Perhaps the most exciting thing though is the seed of an idea for a new project which I'm not quite ready to talk about yet. Stay tuned!

Student Drawings

2011-08-25T07:19:00.020-05:00

My online class Drawing & Painting Trees started last Friday. I am so pleased with the work the group is doing, so I wanted to share some of it with blog readers. In the first week, we are studying the concept of taper-the diminution in size from trunk to limb to branch to twig, as well as using Ruskin's Elements of Drawing to do some drawing exercises. Although students are encouraged to work from life, I have also posted many examples of 19th century drawings so that students can also make copies, a time honored way of learning. Students are using pencils and charcoal. This is just a small sample of the many drawings the group has produced over the last six days.

Judy Warner, Harvard, MA

Judy Warner, Harvard, MA
A Ruskin exercise

Tom Peterson, Canton CT

Deb Mason, Fredericksburg, TX
copy of a Jervis McEntee drawing

Sandra Daunt, New Ross, Ireland

Jamie Kirkland, Santa Fe, NM
Ruskin exercise

Jan DeLipsey
Dallas, TX

Julie Davis, Austin, TX
Ruskin exercise

Chris Chisholm, Tyngboro, MA
Copy of William Trost Richards drawing

Phoebe Chidester
Clearwater, FL

Rose Tanner, Banff, Canada

Anne Marie Propst, NC
Concord, NC

It's a life, not a job

2011-08-16T08:10:00.009-05:00

The Simplest Thing
9 x 12
Available at Huff Harrington Fine Art, Atlanta

Yesterday I was sorting through a few things in the studio and came across a couple of things that had been pinned to a bulletin board in my studio in New Mexico. When I was packing for our move to Texas over four years ago, I carefully put them in a folder so I wouldn't lose them, and then, of course, didn't find them until yesterday. There is a favorite quote from Emerson and another from Emily Dickinson. And, this one from my friend and mentor, Hollis Williford (1940-2007). Hollis was many things- a prolific and passionate sculptor, painter, printmaker and draughtsman, an authority on the history, peoples and lore of the American West, and student of art history. He was also a generous and unstinting mentor. I am grateful every day for the things I learned from him and the support he gave me.

"Don't wait for inspiration. Attack your work with a club and let your perspiration speak instead of revelation. Learn to be a perpetual student with an open mind. Think of your work as a journey without a destination. It's a life, not a job. During your first thirty years as an artist you notice you begin to work smarter instead of harder. The mistakes and shortcomings don't happen as often, and the success ratio goes up. The depth of understanding that is such a part of the evolution of ability intensifies with time and you find simplicity in beauty. Emerging artists - develop a strong, consistent work ethic. Educate yourself by studying and discovering all the giants on whose shoulders you wish to stand. Make life as much of a first hand experience as possible, because it is the source of your inspiration and subjects. Your individuality will develop as a natural part of hard work and application; hang on to it for dear life, for it is all you have that is truly yours."

Hollis Williford

New Web Site

2011-08-13T08:12:00.002-05:00

Over the last few weeks I have been working on a new web site, one that I'll be able to update myself and will eventually include some snazzy new things like video clips. It is up now, so click on over and take a look. I am still tweaking things and trying to figure out the mysteries of meta tags and descriptions. Let me know if you see anything that doesn't work. Feedback is welcome!

Autumn-Morning Mist

2011-08-08T14:07:00.010-05:00

Autumn-Morning Mist
12 x 12

There was most definitely some wishful thinking going on in the studio when I painted this. Hard to imagine that fall will ever come, but I was able to conjure up this painting of those lovely autumn mists from memory.

In Morning Light

2011-08-03T06:35:00.001-05:00

In Morning Light
12 x 10

It has been so blazing hot, I am leaving earlier and earlier for my morning walk these days. The upside is that I am enjoying all the earliest bits of light while there is some residual coolness (relatively speaking) in the air.

I have one spot left (now full ) in the Drawing and Painting Trees online class starting in a few weeks and a couple of spots left in Field Sketching for Landscape Painters which begins in late September.

Clair de Lune

2011-07-28T16:15:00.019-05:00

Clair de Lune
12 x 10

Another small painting for the Autumn Exhibition at Blackheath Gallery, London. Click on the image for a larger view. The limited palette and close values necessary to paint nocturnes are surefire "mood makers".

I was thinking about this poem by Mary Oliver as I painted this piece.

Moon and Water
by Mary Oliver

I wake and spend
the last hours
of darkness
with no one

but the moon
She listens
to my complaints
like the good

companion she is
and comforts me surely
with her light.
But she, like everyone,

has her own life.
So finally I understand
that she has turned away,
is no longer listening.

She wants me
to refold myself
into my own life.
And, bending close,

as we all dream doing,
she rows with her white arms
through the dark water
which she adores

The 30-3-3 Rule

2011-07-25T17:07:00.014-05:00

The 30-3-3 Rule is something that was recently attributed to Michael Workman- an artist whose work I admire-but I've also heard variations of it over the years attributed to many different sources. It goes something like this: From 30 feet a painting should catch your attention and draw you across the room; from 3 feet it should show the artist's intentions, the concept, the story; and from 3 inches it should be visually interesting to look at. This seems to me to be a worthy goal to aim for in my own work.

I finally had time to tinker with the images of Summer Aspens to get something that is much closer to the original. Here it is with some details.

Velatura

2011-07-22T18:54:00.002-05:00

Moonrise Over the Pines

36 x 30

“Trenta, quaranta velature!” (Translation: glazes, thirty to forty)
Titian

Velatura- don't you just love that word? Go ahead, say it a couple of times...doesn't it just roll right off your tongue? I've been doing some research on terms that were used in the Renaissance to describe what we refer to as glazing or to indirect techniques in general. Velatura seems to be used here by Titan as a synonym for glazing. But, other information indicates that this word referred to a milky or translucent glaze made with opaque paint rather than transparent paint. So, a scumble, right? Well, maybe. But, the distinction, at least among some writers, seems to be in the consistency of the mixture- a velatura being a more fluid glaze like consistency and a scumble being a dryer mixture. Whatever it was, Titian is said to have put it on with his fingers.

What comes through loud and clear is that all of these techniques were used in various ways, combinations and with great inventiveness in order to achieve desired optical effects and create form. For example, in Titian's case he used methods used in the earlier Flemish school, those developed in Venice and his own unique variations of those. Later, Rembrandt did the same, combining directly painted passages with voluptuous layers of both transparent and thinned opaque paint.

I started this painting as a demo back in April when my workshop group was here. Since then, I've worked on it off and on and added many layers- glazes, velaturas and scumbles. I've also used passages of glaze impasto- something I've been unable to find an historic term for, although Rembrandt used them. Whatever you call it, I love the look it creates. These details give a good idea of what the surface looks like and the soft, atmospheric look it creates. It also shows how much the larger image "tightens" up in the photography.

Velatura. Say it slowly...

Words and Pictures

2011-07-18T07:24:00.010-05:00

Evening Stillness
14 x 11

I am a word person. Or, at least, I am told that. I do love words and finding ways to use them. That influences my work. There is a notion out there that visual ideas and other kinds of ideas are two separate things and that when deciding on your concept or idea for your painting, you should think only in terms of visual ideas. But, our brains don't work that way. Everything we think and see comes together to form the sensations and thoughts we have. So, why should we try to paint that way? Why deny the rich and layered meaning of words and pictures?

Drawing & Painting Trees

2011-07-14T18:36:00.012-05:00

Summer-Rick's Pool
Charcoal on grey toned paper

Although I am working on six paintings in the studio for an upcoming show at Blackheath Gallery in London, I am also taking time to do some drawing. This is always a good way for me to unwind when I come off an intense period in the studio, or in this case, at the show in Telluride. Vine charcoal and toned paper is a favorite drawing medium.

I still have a few spots left in one of my most popular online classes- Drawing & Painting Trees, which starts next month. You can click here for information and registration. Wondering if an online class might be right for you? Be sure to check out student comments here.

Deconstructing Telluride

2011-07-07T09:31:00.005-05:00

I am back home and taking a day or two to decompress before getting back to the studio. The long drive home gave me plenty of time to mull over the events of the last 10 days. One of the things I love about doing this show is that it gives me the opportunity to talk directly with potential buyers. I have learned over the years that listening to them can provide very valuable feedback.

Here are a few things always make an impression on me:

~ Go Where the Collectors Are- this show works because it is held in a "destination" venue which attracts affluent visitors and second home owners.

~Listen For the Buyer's Reaction to the Work- current thinking about "permission marketing" encourages us to tell potential buyers "stories" about ourselves and the work. What I have found is that if someone approaches my work with obvious interest (oohhs and ahhs and pointing are always good indications) then they already have a "story" in their head about the painting. It is my job to find out what that is and support it by what I say, not tell them my story (unless they ask for it).

~PLPO - painting larger pays off

All of these (and more!) are things I discuss in my little book Studio & Business Practices for Successful Artists.

Telluride Plein Air- Days VI and VII

2011-07-04T20:32:00.006-05:00

The event concluded today with the second day of the public sale. I can report six paintings out of seven found new homes so it has been a good show for me. As always, I am exhausted but exhilarated!

As I have written about before, Telluride is a special place to be on the 4th. The funky small town parade, led by veterans of the armed services, is capped off with a barbeque in the town park and a fireworks display this evening against the backdrop of the beautiful box canyon. It is quite a show. The other cool thing about it is a flyover by the Colorado Air National Guard. Usually, two jets come screaming down the valley and fly over town just as the parade gets under way. This year was even more amazing. The first two jets flew over, down to the end of the box canyon and then into a steep bank up the face of the canyon. Then, the third one came- so low I swear you could see the pilot in the cockpit!

As we watched him fly down the valley it seemed impossible that he would be able to climb fast enough, but of course he did- pulling up into a steep climb (and casting a shadow on the mountain) and then going into a roll above as he cleared the box canyon. Even long time Telluride residents were astonished!

Happy 4th Everyone and Happy Birthday America!

Telluride Plein Air- Day V

2011-07-02T16:07:00.004-05:00

Sunbreak Down Valley

10 x 24

Just a quick post as I am running out to the public sale this morning. Last year, I struggled to get that "big view", so I decided to give it another shot this year. The idea for this painting is a clearing sky after a quick afternoon thunderstorm, a regular summer occurrence here. But, of course, this piece is much influenced by my love of the Hudson River School painters.

Telluride Plein Air- Day IV

2011-07-01T14:40:00.002-05:00

Summer Aspens

24 x 18

Well, I've talked about it all week and here it is. Ta Da! At the risk of repeating myself, this image really does not do it justice. The lit up area behind the trees is warmer and the aspens behind that are delicate hues of mauves and greens. But, this is the best I could do.

We turned our auction pieces in tonight (this is mine) and I have to say, I was impressed with the caliber of the work. The silent auction is tomorrow night and then the public sale starts on Sunday.

2011-07-01T09:35:00.004-05:00

A brief break from Telluride news to say that my painting Spring Stream is included in the Recent Paintings section of the summer issue of American Painting Video Magazine! You can see the painting in the header for the blog and I also wrote about it here .

Telluride Plein Air- Day III

2011-06-30T14:27:00.014-05:00

As regular readers of this blog know, I am much influenced by the late 19th century Hudson River School painters as well as the Tonalists artists of that time. The HRS guys liked those big sublime views while the Tonalists explored more intimate corners of nature. I am definitely in the latter category. However, there are some wonderful HRS paintings of woodland interiors and this is one of them-Worthington Whittredge's The Trout Pool.

I thought about this painting when I went back to Leopard Creek to paint at the spot where Steve fished two years ago (see yesterday's post).

The Trout Pool

18 x 15

The idea I wanted to convey was the morning light streaming through the trees and bathing everything in a warm glow. As usual, the photography doesn't do it justice (really!) but I am pleased with it. In fact, I want to paint a larger more refined studio version for sure.

Telluride Plein Air-Day II

2011-06-29T21:11:00.003-05:00

This is going to be a short post tonight- I may fall asleep before I finish writing it! Today I went back up to the aspen grove to work on the "big piece" again. Then I headed down valley to Leopard Creek. I have painted there many times. The creek meanders through open meadows and also through heavily wooded areas. A couple of years ago Steve and I went down to one of those spots so he could fly fish. I wrote about it here.

So today I went back to that spot to paint. So far, its the piece I am the happiest with. Hopefully by tomorrow I'll have something in "postable" form.

Later. Zzzzzzzz.

Telluride Plein Air- Day 1

2011-06-28T23:05:00.011-05:00

Today was the first offical day of the event, although I think about half the artists have been here painting for several days. First thing this morning I went up to get a start on the larger aspen piece I hope to do for the auction. As I drove into the area I noticed quite a bit of new construction going on and-you guessed it- my spot was now a construction site! Luckily the area is large and filled with lots of aspen groves so after a little looking around I found a good spot. Since my composition was, for the most part, set and in my head, I just needed to have some good aspen "models" and color notes to work with. There was enough material for another smaller start as well .

Next I went back to my "hidden pond" location from last year and blocked in a small piece. All of these will need to dry before I can start adding more layers and glazing, so tomorrow I'll start on a new batch.

Tonight was the artist orientation meeting and it was nice to see familiar faces and to meet some new artists as well. Time to get some rest and start again in the morning!

On the Road

2011-06-25T16:17:00.008-05:00

Tomorrow morning I'll head out for Telluride- a two day drive from here. I hope to post a bit on the way- on Facebook, if not here. But in the meantime, I thought I'd post a recent drypoint.

Aspens
Drypoint
4 x 2

detail

Getting Ready for Telluride, Part II

2011-06-22T18:40:00.009-05:00

As I mentioned in my last post, I like to think about what motifs I might want to paint and even do a few thumbnail sketches to try out some design ideas. Often artists who return to these events will choose to paint a few of the same or similar scenes from year to year. In Telluride, there are lots of "iconic" scenes and townscapes that get painted every year. Generally, I stay away from those subjects, but this year I think I might try a variation on that strategy.

Wyatt's Aspens
16 x 12
Private Collection

A few months ago I painted a small piece called Wyatt's Aspens which was painted from memory but based on a place in Telluride. The first year I did the show, I stayed with a host couple who lived in an area above the valley, near the airport. It is a beautiful, high place with gorgeous aspen groves and lots of elk. It was a wonderful place to paint. That first year, I remember being so surprised to see a hang glider sailing by high above the valley below but at the same altitude as me! It is not unusual to see airplanes on approach to the Telluride airport, winging their way right past you! I liked the way the small painting turned out, so this year I plan to attempt a larger version. Steve has made a beautiful tabernacle frame for it- so now, I have to do it!

Getting Ready for Telluride

2011-06-16T18:00:00.027-05:00

Cottonwoods at Dusk
18 x 24

I leave in about ten days for Telluride, Colorado. As regular readers know, for the last several years I've participated in the Telluride Plein Air Fesitval, an invitational event bringing about thirty artists together from around the country to paint in the beautiful San Juan Mountains in the historic town of Telluride. Artist paint in and around Telluride for five days, followed by a silent auction and then a public sale. For the last few years I've blogged about the event and you can read some of those posts here.

So, I thought I'd write a bit about how I get ready for this event. For a number of years I did many of these shows (Laguna Beach Invitational, Carmel, Sedona) but now Telluride is the only one I do. Over the last five years my painting techniques have changed dramatically, and it is always a struggle to adapt the indirect methods I now prefer to the demands of plein air painting in an event like this.

The painting shown above is a studio piece. We are allowed to bring one studio piece to show and sell at the public sale. This painting is a good example of how I prepare for the event. Although it is based on the landscape in Telluride, it is primarily painted from memory. Having painted in Telluride for five years now, I have a rich store of memories and solid knowledge about the landscape there. So, a few weeks ahead of time, I like to make a list of likely motifs that I might want to paint. Often, this list will begin with ideas I had last year, but didn't have a chance to paint or perhaps ideas I tried but couldn't make work in the time allotted. I think about what sizes and what kinds of compositions I want to paint, and even do thumbnail sketches based on memory of some of those ideas. Cottonwoods at Dusk started this way, based on a memory of a clump of cottonwoods in the valley.

Weekly Tomato Update

2011-06-12T19:01:00.007-05:00

For the last few weeks I've been posting pictures of Steve's amazing tomato garden on Facebook. So, if you follow me there, you know he's got quite a garden going. This week, they have grown another foot it seems and we have lots on the vine. So, here's a little summer time diversion. What's your favorite thing to make and/or eat with fresh garden tomatoes?

The proud gardener.

Up close in the tomato forest

A little volunteer cuke tries to escape
the tomato forest

2011-06-08T18:50:00.011-05:00

Cloud study
black and white charcoal & white pastel on Strathmore blue laid paper
(click for larger view)

Online classes and workshops for late summer and fall have been posted. In addition to the ever popular Drawing & Painting Trees and the Painting the Luminous Landscape class, I've added a new class to the schedule- Field Sketching for Landscape Painters. I am very excited about it!

This class grew out of discussions with some of my students about areas they felt were lacking in the training they had received previously as aspiring landscape painters. Most landscape classes follow the same model- go outside and paint (or watch the instructor paint). While working outdoors from Nature is an essential method, many students are totally unprepared for the experience-having no basic drawing skills, or understanding of values and composition. Following the traditional 19th century model for training for landscape painters, this class will emphasize drawing (thumbnails, close studies and value studies) and painted studies from direct observation coupled with basic concepts about value and composition. This class will give you the skills and a method of study outdoors which will take your work to a new level! Click here for information and registration.

Also this fall, a five day workshop in beautiful Taos, New Mexico! I am happy to be returning to New Mexico for a five day workshop in Taos scheduled for September 19-23, 2011, which should be just the right time to view the breathtaking color of the turning cottonwoods and aspen. This five day workshop will combine some outdoor work with studio time. We'll draw and sketch in the field, then return to the studio to compose well designed underpaintings and learn indirect painting techniques like glazing and scumbling to create luminosity and atmosphere. Daily demonstrations and lectures will supplement one on one work with each participant. Click here for more information or to register. Just a few spots left!

Some Skying

2011-06-01T18:41:00.022-05:00

Cloud Study on Strathmore blue laid paper

I am in the midst of teaching my online class The Painted Sky. It's a wonderful time of year for it- the big cumulus clouds are building up in the afternoons, and the heat and humidity are creating wonderful hazy light and spectacular sunsets. I've also been doing some field research on sketching methods for my new online class Field Sketching for Landscape Painters which I'll be teaching this fall.

As part of my classes and workshops, I always include some art history and use both contemporary and historical examples to demonstrate concepts we are learning. In the case of this new class, my goal is to give students some basic information and tools to study Nature in the field and gather reference material for studio works. So many aspiring landscape painters are simply taken outdoors to paint without any preparation, drawing skills, or basic knowledge of composition and values. In fact, this is the standard model, such as it is, for training for landscape painters today.

If we go back and look at how landscape painters learned their craft and art in the 18th and 19th centuries, we will see that a rich tradition of drawing and sketching was undertaken in the field, both in close studies of individual elements like trees, rocks and plants and general sketching of compositions. Painted studies followed these efforts. So, I try to incorporate these methods in my teaching, providing not only techniques but examples of these works.

This study started with a simple thumbnail sketch of a sky observed in my backyard.

Using toned paper was a well known technique for making sky studies in the late 18th and 19th centuries. The paper creates a value for the sky and midtones, shadows and highlights can be created with the black and white charcoal and white pastel. It is particularly well suited for cloud studies. Here's a detail of the drawing. All of the images can be clicked on for a larger view.

A Little Something for Corot Lovers

2011-05-26T12:49:00.001-05:00

I've had a thing for Corot since college. Back then, I wasn't supposed to like him, but I did anyway, Now, he's like an old friend to whom I return for solace and inspiration. At first, I liked those wonderful plein air Italian landscapes from his youth before he was "Corot". I still do, but gradually, I came to love his tremulous, fragile, lusciously atmospheric later work.

Christopher Volpe has a great post up on his blog about Corot's palette and also a good link to a detail view of one of his paintings. Click on over and take a look.

Corot, by all accounts, was a happy camper- enjoying life when he was unknown as much as he did after he became famous. He was generous and kind (he bought a house for the penniless Daumier in his later years) and prolific to a ripe old age. And he is the author of one of my favorite quotes about painting:

"I hope with all my heart there will be painting in heaven."

So do I.

2011-05-22T07:23:00.003-05:00

Big doings in Clarksville this coming weekend- the annual art festival on the historic Clarksville Square. The organizer of the festival and owner of Square Corner Gallery asked me to do a little show on Friday night at the gallery to kick things off, so I've done about a dozen small oils. There will also be a few larger oils and some drypoints. If you are wandering around East Texas on Friday night, come see us!

It's hard to believe that just a few months ago it was snowy and cold. This is a little stream down the road that froze over in January.

Frozen Stream
7 x 5

Highway 37 is one of the main roads in and out of Clarksville and one of my favorite drives. Both of these are painted from memory.

Dusk on 37
7 1/4 x 6

Spring Stream

2011-05-16T14:44:00.001-05:00

Spring Stream
18 x 24

This is the completed painting (I think) which includes the details I posted last time. I was after that soft, ephemeral quality of spring. There is a fragility and hopefulness which is all the more poignant because it is so fleeting. This particular scene is about 5 miles from my studio and it is is somewhat more literal than most of my work. One of those few times when Nature seemed to compose things perfectly without much help or interference. I did paint it from memory and a small 5 x 7 oil completed a year or two ago which was also done from memory.

My New Best Friends

2011-05-07T22:05:00.019-05:00

Every once in awhile, it's good to ask yourself why you do what you do. Here is an example. The other day I started thinking about why I use brights. When I first started painting again about 20 (!) years ago I used filberts because the artist I was studying with did. Eventually I switched to brights- tried flats briefly but they were too floppy for me, and I liked the square touch I got with a bright. Of course, I was painting in a direct, alla prima way at that time.

Fast forward to five or six years ago when I began exploring indirect techniques. My brush obsessions became about finding out what worked best for glazing (sable watercolor wash brushes) and for the drybrush transparent underpaintings I do (beat up versions of the aforementioned brushes).

Bristle brushes, at least the brights I was using, did not work well for the translucent and opaque passages that I layered on top of glaze layers and the scumbles I used in my skies and for forms in the distance. So, I used the sables and more recently some mongoose brushes made by Rosemary. But still, they were brights.

One of the challenges of the technique I use is to "marry" the transparent passages with those other ones- translucent, opaque, scumbles, drybush, etc. A heavy handed application will look out of place- like it should be on someone else's painting. And, worst, of all, it will destroy the atmosphere and mystery I work so hard to achieve. So I tended to keep those passages thin, which also tended to level the paint quite a bit. I use Liquin as a medium and it is a wonder for glazing- increases transparency and flow and in doing so-levels the paint. Even used sparingly, it still tends to bulldoze a brushstroke.

So, for no particular reason except I have been rattling these issues around in my head now for years, the other day I pulled out a couple of well worn rounds which belong to my husband and a tube of Galkyd Gel which I experimented with in direct painting about 10 years ago. And this is what happened. (click for a closer look).

And this.

And this.

The Galkyd Gel tube says it increases transparency and creates impasto. I thought upon reading that- "yea, right". Well, it does! Somehow, it combines high viscosity (no flow) with transparency to create a glaze impasto! Which means those particles of opaque-ish paint are suspended in a glaze like stroke- so it looks like it belongs with the rest of my painting. And the rounds were stiff enough to create a brushstroke, but gave me a freer, less angular paint application that suits my work perfectly.

I tell my students that it is important to make time for R&D (research and development) to explore new ideas and techniques. I guess I need to take my own advice.

Field Trip to Ft Worth

2011-05-05T22:55:00.008-05:00

Last week when my workshop group was here, we took a field trip to Ft. Worth to see the Hudson River School show at the Amon Carter Museum. There were some wonderful paintings in the show, but a lovely Sanford Gifford and a William Hazeltine were my favorites. Unfortunately, we were not allowed to take photographs in the show but we were able to take them in the museum's permanent collection, which is excellent. Here are a couple of my favorites.

Martin Johnson Heade

George Inness

Afterwards, we visited Kornye West, the gallery that represents my work in Ft. Worth. Paula Kornye Tillman, the owner, graciously hosted a luncheon for us, and gave everyone a chance to ask questions about the gallery business.

It was a long but fun day!

Where to begin....

2011-05-02T09:51:00.002-05:00

My workshop group left Saturday. It was eight days of wild weather, art, food, study, and camaraderie.

Here is the group. Left to right, Phoebe Chidester (Florida), Lisa McShane (Washington), Sara Lubinski (Minnisota), Bea Lancton (Texas) and Rae Ecklund (California). Five students is all my studio will comfortably hold and it makes for a focused, intimate learning experience. We read poetry each morning, painted like crazy, dodged thunderstorms and tornado warnings, ate great food and took a field trip to Ft Worth.

Rae, Lisa and Phoebe painting in the studio

Sara painting

Rae and Bea painting

Me-working on a demo with Bea looking on.

My husband Steve provided lunch each day for the group and several dinners as well. He is a fantastic cook and we ate well! Because the workshop included Easter Sunday we had a brunch that day too.

Steve about to serve brunch

Easter Sunday table

Sara with lettuce from Steve's garden

Steve serving his "Slap Yo Momma" Gumbo (and homemade bread!)

The Gumbo

Next time, more workshop pics and our trip to Ft Worth to see the Hudson River School show at the Amon Carter Museum and visit to Galerie Kornye West.

Finding A Balance

2011-04-18T16:56:00.020-05:00

In the Pines
24 x 20
detail

I like to think that mystery plays a big part in my work- like a character in a novel. Not surprisingly, my painting process reflects this. The layers of glazes and scumbles obscure some the initial information in the underpainting and create areas of visual uncertainty. But I have also found that I crave some beauty in the surface itself- areas of deep dark mystery surrounded by suggestive passages of paint. Enough form to satisfy our lizard brain's powers of recognition but not enough to destroy the playground of imagination. It is a difficult balance, and I am always veering off one side of the road or the other.

I have had a wonderful response to the announcement of the Little Everglades Ranch Florida workshop next spring, with many taking advantage of the Early Bird Special for those who register this month! Also, just in time for summer, the online course The Painted Sky returns next month. Details here.

Exciting News!

2011-04-08T17:57:00.005-05:00

photo courtesy bluecentaur.com

From the Field to the Studio: A Slice of Heaven in Old Florida

I am excited to announce a five day workshop to be held at Little Everglades Ranch, Dade City, Florida, March 26-30, 2012. Little Everglades Ranch is a pristine 2000 + acre working ranch located in Dade City, Florida (about 45 miles northeast of Tampa). It is a beautiful location- a true slice of "Old Florida" with gorgeous huge live oaks, cypress, tall pines, wild life, ponds, lakes and streams, cattle and horses. Be sure to check out the Ranch website here- there are lots of photos and a great video about the ranch which will give you an idea of what a special place it is. Ranch owner Sharon Blanchard and Ranch Manager Katie Carris are old friends of mine and I have had the privilege of painting on the ranch over the years. I can truly say as both an artist and native Floridian, it is one of the most beautiful pieces of natural landscape in Florida.

For more information or to register, please visit the page listed at the top of the sidebar or click here.

Florida

2011-04-05T11:26:00.007-05:00

Morning on the Flats
16 x 30
Private Collection

I don't know why but in the spring I think of Florida, where I was born and raised. So, I thought I'd post this image again, which I wrote about here.

And here's a little poetry to go with it.

Florida

The State with the prettiest name,
The State that floats in brackish water
The State full of long S shaped birds, blue and white
Who coast for fun on strong tidal currents
in and out among the mangrove islands.

Elizabeth Bishop

Spring cleaning

2011-03-29T18:43:00.020-05:00

Next month my workshop group is coming here for a week. So, it's time to start thinking about cleaning and organizing the studio. We started a few weeks ago by putting in a new laminate floor. There are several other projects I am hoping to get done before the workshop starts, but the floor was the big project.

Here a shot from the entrance to the studio. The two tables on the left are 48 x 48 each and I couldn't live without them. Right now they are covered with printmaking stuff.

Here's a closer look at the library area. Steve calls it the "employee lounge"-that's his coffee pot on the table.

This is the the main painting area. My Hughes easels, the taboret, and the work tables are all on wheels so things can be moved around pretty easily when the students get here.

Here's some storage and additional bookshelves, and you can see the Constable Closet (for large canvases) on the left.

Looking back toward the north side of the studio, I have counter space and storage under the north facing windows.

Here's another shot of that. One of the projects on tap is a flat file which will go to the right of the cabinets.

Spring Trees

2011-03-21T13:25:00.000-05:00

Spring Trees
10 x 12

This past Sunday I should have been in my studio-I really should. But, it was such a gorgeous spring day and friends offered to take us over to a nearby ranch. It's a property of about 1100 acres that I would never had access to without their generous offer. So, off we went in pick up trucks and 4 wheelers. There were creeks and pools (ponds) and big hills! Trees were leafing out and red buds lit up the mauve and green haze. It was heavenly.

I painted this little study from memory today.

September in Taos

2011-03-16T12:05:00.017-05:00

Sunset Pines
24 x 18
Available at Isherwood Gallery, Newport, RI

The first time Steve and I visited New Mexico was in the fall of 1998. I had wanted to go for a long time. My first teacher and mentor, Ned Jacob, had lived in New Mexico in his early years as an artist and his stories loomed large in my imagination about how it might be to live a life as a full time artist. We decided to visit Taos, where so many writers and artists in the early 20th century had been lured by the quality of the light, a magnificent landscape and an exotic mix of cultures. The rest is history- we spent a number of years in New Mexico part time and over five years there full time.

This September we will be back in Taos for my workshop. As luck would have it, the Plein Air Painters of New Mexico (PAPNM) are having their Juried Exhibition at the Millicent Rogers Museum in Taos at the same time - opening on September 17th. In 2004 I founded Plein Air New Mexico- now PAPNM- which grew to over two hundred members over the next few years. One of the goals I set for the group when I started it was to have an exhibition at a museum. Since my departure in 2007, the group has continued to grow and last year held its first show with a museum venue. So, it is a great pleasure to see this come to fruition, and an honor to be asked to be the Judge of Awards for the show.

September in Taos is spectacular. Changing aspens and cottonwoods, blooming chamisa and wonderful weather make it a perfect time of year to visit. There are still a few spots left in the workshop- details are at the link at the top of the sidebar.

2011-03-10T19:17:00.007-06:00

Twilight on the Campagna
George Inness

1851

This month the Philadelphia Museum of Art hosts an exhibit of works by George Inness from his early works painted in or of Italy. The star of this show is Twilight on the Campagna which was found in the Museum's basement in 2005, cleaned, reframed, and found to be an astonishing early example of what would become Inness' signature Tonalist style. The story of how this master work was rescued from oblivion is fascinating. You can read about it here.

http://articles.philly.com/2011-03-08/news/28668896_1_curator-varnish-george-inness

Spring?

2011-03-01T15:02:00.010-06:00

Spring Evening (2009)
10 x 10
Private Collection

Just the last day or so, signs of spring are everywhere. The daffodils have come up and there are buds on some of the trees. Tufts of green are springing up here and there in the woods. The dogs beg to go out and bask in warm sun. Steve has planted lettuce and onions and I had the studio door open today as I worked. Best of all, the wild plum tree is beginning to show signs of life!

2011-02-20T12:33:00.011-06:00

Backyard Magic
36 x 30
Private Collection

I am happy to say this painting found a new home in Ft. Worth last week. Although this "view" is only a few hundred yards from the door of my studio, I painted it from memory late last fall or early winter. I have talked a bit about that process in these posts.

The online class Painting Water is in full swing and it is a lively bunch! Some bloggers you might know are in the class (Brian McGurgan, Loriann Signori, Caroline Simmill, just to name a few) and we have Scotland, Germany, and all over the US from coast to coast represented as well. Next month, one of my most popular online classes- Drawing and Painting Trees- returns! There are a few spots left. You can click here for information and here to register.

Wyatt's Aspens

2011-02-15T09:00:00.000-06:00

Wyatt's Aspens
16 x 12

Every once in a while, you gotta be grandma- or in my case Gui (which is what Wyatt age 6 and Lydia age 5 call me). This painting will be auctioned to benefit Wyatt's school, St. Vincent de Paul at the Great Expectations Gala being held at the Hyatt–Denver Tech Center the evening of Saturday March 5^th.

Nosey and Chubby

2011-02-13T09:39:00.012-06:00

I just received a bronze mouse named Nosey courtesy of my friend Steve Worthington, animal sculptor extraordinaire. Steve ran a contest over Christmas on his blog to win a mouse and I won! Steve is a fantastic artist. His wicked British sense of humor and childhood fascination with all kinds of critters have combined to create a wonderful bronze menagerie. If you haven't yet, please check out his blog and website.

Nosey arrived yesterday afternoon and immediately set out to explore. Click to see a closer view!

Nosey quickly reintroduced himself to his buddy Chubby.

He then decided to explore the library. Note Lonesome Dove and Emily Dickinson on the same shelf with Emerson. I will have to speak to the the librarian about that!

Exhausted, he and Chubby decided it was time for a snack.

Thanks Steve!

Panhandle Plains Museum Invitational

2011-02-07T12:21:00.014-06:00

Dusk on the Prairie Dog Town Fork
14 x 18
Available at the Panhandle Plains Museum Invitational

The Prairie Dog Town Fork of the Red River captured my imagination over ten years ago. We crossed over it several times a year on our way back and forth from Florida to New Mexico. There was just something about it that was quintessential West Texas.

It is one of two streams that form the headwaters of the legendary Red River. When I say "stream", I am perhaps speaking a bit too grandly about what is mostly a dry, sandy, occasionally muddy, braided swath that cuts through the panhandle of Texas.

I've exhibited for a number of years at the Panhandle Plains Museum Invitational (which I wrote about here) . The very first year I sent a painting of The Prairie Dog Town Fork and went to the opening, eager to see my work hung in this venerable institution. As I stood near my work, I saw one Texan point to the painting and say to another "I reckon we must have had a flood that year." Alas, there was too much water! He bought it anyway, so it must not have bothered him too much. But, this year I decided to opt for a little more sand and mud and bit less water.

Tonalist etchings

2011-02-02T19:18:00.018-06:00

I continue to read A History of American Tonalism by David Cleveland. I have found the sections on Tonalist etchings very interesting. There was a revival of interest in etching and printmaking in general in the late 19th century. Whistler's influence looms large in this and many of the better known etchers from that period were in Venice at the same time or later influenced by him. His haunting nocturnes of Venice inspired many others to take up Venetian subjects as well as harbor scenes. In fact Cleveland states that "The Tonalist etching was virtually born in the cold winter of 1881-82 as Whistler produced his first and second Venice sets...".

J.M. Whistler
etching and drypoint

In America, the tendency of the Tonalist artists to pursue intimate corners of nature continued in etching subjects of the day. When searching online, I found this wonderful etching by the artist Ellen Oakford. It was made around 1887 and exhibited at the New York Etching Club around 1888. So far, I have found very little information or work by Ms. Oakford. Apparently, she was one of a group of women etchers active during this time. But, this lyrical mysterious etching confirms that I am following in the right footsteps.

Twilight
Ellen Oakford

More Drypoint

2011-01-27T14:17:00.028-06:00

Edge of the Field
Drypoint
5 x 6

This week I've been working on drypoints again. I've talked about this here (and how it differs from etching) but I thought I would show a few images of the actual process. Here is the plate with three of the tools I use to work the plate. The squiggley one has a point on each end and is called a Whistler's needle. The flat part on the one on the right is a burnisher which you can use to soften or eliminate lines on the plate.

The paper is soaking in a water bath before it is used. After its soaked for about an hour, you take it out and blot it until it's damp but not dripping. Then you are ready to print.

Here is the ink being mixed on a glass palette. This is Daniel Smith burnt umber etching ink with Easy Wipe added- a substance which helps make the ink more workable.

Here the plate is being warmed up on a hot plate. This will make the ink easier to apply and manipulate (especially since it was about 45 degrees in my studio today!).

I am applying the ink to the surface of the plate with a cloth dauber. The entire surface is covered and wiped in each direction so the ink can find its way into all the lines as well as the burrs thrown up by the needle. Unlike an etching where you could wipe and rub pretty vigorously, with a drypoint you have to use a lighter touch to apply and wipe the ink.

Here is the plate after I have started wiping the ink but before its completely finished. I forget to take a photo at the end!

The plate is on the press waiting for the paper (which is in the bath at the right) to be laid on top. The blankets (which you can see laid back over the roller) are then placed on top and the tension adjusted to an even pressure and the press bed rolled through.

2011-01-19T17:11:00.011-06:00

Meanwhile Up on the Hill
8 x 10
Available at Huff Harrington Fine Art , Atlanta

For those in the Atlanta area, Huff Harrington hosts A Grand Affair opening this Friday, January 21 , with small works priced at $1000 and under.

A Workshop in Taos

2011-01-16T09:07:00.019-06:00

As many of my blog readers know, I lived in New Mexico for over five years. Although I am completely immersed in the landscape around me now, I still see New Mexico as a beautiful, magical place. So, when I got the opportunity to organize a workshop in Taos, I didn't hesitate!

The location for the class is a beautiful private home equipped with two large studios in Ranchos de Taos. It's surrounded by the gorgeous high desert and views of the Sangre de Christo Mountains. There are affordable accommodations nearby. The workshop is scheduled for September 19-23, 2011, which should put us at just the right time to view the breathtaking color of the turning cottonwoods and aspen.

This five day workshop will combine some outdoor work with studio time. We'll draw and sketch in the field, then return to the studio to compose well designed underpaintings and learn indirect painting techniques like glazing and scumbling to create luminosity and atmosphere.

Light lunch will be supplied each day and we will also have a couple of evening sessions to talk art history and the business of art.

The workshop is beginning to fill. A $150 deposit holds your spot in the class, with the remainder due 45 days prior to the start of the workshop. Please email if you have any questions. You can sign up here (scroll down to Taos workshop).

Snow Day!

2011-01-10T19:48:00.007-06:00

Yesterday a big storm blew through leaving six inches of snow (unusual for us). We've had snow about once a winter since we moved here, but it always warms up and is gone within a day or less. But, cold weather is supposed to hang around for a few more days so today was a snow day! We went out to explore late this afternoon. I was particularly struck by the rusts and ochers in the trees and grasses, against the violet sky and cool expanse of the snow. I came home with more than a few ideas for paintings and etchings or drypoints.

Winter Birding

2011-01-06T11:50:00.013-06:00

Black Capped Chickadee
2 1/2 x 5 1/4
graphite on sketch paper

Bird watching is one of the simple pleasures of winter. We have an abundance of subjects to watch at the feeder and bird bath these days. The usual suspects- chickadees, titmice, juncos, robins and cardinals. But, the cedar trees and a huge old mulberry tree on our property also make this home to bluebirds, pine warblers, cedar waxwings, several species of woodpeckers and the elusive yellow belly sapsucker. Still, the little chickadees remain my favorites.

The new online class Painting Water starts next month. You can click here for information and registration.

More About Memory

2011-01-04T18:05:00.002-06:00

Edge of the Field II
8 x 10
Available at Huff Harrington Fine Art

This small painting was done from memory. Working from memory is a skill that can be acquired with practice. It requires careful observation over extended periods of time. Why is this important? Memory is a powerful aid in helping us separate the things which are visually compelling as opposed to merely present in a scene which interests us.

To illustrate this point, in my workshops, I ask students to close their eyes and remember a very significant event (this can be visual but doesn't have to be). So, go ahead-close your eyes and think of something in your life like that and try to see it in your mind's eye. When you do that, you will remember and "see" details about that event even though it may be far removed in time. But, if you try to remember things that are extraneous to the event- the weather, what you had for lunch that day- those memories will be gone. That is because your memory has distilled and intensified the most important aspects of the event. This can be an incredibly powerful tool in making art. We just need to learn how to use it.

Taking Stock

2010-12-31T15:22:00.011-06:00

Edge of the Field
8 x 10
Available at Huff Harrington Fine Art

I was going to write a post today about what I thought I had accomplished this year. It has been a very productive year for me in the studio, teaching and writing, showing and selling my work. But, I found myself much more interested in looking forward today than in the rear view mirror. And while I have laid out a whole list of goals for 2011 for the business and marketing side of my work, I am more focused right now on the actual work. I set some things in motion this year that I mean to build on in the coming year-more drawing, printmaking, bigger paintings and a renewed dedication to explore every field and woods, pond and stream here in my little corner of the world.

Happy New Year everyone!

Drypoint -The Pond

2010-12-28T12:11:00.000-06:00

The Pond
Drypoint 4 3/4 x 4
(Copper plate, burnt umber etching ink, Arches paper)
Available at Deborah Paris Fine Art

I've been working on drypoints over the last week. I talked a bit about that process here and here. The copper plates I ordered finally came and I've enjoyed working on them. They are harder than zinc so the burr stands up better to repeated printing and holds the ink better. Plus they look absolutely gorgeous when they are inked. One of the things I am finding fascinating (and unexpected) is how much pleasure I get from both the technical and artistic parts of the process. In fact, I've come to realize that it's hard to make a distinction between the two. My goal is to find a vocabulary in this medium which reflects my aesthetic and makes the most of its special properties.

I'm offering this one in an edition of 10. Because the plate is re-inked and hand wiped each time, there are slight variations in each print (Whistler did it so I guess I can too!). You can click on the image and get a better idea of what the surface looks like. You can click here for purchase information.

Merry Christmas!

2010-12-24T15:44:00.005-06:00

Dawn Spills Over the Hill (2009)
10 x 10
Private Collection

As we celebrate this blessed season with family and friends, its also a time to be grateful for the blessings we've received over the past year. I want to thank all those who take the time to read this blog, my students and artist friends for their friendship, inspiration and camaraderie this year. And, as always, I am grateful to my collectors and galleries that represent my work for making it possible for me to make a living doing what I love.

My very best wishes to you all for a Merry Christmas!

Memory Incarnate

2010-12-18T09:22:00.006-06:00

Christmas Moon (2007)
6 x 6
Private Collection

Here's another small painting from the archives, this one done just a few months after I started this blog.

So, this week I've been reading A History of American Tonalism 1880-1920 by David Cleveland (which I mentioned here) . It's over 600 pages, a feast of scholarship and discussion which I've been devouring course by course. The author's attempt to not only provide new insights into the art and artists, but to create an entirely new lens through which to view Tonalism is impressive. I feel certain that when I am done I will have an even clearer understanding of how my own work fits within this rich tradition of landscape painting.

One of the things I stress to my more advanced students is the importance of working from memory. So, when I read these lines last night, all I could think was "Yes, exactly."

"Tonalist light is memory incarnate, memory filtered, memory infused, while the use of memory, the perfection of memory to render specific qualities of light was considered both a practical skill ... and a necessary discipline of the professional artist."

A History of American Tonalism 1880-1920
David Cleveland

2010-12-15T17:10:00.012-06:00

Morning Fog at the Pond (2008)
11 x 14

Here's another painting from the archives. The image is a bit larger than usual so if you click on it you can get a good idea of the what the surface layers of glazes and scumbles look like. My aim here-other than to exploit the luscious, subtle color harmonies-was to create an envelope of air, atmosphere and mood.

These are very much the color harmonies I am looking at these days- bits of warmth from dried grasses and leaves still hanging on, coupled with winter fogs or heavy leaden skies. So, I plan to revisit these motifs in the coming weeks.

I've finally posted my materials information over on my new site for online classes and workshops. In the next week or so, I'll begin posting some rather extensive reading lists on different topics too.

It's finally here!

2010-12-12T09:22:00.005-06:00

A History of American Tonalism
By David Cleveland

Exciting news for fans of Tonalism! The long awaited History of American Tonalism finally became available this week. This 500+ page tome has been in the works for years (I preordered it from Amazon in April 2009!) and the publication date has been pushed back numerous times. So when it arrived yesterday I was thrilled. Christmas comes early!

A Wayside Sacrament

2010-12-11T09:30:00.011-06:00

November Sky
9 x 16

Never lose an opportunity to see anything that is beautiful.

It is God's handwriting - a wayside sacrament.

Ralph Waldo Emerson

A few weeks ago I was driving home from the post office and saw this.

2010-12-08T16:38:00.002-06:00

Pines

drypoint-4th state
6 x 4.5

This is one of my drypoint efforts this past week, mostly just experimental to learn about making marks on the plate and how inking the plate in certain ways could result in different effects. I printed the plate a number of times and reworked it with the needle as well as varying the way I inked and wiped the plate.

I like the tonal qualities you can get by leaving some ink on the plate rather than just in the lines. Also, as I mentioned before, drypoint makes a more painterly line than etching because its composed of the line itself plus the burr that is made from the needle plowing through the plate. The ink actually catches in that burr, so it produces a less linear result when printed. I like that.

2010-12-07T17:37:00.008-06:00

March Snow (2008)
6 x 6

Private Collection

Although this small painting from the archives is entitled March Snow, it seemed appropriate for the weather forecast- snow likely tonight...it's chilly here in northeast Texas!

2010-12-05T23:11:00.008-06:00

Sky Study (2009)
6 x 8
Private Collection

There are just a few spots left in the January online class The Painted Sky. Its all about learning to paint and compose beautiful atmospheric skies. Here's the class description:

The Painted Sky

For landscape painters, painting a believable sky means creating a sense of distance, atmosphere, light, and mood. This course is designed to give students the knowledge and techniques to paint beautiful atmospheric skies. In this course we will cover:

~ gradation of colors in the sky at various times of day

~ gradation of values in the sky

~ types of cloud formations and how to depict them

~ use of atmospheric and linear perspective to create believable skies

~ glazes and scumbling techniques

~ using a variety of edges in painting skies

~ composing skies for maximum effect

And here's the link to register.

2010-12-03T20:24:00.009-06:00

Winter Field (2008)
6 x 6
Private Collection

Another small piece from the blog archives.

I prefer winter and fall, when you feel the bone structure of the landscape. Something waits beneath it; the whole story doesn't show.

Andrew Wyeth

Like Wyeth, I prefer this season too. But, it seems to me the landscape actually reveals more this time of year. At least that's what I see. The landscape strips itself bare, things feel closer to the surface, raw, achingly beautiful. As artists we can use that.

Adventures in Drypoint

2010-11-30T06:29:00.016-06:00

Winter Greys #1 (2007)

6 x 6
Private Collection

Here is another small painting from the archives- a scene I see everyday in winter driving into town. So, I've been working away on a drypoint this past week. Drypoint is a form of intaglio printmaking where the artist works directly on the plate. No acid is used in this process so what is printed are the lines scratched into the surface of the plate and the resulting burr thrown up on either side of the line by the needle. Because of that, drypoint has a darker richer line than etching. It is also more fragile because the burr gradually wears away with each printing. Drypoint can be combined with etching (where marks are made in a ground covering the plate then acid used to "bite" those lines). Rembrandt did this with some stunning results.

The gradual wear on the burr, reworking of the plate, and variations in the way the plate is inked can produce a different version of the image with each printing. It's fascinating and the learning curve is steep! I'll try to get organized and show some process shots on the next one. In the meantime, enjoy Rembrandt!

2010-11-24T12:06:00.007-06:00

Winter Greys #2 (2007)
6 x6
Private Collection

Here's another small painting plucked from the archives that suits the season I think. This week, with my painting deadlines met, I've been concentrating on drawing and doing a test drypoint plate to get the feel of my new little press. Just "playing around"!

2010-11-20T09:33:00.010-06:00

Winter at the Pond (2007)
6 x 6
Private Collection

We had the first of our lovely winter fogs yesterday morning which reminded me of this little painting from almost two years ago. I wrote about the challenges of painting fog and mist here.

I came across a quote this week which I think beautifully sums up the value of art and beauty in our lives and as an underpinning of civilization. Thanks to Matthew Innis and his excellent blog Underpaintings for finding this.

The following sensible reflections on the permanent value and enjoyment of true works of art are taken from the columns of the New York Nation:

"Is art a luxury, like wine or silks or laces? Does it minister only to the pleasure or ostentation of the rich, without benefiting the community at large? Decidedly we say no. The first great distinction between a work of art and those luxuries with which it is falsely classed is, that it is not consumed by the man who buys it. If I buy a bottle of wine and drink it, it has pleased my palate, given me an hour of pleasant exhilaration, and it is gone. The money or the labor it cost is destroyed absolutely in procuring me that hour of pleasure. If I buy a silk dress for my wife the pleasure lasts a little longer, and, if she is a handsome woman, spreads a little further, but the dress wears out, and there is an end of it. But if I bring into the country a beautiful picture or a noble statue, I have brought something that will last for hundreds of years after I am dead, and will contribute to the higher pleasures of generations yet unborn. So far from destroying the labors of others for my personal and temporary gratification, I have paid for the enjoyment of thousands, and in so far am a public benefactor. We all recognize the public spirit of him who erects a fountain or gives a garden to the people, and doubtless we are not called upon to admire in the same way the generosity of him who puts a picture in his parlor. Doubtless he puts It there for his own pleasure. Yet, as far as the public is concerned, the benefit is but deferred. Be he as selfish as he may, he cannot keep it shut up forever; he will die, and the picture will live. Even in his lifetime many will see it, and a work of art truly belongs to him who enjoys it, not to him who owns it. Sooner or later it will change hands, it will be seen in public exhibitions, it will be sold, and the history of all great works of art is, that at last they become the property of the public, and are placed in museums for the pleasure of all. Luxuries are for the moment, but "a thing of beauty is a joy forever." The first quality in which a work of art differs from a luxury is its permanence; the second is its productiveness. It not only gives pleasure to thousands and for ages, but it gives much more than pleasure—it gives education. The history of art is the history of civilization. Art, in one form or another, is the great beautifier and ennobler of life, and a nation without art—without poetry or painting, architecture or sculpture or music— is a nation of barbarians, though it possess the steam-engine and electricity."¹

¹"Art No Luxury", The Deseret Weekly, Vol. 39, June 29, 1889,

Holiday Shows

2010-11-17T18:11:00.000-06:00

Autumn Moon
8 x 12
Available at Whistle Pik Galleries, Christmas Miniatures

The holidays are approaching and I've been busy sending out new work for Christmas shows. The annual Christmas Miniatures show at Whistle Pik Galleries, Fredericksburg, TX opens on November 22. Huff Harrington Fine Art in Atlanta will kick off their holiday festivities with their Little Jewels show on November 27. Finally, Galerie Kornye West in Ft. Worth will celebrate the season at an opening on December 2. I'll be in Ft. Worth for that one, so if you are in the Metro area come by and say "hi"!

2010-11-09T16:57:00.002-06:00

More Backyard Magic
36 x 30
Available at Galerie Kornye West, Ft. Worth, TX

I'm happy to say I've just published a book called Studio & Business Practices for Successful Artists. It's 76 pages chock full of no nonsense information about building a career as an artist.

You can read more about it (and order) here.

Thank you, Hollis.

2010-10-28T16:58:00.017-05:00

Evening Sentinels

40 x 36

Back in 2004 I spent a weekend in the studio of my friend and mentor Hollis Williford (1940-2007) learning a new medium-etching. Hollis was mostly known as a Prix de West winning sculptor, but he was also a painter (in oil, watercolor and pastel), and etcher. He generously spent a few days showing me the basics of this fascinating medium, one I had been enthralled with since college. After that weekend, my best laid plans to add this medium to my studio were foiled for a variety of reasons. But, the desire remained. I keep a "studio wish list" pinned to the wall in my studio and an etching press has always been on it. Today, I finally marked it off the list!

I've pulled out all my notes from that weekend long ago and am excited to get started. And I have to say- again- thank you, Hollis.

Dusk Pool

2010-10-22T15:22:00.000-05:00

Dusk Pool
30 x 30

When I Am Among the Trees

When I am among the trees,
especially the willows and the honey locust,
equally the beech, the oaks and the pines,
they give off such hints of gladness,
I would almost say that they save me, and daily.

I am so distant from the hope of myself,
in which I have goodness, and discernment,
and never hurry through the world
but walk slowly, and bow often.

Around me the trees stir in their leaves
and call out, "Stay awhile."
The light flows from their branches.

And they call again, "It's simple," they say,
"and you too have come
into the world to do this, to go easy, to be filled
with light, and to shine."

Mary Oliver

The Rest of the Story

2010-10-16T20:39:00.015-05:00

Evening Trees
12 x 10
Available at Albuquerque Museum Miniatures & More

Sold

So, I wrote about my wayward, mysterious disappearing paintings here. A couple of days after hearing that the paintings had been found, we were told they had been found in Salt Lake City!

Despite continued questions, Fed Ex has never been able to explain what happened. In fact, they originally took the position that the crate had not been delivered without a top. Meaning I guess that the paintings somehow jumped out, the top replaced itself and the paintings migrated to Utah. Really?

The good news is that one of them has already found a home with a collector in Atlanta and the other awaits adoption at Huff Harrington Fine Art.

New Site

2010-10-12T16:56:00.004-05:00

Autumn Evening
8 x 12
Available at Albuquerque Museum Miniatures & More

I've just launched a new site devoted to my online classes and workshops. It includes not only class descriptions and schedules, but examples of the demos and instructional videos I use in the classes, resources, and much more. Click on over and take a look!

What Was Lost Is Found

2010-10-08T14:59:00.012-05:00

Several weeks ago I posted images of two small paintings that were headed off to Atlanta to Huff Harrington Fine Art. These paintings had some special significance to me because they depicted the western edge of our property line and also because my husband had created some beautiful little tabernacle frames for them. It was a successful collaboration.

And the gallery had already had some interest in them based on the images I had sent them. So, it was a complete kick in the gut when I received a call from the gallery saying they had received this:

How an empty half of a crate could be delivered by Fed Ex was beyond everyone's comprehension. I was devastated. The idea that they were just gone was hard to accept.

My local Fed Ex ship center, a small office supply business here in Clarksville, is luckily owned by my friend Laurie who was determined to find the lost paintings. I was not optimistic, based on other dealings I have had with Fed Ex. A trace was put on the paintings, but Fed Ex was more interested in trying to get us to accept a $100 check than looking for the paintings. Laurie persevered, getting her sales rep involved. Today, the paintings were found! They were still wrapped in bubble wrap so we have our fingers crossed that they are in good shape. Soon, I hope they will be headed back to Atlanta.

Update: The paintings were found in Salt Lake City! I have not been able to confirm their condition but they are in transit to Atlanta and should arrive there on 10/14.

2010-09-29T13:59:00.004-05:00

John Constable
Fir Tree Study

Just a quick reminder that the online class Drawing and Painting Trees starts in just a little over two weeks. For landscape artists, trees are arguably the most important raw material of our craft and art. Their very individual character, their attitude as living beings within the landscape make them a source of endless fascination and challenge for the artist. Artists in the 19^th century routinely sketched and painted studies of these sentinels of nature in order to understand their structure as well as their artistic bearing. These drawings and studies were then used to create larger studio works. Through drawing and observation, we will learn to paint not only their anatomy, but their line, character, and the emotions they can inspire.

There are just a couple of spots left in the class. You can go here for more information and to register (scroll down).

New 2011 Workshop!

2010-09-22T17:08:00.011-05:00

OK, here they are in their sweet little tabernacle frames. They really ought to be switched around to be hung, but you get the idea.

I am really pleased to announce I'll be teaching a five day workshop in Taos, New Mexico next fall, September 19-23, 2011. The class will be held in a beautiful private home with two spacious studios that can accommodate up to ten students. You can go here for more information or to register. This is going to be fun!

2010-09-20T13:29:00.000-05:00

Backyard Magic II
12 x 10
Available at Huff Harrington Fine Art, Atlanta

This is the second piece of a pair of small paintings which will be framed in elegant little tabernacle frames, and available soon at Huff Harrington Fine Art in Atlanta.

Backyard Magic

2010-09-14T15:15:00.013-05:00

Backyard Magic
12 x 10
Sold

When we first moved here three years ago, the first thing I noticed was the light in the late afternoon and evening on our west property line. Every day was a changing show of light and color. After having had huge views of gorgeous mesas and mountains from our home in New Mexico, I was astonished that such a simple row of trees, a little hill and a field could produce such wondrous results. I still am. Every day.

2010-09-02T12:19:00.008-05:00

Autumn Afternoon
24 x 30
Available at Hildt Galleries, Chicago

It seems I am usually painting one or two seasons behind the calendar, but with this piece I leaped ahead to late October- a time when the fleeting sensual feeling of Fall is palpable.

Benediction

2010-08-29T19:34:00.009-05:00

Benediction
30 x 40
Available at Hildt Galleries, Chicago

I made a video of a series of photos I took while painting this piece. Some of the photos were taken in less than perfect conditions and so have some glare and other issues, but I think its a fair representation of the process.

2010-08-18T23:14:00.006-05:00

So, here at last is the cover of my new book. There are images of drawings and paintings, as well as some short essays on painting, inspiration and Nature. After a few false starts, I am very pleased with how it came out.

You can click on the badge below for a preview of the book and to purchase it. However, if you would prefer to have a signed copy, click here.

My Own Country

Moments of Reflection

By Deborah Paris

Book Preview

2010-08-14T10:08:00.007-05:00

The Long Goodbye
24 x 30
Available at Whistle Pik Galleries

I don't know why this film noir reference came to mind for a title while I was painting this, but I think it fits. This is one of three new pieces I will have at Whistle Pik in September.

2010-08-06T13:32:00.016-05:00

September Evening

24 x 30
Available at Heritage Auction Gallery, Dallas

My work is included in a beautiful new book called Texas Traditions, which contains essays and images of historic Texas artists as well as living contemporary ones. The publication is being kicked off on August 21 with an exhibition and sale at Heritage Auction Gallery in Dallas, and includes a barbecue (this is Texas, after all) book signing and an artist's discussion panel which I have been asked to participate in. If you are in the Metro area, please come by and say hello!

Summer Reading

2010-08-02T19:10:00.008-05:00

Despite the horrendous heat (102 today!), my zinnias continue to show their happy faces to the sun. When I am not in the studio with the little window AC cranked up, I'm enjoying rereading Asher B. Durand's Letters on Landscape, first published in 1855.

Here's a sample:

"Go first to Nature to learn to paint landscape...take pencil and paper, not the palette and brushes, and draw with scrupulous fidelity...I know you will regard this at first thought as an unnecessary restriction, and become impatient to use the brush, under the persuasion that you can with it make out your forms, and at the same time produce colour, and light and shade. In this you deceive yourself, as many others have done, till the evil has become irremediable; for slovenly and imperfect drawing finds but a miserable compensation in the evident efforts to disguise or atone for it, by the blandishments of color and effect..."

Summer-Rick's Pool

2010-07-28T17:50:00.011-05:00

Summer-Rick's Pool
Vine charcoal on Strathmore paper
5 1/2" x 8 1/4"

Rick’s Pool

In spring its surface is inscribed
With trails of water bugs
Across the water’s answer to the sky

On August nights the moon dips low into its darkness
While heavy breathing frogs chant
Their shimmering songs

In late October while birds make haste
Brittle pieces of color float,
Then sink, as autumn’s moment dies.

Muffled and bare at last,
And wrapped in December’s shroud
It waits in silence for what comes next

Summer Evening

2010-07-25T17:25:00.013-05:00

Summer Evening
36 x 30
Sold

Our big cumulus clouds have created some big storms this summer and also some lovely evening light the last few weeks. I am working on ten good sized pieces for fall shows and to restock galleries with new work. This is the first to be completed.