dorothy lorenze | painting

Painting in the pandemic paralysis

2021-03-01T07:21:00.000-05:00

When Covid isolation rules were new, we artists were fairly content with social constraints. After all, time on our own is put to good use in the studio.

Although there was more time, progress was slower lately. Pandemic prognostications coupled with political upset were taking a toll. On the worst days inertia set in and Netflix took over (and I don't think I'm alone here!) Many amazing artists have created poignant and powerful work based on personal pain or social trials, but ... that’s not my motivation. I need to feel good to paint.

Turns out, when I’m distracted it’s difficult to focus, to distinguish details and to actually see! This was pretty disturbing because for realistic painting details are sort of important.

I set myself up for real frustration with my next painting of gourds, which ranged from creamy white to dusty green-grey. This composition was intended to be an exploration of subtle transitions, a challenge to accurately render delicate color and value shifts. But after days of working on it, I really couldn't hold on to the difference between a greyish green and a greenish grey, or whether the whites were warm or cool. So I gave up, set it aside and figured I would try again later.

It still felt as though my vision was not up to snuff. Then Covid vaccines began to be available and it was such a mental relief that I felt I could see more. The gourds are still subtle but differences became easier to describe. Same objects, different perspective. Crazy.

Every painting subject has its challenges and my next painting was no exception. I knew I wanted to capture the texture of the limes realistically, to not look like a green egg or plastic ball. At the same time, I thought I could push the color in the reflections on the shiny glaze of the pitcher. And yet both needed to look like they belonged in the same painting, painted with the same hand.

But, you know what? That didn't work. The dramatized reflections looked too abstract compared to the realism of the limes, which were more important. So, thankful for the forgiving nature of oil paint, I repainted "quieter" reflections.

Changing course in a painting requires confidence which can be hard to come by. And impossible during a time so stressful that you don't even trust what you are seeing! Who knew a vaccine could help a painting!

I hope everyone is beginning to feel some relief as better news trickles in. This post is not meant to be whine-y, just an observation of how stress can influence normal activity. For me, everything feels a bit lighter than it did in early January. Plus, we’ve been able to schedule our vaccinations!

If you are interested in purchasing or reading more about these paintings you can see them on my website: dorothylorenze.com.

In other good new, some art shows are happening in person this Spring. If you are in the Newburyport area this month, I have a small painting in the Winter Show, Heirloom & Antique. Stop by and be inspired by art again.

As always, thank you for reading my newsletter and feel free to share with anyone who might be interested.

Take care. Stay safe. Be kind. Be creative!

Hanging in there, and there...

2020-12-06T21:48:00.003-05:00

Hey folks, I hope you are all doing well, hunkering down, masking up and staying focused on protecting yourself and your loved ones as the winter weather sets in for real. It seems the least we can do for our heroic, beleaguered front-line health care workers is to take care to stay healthy. So far we are OK.

If you've wondered about my social media slump in recent months, it's mainly to avoid too much negativity. And although I truly believe that all creative arts are good for the soul, lately the challenges are so great that it seems a bit trivial.

However, my work is currently in a show that not only highlights fine art but also benefits a variety of charities in Westchester County so it feels good to mention it. For 48 years St. Matthew's has held Art Show Bedford to raise money for local charities in Westchester County. They have done so much good, supporting charities every year, that it feels good to have been part of this effort again. This year the exhibit is online and I have eight paintings included. You can see my work here and also the work of many fine artists who enjoy giving back to our communities - including my friends Leslie Carone and Laura Gould! There is also an impressive list of the 14 charities who will benefit from the proceeds of art sales.

Here are three of my eight paintings at Art Show Bedford.

I am also pleased to say that two of my paintings are on exhibit at the beautiful Mark Twain Library in Redding, CT. This is always a beautiful show! It runs from Dec 5th to Dec 13th and, this year, you can see the work online as well as in person. Paintings are listed alphabetically by title and mine are Chick Please and The Regiment.

If you're wondering about the art world in our new home state of Massachusetts, well, I have connected with several arts organizations. Of course it hasn't been so easy since more than half of the year that we've lived here has been during "the great Covid19 pandemic" (not so great, but you know what I mean). So I'm very pleased to have won awards at the Boston Guild of Artists, Newburyport Art Association and Rockport Art Association and Museum! Currently my painting Plum Regal is in the Annual National Exhibit in Rockport and it's a truly gorgeous show! And Pepper Pile is at Newburyport.

Lastly I want to say a belated Happy Thanksgiving to everyone. I feel blessed to have been able to celebrate with our small family pandemic pod in MA and look forward to seeing the rest of our crew - hopefully in the near future. It's been hard to be apart but I am grateful that we are all healthy. I also appreciate all the good wishes and support of so many art lovers and artist friends who continue to create, making this world a more beautiful place for us all! Stay healthy, my friends!

Painting details

2020-08-30T09:22:00.001-04:00

Composing a painting is hard. I'm usually inspired by an actual object, but inspiration can also come from the desire to capture a particular texture, finish or light effect. And as happened here, even the simplest subject (plums) can become complicated.

This latest painting started in the produce aisle where red-purple plums were looking rather regal. In my studio, while figuring out how to highlight their glory, they sat in a spatterware pie plate. Not exactly regal, but spatter grey against glossy purple made a nice contrast. So that was the start of what was meant to be a horizontal painting starring purple plums.

And then this happened.

A simple portrait of produce became a regal throne of intricate tapestry. Well, maybe just plums on a tea towel, but certainly elevated by the rich pattern. Really, the complimentary colors of green-blue and red-purple were just perfect. So... what to do about that fabric pattern?!

A detailed drawing is almost always my starting point. For this painting I focused on the plums and the ellipse of the pie tin. Figuring I'd do a looser impression of the fabric pattern, and kind of wing it to avoid being too mechanical.

Realism is challenging, of course, and involves training your eye to see the small details that will add to the interest of the painting. It can also mean training your brain to ignore some degree of detail to maintain the poetry. So I gave myself permission to be not entirely literal with the fabric while still creating a level of realism that felt right, to me. That meant drawing the fabric to provide key shapes and elements of the pattern to be a road map for painting the pattern.

More detail than just winging it and less than photo accuracy. In the end it did not feel like a compromise, but a successful rendering of my vision. And that's a great feeling.

I drew, but, also used photos to check my work. There are artists who work strictly from photos and those who believe that's cheating. My feeling is photos can be a tool, not the same as personal observation - which is OK when you know how photos can flatten images and effect color. I don't want to be so literal that I miss the personality of the subject. Artists have different backgrounds and different goals, and that's fine. As Karen O'Neil used to say, "There's no right or wrong. There's only what works and what doesn't".

I drew the plums and the pie tin as accurately as possible, focusing on the ellipse of the tin and positions of the plums front/back, above/below one another. Then transferred the drawing to the painting surface. You can see an example of this process here.

Things were going along ok but the pie tin wasn't quite right. So I took a photo of the painting, marked the center axis of the tin and folded it to see if it was symmetrical. The left side looked more accurate to me so I cut through the folded pieces which slightly reshaped the right side to match the left. The depth of the tin had been off slightly causing the angle to be sharper and that made the difference. You can see this on the right side of the cut printout - very hard to visually measure!

checking symmetry

Checking symmetry this way helps separate what your brain knows from what your eyes see. When drawing a symmetrical object on paper you simply fold it in half, use backlight to see if the sides align. You can't do that with canvas, hence the photo. (This can also be accomplished with a tracing, but the painting was wet.)

At this point the fabric was looking more sloppy than impressionist. So I made a greyscale image of the painting to help determine how stark or subtle the contrast was in the fabric pattern. I could see that not only were the thread colors closer in value but there were variations throughout where the light hit differently. This helped to make the fabric more natural and realistic.

comparing values with a greyscale image

I was still at the ugly duckling stage of this painting - a time when its easy to get frustrated or lose confidence. But on this day my audio book was ... a bit different. It was the story of David Goggins, Navy Seal, USAF Tactical Air Control and ultra athlete. Don't laugh, but I was inspired.

Goggins came from an abusive background where he always felt like a loser. After many personal disappointments, he challenged himself, stopped making excuses, worked hard and never settled. It's a raw story and I can't exactly recommend the totality of it. However, I will say, it's hard not to do your very best when his voice is in your ear!

Thank you for joining me on my art journey and please share these posts with those you feel might enjoy them. If this post was shared by a friend, if you like, sign up on my website to receive monthly newsletters from my art studio.

Interdependence Day

2020-07-03T08:09:00.000-04:00

Does anybody know what day it is? Perhaps not. Fortunately I have help with my calendar as two of our grandchildren come for weekly playdates. Otherwise we'd have no sense of time... and far less laughter!

But I hear July 4th is coming.

This year Independence Day might feel more like Interdependence Day. We're all in it together... apart. Thankfully, folks around here are generally considerate - maintaining safe distance and wearing masks in public. While we may be cranky about restrictions, I feel pretty fortunate overall.

Artists are generally comfortable with solitude anyway. I love the quiet of my studio, where my mind is somehow settled and invigorated at the same time. There are many ups and downs in painting and it's a good day when the ugly duckling stages are balanced with satisfying moments. But art-making is a little like the tree that falls in the forest - more fully appreciated when it's actually witnessed.

So I love hearing how a piece resonates - the story about a feather painting connecting a young woman with her grandmother or a vintage object bringing a warm nostalgic moment to mind. Which brings me back to "interdependence" on this Independence Day. Most often I'm painting for the challenge of rendering a subject in an interesting and skillful manner, but the icing on the cake is knowing how a piece impacts others. And I thank you all for that perspective.

Here are some recent red, white and blue paintings for this July 4th. I've been on a roll painting beautiful flow-blue china in our new, old house. All were fun and challenging but I think I enjoyed Blue on Blue the best. And I don't even like blue cheese!

If you'd like to learn more about these paintings click on the images for the link to their website page.

Baby Red Onions came about because I saw these beauties in the produce section and loved the way the shiny white bulbs, stained with purple-red striations, contrasted with the translucently, water-filled, green sprouts. Fascinating textures to capture. Onions were not on my list that day but we take inspiration when it comes.

The week when there were virtually no eggs anywhere I found a small box of delicate, pale blue eggs. Six local heirloom eggs. They were probably delicious, but of course we never tasted them since they were unrefrigerated for days while being painted. The bowl in this still life is one I've had for awhile. Even though it's actually contemporary, I love it for its Art Deco meets Neoclassicism collaboration. I call the painting Scrambling, in deference to the crazy times we are living in. I'm honored that this painting was purchased as a house warming gift. It's hard enough to buy/sell a house without being in pandemic isolation! How special that my painting was bought to celebrate folks moving closer to family.

There have been several pandemic painting purchases lately. Here is a happy art collector who treated herself to some art as "home improvement" during isolation (safe, socially-distanced delivery by my daughter).

Another recent sale was made to someone who had seen my work in an art exhibit last fall and eventually found me via the event organizers. He had missed out on buying a painting and couldn't quite forget it. So now he has purchased Rosy Nosegay and commissioned two others. That's dedication - and I'm so appreciative of the interest, and effort!

And lastly, today I heard the good news that, with the acceptance of my painting Chicks and Balances, I was awarded the status of Elected Member of Allied Artists of America. I'm honored but also just happy for the painting's sake because it was a favorite of mine and I'm tickled that it was recognized. I don't know if that sounds weird, but think of it as being proud of your kids' successes.

So, I haven't been to an art show, exhibit, museum, arts organization or casual art talk with artist friends in... months. And it feels pretty weird. We all are missing the sort of routine activities and relationships that are easy to take for granted. Here's hoping the "new normal" will return to the real normal soon. Who would have thought we would still be at home after four months. It's quite unimaginable, and yet, pretty much doable. Meanwhile, I'm still painting. I hope you are enjoying some kind of summer fun!

Thank you for joining me on my art journey and for weighing in with your comments and questions.

Take care. Stay safe. Be kind. Be creative!

Making time for art - in the land that time forgot

2020-05-09T08:45:00.001-04:00

For most of us there is very little that is "normal" about our day to day life this spring, With that in mind, and with Mother's Day coming, I want to shout out to all the Moms and Mom-assistants who are finding creative ways to entertain, inspire and teach their kids. Those who are able to meet daily challenges, spark inquisitiveness... and still manage to maintain sanity. I hope you all enjoy a little rest and a good bit of adulation this Mother's Day. You deserve it!

As an artist, this stay-at-home isolation is kind of normal: time at home = studio time. And while I wouldn't wish the reason for quarantining on anyone, I'm making the most of it. After last year's lengthy distraction of preparing to move, I was ready to be more productive.

Here are some of the pieces I have been working on since February. This is Sweeney Todd's Curtain Call. It's part of a series of vintage barbering tools that I'm enjoying painting. Vintage implements like these, with their delicate craftsmanship, just fascinate me and I was lucky enough to borrow some antique razors and shaving brushes from a friend's extensive collection.

It was difficult to create a composition that highlighted the razors but eventually I hung them inside a wine box and played with the light to capture the character of their handles and the shine of the blades. And since it looked like footlights on a stage, the title seemed obvious. If you are interested in this painting, please take a look on my website for more details.

Another in this series is The Regiment. An assemblage of shaving brushes standing at attention with touches of regimental red and blue just struck me as having an esprit de corps. This painting is 10 x 10" and is also available on my website.

Next came a composition where one of the group had something of a downfall. Maybe the red background suggests a conflict? This little painting is called Man Down (obviously). It's 6 x 9". All these paintings are done on panels and all are sold framed in classic plein air frames.

The barber tool paintings became a series because, although I was prepared to return them to New York in February... suddenly no one was going anywhere. I've been making good use of my extended time with these beautiful tools of the trade. The paintings below have already found new homes. Left to right they are: Family Resemblance, Blood Money and Vintage Barber Brushes.

For a change of pace, and maybe more timely in subject, this painting is a composite of photos taken in Aix en Provence a few years ago. The impact of the light on the pillars and a child all alone created a moving scenario but I hadn't yet been motivated to paint it. The time just seems right for this one and I call it Grace in Isolation. I hope you agree.

During this difficult time when we are not only trying to stay safe, but, stay cheerful (!) it's been wonderful to see the creative ways folks are supporting one another - at a distance. I guess it says something about us all being in this together. Everyone's life has changed. We've followed rules, made masks, supported health care professionals, donated to communities in greater need and tipped grocery store cashiers. All the while being thankful for the privilege of having a home to shelter in comfortably and the loving support of friends and family. Gratitude and kindness - we need all we can get... and give.

I hope you and your loved ones are well and able to appreciate the goodness around you even on the most challenging days. As always, thank you following along on my art journey and for all the kind words of support on Facebook, Instagram and my blog/newsletter. I'll be back soon with more paintings to share. Hopefully we will see one another out and about very soon.

Take care. Stay safe. Be kind. Be creative!

Painter, teacher, mentor...and author!

2020-04-18T17:41:00.001-04:00

I try to be upbeat and art-focused in this newsletter and I hadn't planned to write about the state of emergency and dread that we are experiencing now, but it's impossible to ignore. And that's OK because we need to be both vigilant to protect one another and grateful for the beauty, love and generosity in our world. On the subject of beauty, I think of the beauty of kind, generous acts and, as always, art.

I have been painting of course, and hope you are also finding something creatively beautiful to enjoy. The art of baking?! A dangerously delicious, creative endeavor. Actually, the art of cooking is especially creative lately: combining staples to limit grocery store visits. (Working from home since my graphic design days, I tended to head out in the afternoon for one red pepper... or a latte, if I'm honest.) Oh, and I made a few masks for protected social distancing.

For a more painterly approach to art appreciation, I am pleased to wholeheartedly recommend an utterly enjoyable and enlightening resource: The Art of Still Life, by my friend, teacher, mentor and all around go-to art guru, Todd M. Casey. It's a beautifully written and comprehensive book that will be of equal interest to artists and art lovers.

This book is filled with everything you need to know about creating - or appreciating - still life painting. Concepts of light, color, composition and so much more are explained, described and illustrated with images and charts making it easy to understand. Here, the drama of color falling into shadow on a form, an important concept, is clearly described. And there are so many others.

But there is nothing dry about it. As Todd explains, "This book expresses both the scientific and expressive aspects of still life painting [and]... encourages you to heighten your senses and to use that heightened awareness when painting." It's inspirational as well as instructional.

In fact it was Todd's painting Bottles with a Book and Letters below that initially inspired me to reach out to him for instruction. The concepts in his book are those typically taught in a classical atelier - from color and value studies to cast drawing and rendering three dimensional volume in a two dimensional painting. Whether you have studied in an atelier program or not, this book is invaluable resource.

For me, the page below is a perfect example of instruction coupled with inspiration. An elegant, rich and subtle painting by Hovsep Pushman (which I had never before seen) illustrates an example of soft chroma along with a chart of oh-so-subtle color shifts flanking a row of neutral values. Just look at all the variations between neutral and chroma and how effectively Pushman employs his subtle palette!

High quality images including historic masterworks and brilliant works by contemporary masters of painting are found throughout. My favorite juxtaposition of old and new is a trompe l'oeil by William Hartnet on the left and Tony Curanaj's contemporary version of trompe l'oeil. This historic genre of "fool the eye" paintings was made popular by Dutch painters in the 1600s and still holds appeal.

Many pertinent subjects are explored in The Art of Still Life including modeling form, perspective, foreshortening, organizing your studio - even understanding information on a paint tube! The chapter "Light, Illumination and Shadow" alone covers -

The Science of Light
The Terminology of Light and Shadow
Surface Reflection and Body Reflection
Light on Glass
Light on a Translucent Object
Light on Hair, Fabric and Wool
Lighting Your Studio
Thinking of Light Spatially

Don't know what it means to think spatially about light? No problem, it's explained and illustrated:

And below Todd shows how light is reflected differently on a matte, glossy or mirrored surface. Knowing this information adds to your conceptual knowledge making it easier to see and understand these differences in any composition.

Although the book uses the genre of still life to illustrate concepts and methods of painting, all can be applied to any painting and there are examples of interiors (one by John Singer Sargent!) and gorgeous florals as well. Roses on the left is by Abbot Handerson Thayer (late 1800s) and on the right is Paul Seaton's Old Roses, White Souvenir de la Malmaison and Glamis Castle (2008).

You don't have to take my word about the value of this book, Eric Rhoads, artist and publisher of Fine Art Connoisseur, agrees. His glowing review says, "It is one of the finest examples of a painting instruction book I've experienced in my collection of over 500 art books."

In terms of a book review and recommendation, I guess I could have started and ended with that accolade... but you would have missed the pictures. And I would have missed revisiting it all too.

I will close with a personal accomplishment of which I am enormously proud: a few of my paintings are published in this book! Two are of basic sphere exercises that were utterly satisfying to paint. One is an image of my painting of cherry tomatoes with my palette adjacent. It's in the section discussing palettes. And my Dutch Apple Still Life painting is in the "Color Science and Art Chapter." Color me honored.

And a final personal note to report that our extended family is well and currently healthy. I truly hope this newsletter finds you well and healthy too. We have all been touched by tragedy on some level and are looking forward to a time of more mundane concerns. (Where should we go out to dinner tonight, my dear?) Meanwhile, as we manage emotions in this trying time, please be good to yourself. It's not easy to avoid worrying, so enjoy life's beauty wherever you find it.
Peace.

Once again, thanks for joining me on my art journey.

New paintings, new inspirations

2020-01-26T14:32:00.000-05:00

My most recent paintings have fallen into two categories: mandarin oranges and vintage barbershop. No connecting thread between subjects other than the creative process and the desire to explore imagery with both. Often while I'm painting I mentally cook up another composition with the same subject, so these have both developed into mini-series.

This painting, Mandarin Rising, was done last year and recently sold at Newburyport Art Association - my first local sale in our new home.

I love painting the color and texture of these little oranges and had a backlog of composition ideas so was happy to see them again at Whole Foods. Here are the two latest, with different Asian elements to compliment their Mandarin-ness.

Orange Ginger features a classic, green ginger jar with glazed highlights on the low-relief surface that contrast nicely with the flat, raw clay of the cover.

Orange and Opium requires a bit of explanation. The wooden box serving as a backdrop for the orange was purchased in a flower shop in San Francisco that had a variety of unusual containers and vintage boxes for floral arrangements. I like the deep red paint, scarred with indentations. Almost like someone tapped a hot circular object on it, like... say, an opium pipe?! Quite possibly, since inside the box was a slip of paper describing it as a 1920s opium box. I bought it in spite of its drug history and with fingers crossed that this treasure would not alert drug sniffing dogs at the airport. It's a great little box with a small sliding cover and a lot of character. I've got tons of ideas for compositions with this one. And I'm happy to say there was no drug-related delay at the airport.

The above paintings will soon be available on my website, which I am in the process of updating.

Meanwhile, Noteworthy, a trompe l'oeil "rack" painting, and Dutch Apple Still Life, a classic still life composition, are on view at the Newburyport Art Association. And I'm just tickled to share that Dutch Apple Still Life was awarded Best in Show! It also sold which is pretty exciting too, but what truly moved me was the kind comments by the juror. He described my piece as having "...the attention to detail one would expect from a Northern Renaissance master painting." Wow! He saw a connection to the very work that I admire most. And in fact, the pewter pot was bought in Amsterdam on a quest to bring home a Rembrandt-esque objet d'art for future inspiration.

I am so grateful to Newburyport Art Association and juror Jim Craig of Rockwell Art Association and Museum for this honor.

The Newburyport exhibit is full of beautiful work artfully hung by the committee. They have enriched the viewer's experience by grouping sensitive drawings or fresh florals or colorful abstracts. Each a storyboard of complimentary imagery. Well worth a visit before it closes this weekend (February 1st).

In my next newsletter I plan to describe some of my painting process, showing stages of work in progress with the paintings I'm developing now. Stay tuned for more vintage barbershop a la Sweeney Todd, without the murderous bit.

Thanks so much for sticking with me on this art journey.

To the new readers: check out earlier studio news here where you can also search for past subjects. Please leave comments, ask questions and share this newsletter with anyone you think might find it interesting.

Everything old is new again

2019-12-12T05:46:00.000-05:00

Looking around our "new" house (circa 1725) I realize that many of my art treasures actually look like they belong here. This is kind of helpful as we try to settle in. Because after 42 years, 4 daughters, 7 grandkids, 5 dogs and countless friends who helped instill fond memories in our first old house this new old house might have felt rather empty.

Our new old house in Andover, MA

It's actually anything but empty. Although we decluttered and de-collected for the move, we've still got "stuff". Some of what came with us probably confounded the movers - like old barn boards with peeling paint that I bubble-wrapped because just-the-right-amount-of-paint was curling away from the wood. I'm not sure if it's the design effect of peeling paint or the sense of history that intrigues me, but those boards made the move. I like old stuff.

Functional objects have meaning and purpose to rely on but old, vintage objects have stories and personalities that sustain their value. Maybe that explains why an old Bavarian teapot got together with a Shawnee-era pig planter to form a relationship. And Blind Date was born.

These things make me smile even when the memories aren't technically "mine."

But, there are plenty of things around here that hold memories of ours. Like the giant crockery jug by the fireplace. It collects change that grandkids have counted and coin-rolled for us, keeping a roll of coins for themselves. I'm hoping that's a fun memory for them.

In fact this photo of our new home is full of memories already. My first sculpture, an old man sitting on a bench, was greeted and kissed by our one year old grandson this week. The sculpture is not exactly a Michelangelo, but I remember it as an early attempt at realism and apparently my grandson thinks so too. On the mantel are some vintage Santas as well as a small oil painting of ornaments that hung on my parent's childhood Christmas trees. Just some of the things making this new house feel like home.

I have managed to paint a little since we moved, but I was working on a Christmas gift so it can't show it yet. Instead, here is a glimpse into my studio which is nearly unpacked and somewhat organized. (If the video is not live here - never tried to upload a video to my blog - you can take a look at it on Instagram at @dorothylorenzefineart or on my Facebook page Dorothy Lorenze Fine Art here.)

Holiday traditions are a big deal. And while they are special, fulfilling them can be overwhelming. My advice: keep the ones that feed your soul, ditch the ones that don't, and borrow the ones that feed your belly (full disclosure: I make latkes in December). I'm learning, during this life transition, that traditions are a warm thing to wrap yourself in, a reminder of your personal story. Traditions invite nostalgia, which as I've written before, is more about reaching for belonging than loss or wistfulness. It's looking inward, not backward.

That's what painting does for me. I enjoy the challenge of rendering realism - it definitely feeds my soul. And the vintage items that are my subjects tend to develop relationships that add some meaning - whether touching or humorous! This painting of shaving brushes really is about families, their similarities and differences, but clearly, all of the same tribe. It's called Family Resemblance, naturally. This painting and Vintage Barber Brushes can be seen at Mark Twain Library in Redding, CT through this week.

Also on view at Whistler House Museum is my cheeky painting Chick Please. That show goes through January 25th in Lowell, MA.

The objects we surround ourselves with matter. I hope you follow your heart in creating the space you live in. Make it personal, not just trendy. I'm grateful that my appreciation of the past and the vintage objects that relate to it help me find deeper meaning and connection to the present.

As we put this crazy year behind us, I wish you all warm connections this holiday season, with an abundance of peace, joy, love, laughter and deliciousness!

Thank you, once again, for joining me on my art adventure. Happy Holidays!

Please feel free to share this post with anyone you think might enjoy it.

A new chapter

2019-10-07T08:29:00.000-04:00

Not much to tell in the way of art news at the moment because the big news is that, after 42 years in our home in Somers, we have moved from NY to MA. It's been a long and utterly exhausting process that won't be over until everything has a new (perhaps temporary) resting place.

And I won't feel settled in until I'm back at my easel.

Might take awhile. That's the studio four days ago.

We're looking forward to this new adventure. The main reason for the move was to be closer to family so we are in Andover - near enough to the kids and close to art opportunities from Cape Cod to Boston and Newburyport. I've already joined the Whistler House Museum Art Center, entering their annual show, and am looking forward to exploring the local art world.

The original part of our new - old - house was built in the early 1700s and has the historic character I love, along with modern amenities like... bathrooms. There is also a beautiful white marble kitchen! But studio space was a priority and the new(ish) lower-level room with three full-length windows, plus French doors, will be perfect.

This weekend I took a break from unpacking to paint the studio walls a mid-tone grey and set up bookshelves for my painting props. It's beginning to look like my space. I had planned to fix up a little corner, ignore the boxes for a bit and get to work on a small painting. But first... I'll have to find the paint! Needless to say, there is more unpacking do.

Early in the move-planning I did carve out time for these sweet vintage shaving brushes. A great exercise in distinguishing subtle, neutral color in the brush hairs.

Somewhere between accepting an offer and preparing for our closing I gave in to my painting urge to work on this pair of barber brushes. It was meant to be a simple continuation of neutral brush color exploration. But then I added a fabric background reminiscent of 1900s wallpaper for a little interest... and a lot of detail. Obviously I was missing painting and I love how it ended up.

Initially I had felt bad (aka lazy) about not working during the move prep. But it's not that I was too tired, unmotivated, or didn't feel the muse. I pretty much always want to paint. The real problem was all the thinking! Nothing is routine and your mind is on overload.

I've written about the decision making aspect of painting before. Each stroke is either lighter or darker, warmer or cooler, vibrant or neutral. I can honestly say that my time away from painting was not due to being physically worn out, but about being mentally exhausted.

Decision overload is a real thing. Basically, having fewer decisions to puzzle over leads to better decisions-making. Figuring out the move was where my mental energy needed to be and painting without being able to make good decisions just isn't worth it.

So, it's been a frustratingly "dry" time but I don't feel disappointed with myself. Other priorities really had to take precedence. We are beginning to settle in and each day turns a page in our new chapter.

This photo of the studio was taken just a few days after the first one. It's getting there! (Full disclosure: the large pile of unopened boxes is still to the right).

And just for fun, below is a pile of drop cloth that made me smile. It reminds me of a giant version of Sadie Valeri's vapor-like still life compositions. Seriously, check out her paintings rendering diffused light through semi-transparent waxed paper and you'll see what I mean.

So, I'm thinking about painting canvasses while painting walls. Good mental prep! I look forward to sharing new paintings very soon.

If you enjoy reading my artsy newsletter, please share with anyone you think might find it of interest. Thanks for joining me on my art journey.

Greetings from Andover, MA

Humbled by the women at Steamboat Art Museum

2019-08-06T20:20:00.000-04:00

You know how they say "it's an honor just to be nominated"? Well, it was an honor - and a humbling experience - to have my painting Chick Please juried into American Women Artists' national exhibit, Looking West, at Steamboat Art Museum. While I didn't "win", I did gain signature status with AWA and that feels pretty good!

American Women Artists is an important organization not just because they support women artists, but because they provide opportunities for the public to view more quality works of art - that just happen to be made by women. That's a win-win.

According to the Smithsonian, 87% of artists in our museums' permanent collections are...not...women. Fortunately the under-representation of women artists is being seriously challenged and organizations like AWA are working every day to eliminate gender bias in the art world. A good example is this exhibit at Steamboat Art Museum.

An admiring crowd of art lovers at the well-attended Steamboat Art Museum reception.

San Jose Mission Doors by Nancy Lilly, pastel

I was able to attend the reception and symposium in Steamboat Springs where exhibiting artists were very welcoming to this newcomer!

During the symposium we learned how women are making headway in the art world today. Four artists spoke about their work and their artistic experience. Heide Presse demonstrated her depth of research to illustrate a woman's journey along the Oregon Trail. Carole Carter shared how she reinvented her art practice and effectively markets her work using social media. Jann Haynes Gilmore researched, resurrected and published the story of Olive Rush, a valued artist in the early 1900s. And Donna Howell Sickles spoke about achieving success in the firmly male world of cowboy - and cowgirl - art. Educated, hard-working artists, all.

Below is part of the special exhibition featuring Heide Presse's work based on the actual journal of a woman who travelled west by stagecoach in the 1840s. To accurately represent the experience Heide sewed authentic wardrobe including quilted sun bonnets for her contemporary cast. Talk about dedication and preparation!

We Set our Faces Westward exhibit by Heide Presse

Steamboat Springs is a charming town with gorgeous snow peaked mountains behind storefronts reminiscent of a mid 19th century mining town. Entrenched in history and art, it was the perfect setting for this exhibit.

While my AWA adventure was enlightening, it was also a bit intimidating. These women are professionals in every sense of the word, fully dedicated to their work and it shows. Their paths were inspirational. How they manage to be so accomplished is probably a bit more complicated and nuanced. Life happens. No doubt all have been through periods that challenged their productivity.

Art-making takes preparation, dedication... and time. I've been asked how to find the time and my answer has been to make the time by prioritizing painting. True enough, but lately that's been difficult as we are preparing to move. It takes time - and exhausting mental energy - to wade through years of accumulated treasures, memories... and junk! This week I was pretty fed up with my lack of painting time and finally plunked myself in front of a canvas. It's not going all that well.

The thing is painting is a series of decisions. With every brush stroke you consider color, value, hue, contrast, edges, form. Every. Time. That's a lot of decisions. I'm painting a simply elegant pair of antique barber's brushes. But, because I can't leave well enough alone, I added a rich fabric background, reminiscent of vintage wall paper, for contrast.

Feel free to roll your eyes because... no, I will never learn.

My studio (which doubles as a storage bunker) is under siege as we purge for moving so I'm set up in the kitchen where the light is terrible but the AC is good. It's a bit of a struggle. (Plus there's the distraction of knowing I should be packing.) I'm giving myself a few days to substitute making painting decisions for making packing decisions and while it's frustrating, it also feels like a gift.

Work in Progress: Barber Brushes ©Dorothy Lorenze

I could go on and on about the chaos of moving... but then there would be no time to paint! (or pack, or sleep). So if you're wondering why it's taken so long to write about a Steamboat Springs trip from back in June, now you know. And if you find yourself in Colorado this month you can still check out Steamboat Art Museum: Looking West which is up through September 2nd.

Thanks for joining me on my art journey... and for staying connected as we literally journey to a new home and studio. Challenging times bring even greater appreciation for my community of artists, friends and supporters. So. Many. Thanks.

Prepping for Passion

2019-06-06T20:58:00.000-04:00

I hear there are people who plan their tasks and activities... and stick to it. Sadly, that's not me. But even though I don't fill a calendar with blocks of studio time, I do paint often and I'm trying to be ok with that.

The thing is there are more painting ideas than there is painting time, so it can feel like I'm falling behind. But, I'm trying to focus on what I can do and not what I think I should do: finding time for painting in between... life.

When it comes to art, it may be hard to be disciplined, but it's easy to be passionate.

Not to malign discipline, but passion can be a more powerful force. And here's an example why: this little painting of shaving brushes was started while I was out of town - helping with baby, toddler and puppy care for a week!

I had borrowed the brushes from a friend and was looking forward to painting them, so I packed my easel hoping for a place to set up, out of sight and reach of little ones. And it worked because having a designated spot at the ready means getting back to painting quickly. Even short bits of time can be productive.

The composition was kept simple to focus on the textures and surfaces of this fuzzy family. And that made stopping and starting easier.

The day after returning home from my "toddler adventure" I got reorganized, repacked and headed to a portrait workshop in Vermont. It's taken several years to talk myself into tackling portraiture and a three day workshop was a good immersion. Like being on a cruise - you can't exactly jump ship.

Instructor Tina Garrett did beautiful demos each morning. Then we worked from a live model. Daunting! And I didn't get very far by the end of the day. But, since I had planned to paint in the hotel room at night and since this portrait had its hooks in me, I took it back and continued painting. There was natural light in the workshop but the hotel light was incandescent, so at 6am I sat in front of my window to make color warmer and was so engrossed I was late for class. Oops.

I haven't quite finished this yet but it's getting there and I'm glad I worked on it after hours. I still need to adjust values (clean up her dirty neck) and if I can capture the subtle transitions in her skin I will be super happy.

Very soon after the Vermont workshop came a trip south. My painting gear was back on the road! On this trip the kids were older and my temporary studio was actually a corner of the living room. (My family must love me).

A commission I needed to work on was the perfect project for this visit, as it was to be painted from a photo. With no objects to set up or move, it was a bit less intrusive for the family - or so I tell myself. I haven't painted cabbage in years and totally enjoyed the many beautiful gradations from green to red to purple in the leaves and veins.

With all the recent travel I haven't set foot in my own studio for weeks. Knowing how little time there would be for painting made me even more determined to find a way to fit it in.

I feel better, more human, when I can paint. That's the passion that drives me.
And if it looks like discipline, I'll take the credit!

If you're trying to squeeze more art time into your life, start by making space - physical space - for art. A separate studio is great but a spare bedroom, closet or just a rolling cart tucked in a corner will do. Having a dedicated space makes it easier to get to work. Even if all you do is sit in your erstwhile studio and think about what comes next, it's a step in the right direction. More productive than spending time scrolling through social media looking for inspiration. And I'm willing to bet something artistic will come of it.

This has been my creative corner recently, with boxes piled next to my easel for my iPad with the cabbage photo and podcasts (This time it was The Studio: Danny Grant interviewing Patricia Watwood. Click the link to have a listen).

To make art, make space. Give your passion a place to blossom.

Thank you for joining me on my art journey.

To the new readers: check out earlier studio news here where you can also search for past subjects. Please leave comments, ask questions and share this newsletter with anyone who might find it interesting.

Keeping focus, making decisions

2019-03-26T21:31:00.002-04:00

Ever notice that when you're trying to make strides on many fronts you end up standing still? There are projects and tasks pulling in all directions lately and the more I need to stay focused, the harder it is to do. So while I'm tackling other pressing projects, my art-focus consists of pondering the process of choosing a subject. What makes a composition interesting to me?

I recently heard author Mary Pipher on NPR talk about choosing the subject of her latest book, Women Rowing North.* She said that she really has to be interested in a subject on a personal level to spend the kind of time required to write a book. The same can be said for painting. If I'm not personally engaged with the subject, I'm not likely to give it the attention needed to create an interesting and well-developed, representational painting.

So, while I may not personally connect with ceramic chicks and chrome coffee pots there is something evocative about the scene in this painting that resonates. Chick Please, creates a scenario reminiscent of 1950's diners complete with the ever-present coffee pot, thick dinnerware and vintage wallpaper. It's a nostalgic moment with a touch of humor. Coming from a large family, it was a rare treat to eat at a local diner or... Howard Johnson's. Remember that place? Fine dining for us back in the day!

I'm very pleased to say that Chick Please was selected for the American Women Artists' National exhibit at Steamboat Art Museum. I look forward to seeing the exhibition in Colorado and taking part in the events, especially AWA's Symposium on Women in the Arts, which I know will be an inspiring and informative experience.

But, here's the thing... I had painted a portrait, Zsa Zsa Reigns, for the Steamboat exhibit because I really thought it fit the show's prospectus. Then, in the process of applying I noticed two works could be submitted so I added Chick Please at the last minute. And that's the one they accepted! At first I was so disappointed about Zsa Zsa that I almost forgot to be excited about Chick Please! But, really, I am thrilled and honored to be included.

And the rejection gave me time to revisit Zsa Zsa Reigns which, out of necessity, was painted from a photo I'd taken of the model. Portraits are outside my comfort zone and working from a photo is not part of my painting process. Taking a closer look, without the pressure of a submission deadline, it was clear that it fell a little short of my expectations. So I re-worked the skin tones and values in general and made subtle changes to her expression which gave her gaze more intensity - the very thing that had drawn me to this pose in the first place. I think Zsa Zsa is now reigning with even greater confidence. I'll let you know how she fares with her next submission.

As I've mentioned, my paintings often tell stories and sometimes a double entendre invites the viewer to make their own interpretation. So, back in the studio... a vintage balance scale called for more chicks in a painting. Naturally, it's titled Chicks and Balances. The bevy of chicks facing off against the big chicken was so exciting they practically painted themselves. As for the big chicken - beware of smooth surfaces, they're very hard to nail down. (Feel free to draw your own analogies.)

I loved every minute of this one. The chicks were a joy to paint and getting interlocking pieces of old metal to look like they were actually up to the job at hand was equally frustrating and thrilling. This painting just tickles me. As soon as I think of more puns these chicks are likely to make another appearance.

After a few of these daunting compositions I tend to give myself a breather with a simpler, small organic subject like fruits and veggies. I don't have a new fruit/veg painting ready to share so I'll just post these fairly recent ones: Heirloom & Hubbard and Mandarin Rising. I like the contrast in color and texture between this lumpy, warty squash and the juicy, plump tomato. And although the mandarin orange's leaves were no longer glossy, she is still stately, proud and standing tall.

The stories behind the compositions and current availability of these paintings is on my website and updated regularly. Some may be "on loan" at shows so if there is one you are interested in, keep checking back. Or, better yet, email me if you'd like to be among the first to know when a painting becomes available.

Welcome to all the new subscribers! Thank you for joining me on my artistic journey. Feel free to comment or ask questions and of course to forward this newsletter to anyone you think might find it interesting.

*ps - I haven't read Mary Pipher's Women Rowing North yet, but I plan to. Sounds interesting.

Following through

2019-01-21T05:27:00.000-05:00

Generally I write once a month but I'm feeling brave. And you all have been so supportive of the good times, seems only fair - and honest - to let you in on the anxious times.

At the beginning of January I posted about a daunting project, that I had avoided starting. It was totally outside my comfort zone because... it's a portrait... of a dark skinned woman... with bold coloration... and flowers!

I'm pleased to say it's done and has been submitted to the American Women Artists upcoming show at Steamboat Art Museum. I don't know if it will be accepted, but I feel good just finishing it, because this one had me doubting myself more than anything I've done. And while there were times when it was agony to work on, every issue resolved was a thrill.

The Steamboat exhibit is part of AWA's initiative to increase exposure for women artists by holding 25 exhibitions in museums over 25 years. And I'll tell you - the collected work has been fantastic. Take a look at last year's Rockwell Museum show here. Multiple paintings have been purchased for permanent collections through these shows, advancing AWA's mission to see more work by female artists in museums nationwide.

Needless to say, it would be quite an honor to be included. For now I'm glad that I took on the challenge, made the deadline and of course, learned a lot.

One of the things I learned is that I should have done a poster study! This is a lesson I keep learning, and unfortunately, forgetting. When I'm in a hurry it feels like an added/extaneous step, but it could have answered big questions on a small scale and likely saved time in the long run. A poster can help to figure out values: how dark the shadow area of the face should be and how light the cheek highlight is compared to other light areas. It really is all relative. You can see some examples of poster studies I have done here.

I did do a quick painted sketch of this model from life, but I wasn't happy with it. Fortunately she allowed me to take a photo. Zsa Zsa's pose was powerful and haunting and her expression seemed fitting for American Women Artists' goal to inspire, celebrate and encourage women in the visual arts. I'll let you know if they agree.

Closer to home my work will be in Art Show: Bedford (in Bedford, NY) which opens this weekend. Stop by if you are in the area. There will be artwork by local artists (Laura Gould and Rich Alexander to name a few) as well as NYC artists and work curated by several galleries. I'm happy to be included. There is always good art and the proceeds benefit several local community organizations.

Blind Date is one of the paintings I will exhibit. It's a cheeky painting that came about after placing two vintage ceramic pieces together on a shelf. They just looked like they should have a relationship! It's a quirky pairing but I find these characters endearing and hope you do too. Come by and say hello and warm your heart with some art! Our bitter cold weather should be improving soon.

Thanks so much for joining me on my art journey. I hope you find this newsletter interesting. Please feel free to forward to anyone who might enjoy it. You can also look back on past posts by clicking on this link.

Getting started... or not.

2019-01-04T21:17:00.000-05:00

Beginning the New Year with all kinds of good intentions is a time-honored tradition. But you know what, the timing is ridiculous! Most of us actually begin January a bit exhausted from December and yet we still play mind games challenging ourselves to jump in with determination to be more productive/loving/honest/creative/happy... and skinny.

This year I have the added pressure of wanting to submit new work to a national exhibit, and I've got something different in mind. I basically have two weeks to do a fairly large painting of a subject that is totally foreign to me, and therefore scary. (That's all the detail I'm sharing at this point because I don't quite trust that I will be successful.)

Honestly, after being irritated with myself for not getting started, a sudden realization hit me: if I don't start, I can't screw it up.

And there you have it - the niggling thought behind creative procrastination.

That same morning Robert and Sara Genn's newsletter, The Painter's Keys, arrived in my inbox with the headline "Self-delusory avoidance activity." That got my attention!

I swear, this came right after realizing the subconscious reason for my un-motivation. If you've ever been plagued with any kind of "avoidance activity" do yourself a favor and read Sara's newsletter, especially the part where she makes suggestions about how to become unblocked. At first it may seem like a list of how to do nothing, but in reality, I think it's more about consciously changing habits and taking pressure off. In essence: make space so you can find the path to your creative process.

Just say "ah" and let it be.

And then get moving!

Thinking back on other times I felt blocked before starting a new project, I had the same frustrating avoidance when I wanted to do interiors. My first was a single chair in a corner. I reworked it several times to fix perspective and play with the light. And finally I had Home Alone.

That first simple interior gave me the confidence to try a more involved view. Sitting Pretty was definitely more challenging and in the end, even more rewarding.

Since then I've done quite a few interiors and enjoyed working on them immensely. Just about all have sold, but there will be one, Cabinet of Basketry, in Art Show: Bedford 2019 at St. Mathews beginning January 25th. Come by if you are in the area, it's always a good show.

So, fortunately, while I had my brilliant realization that not trying a new genre might mean not failing, I also realized that if I did give this new painting a shot, at the very least I would learn something. And, as with painting interiors, I might really enjoy it!

The new painting is now underway. It may not be completed in time for the national show deadline, but I'm excited about it and I'll certainly learn something. More importantly, it feels good not to give up.

If you are struggling with getting started on any kind of project this new year - take a breath, look at it honestly to figure out what you really want to tackle and why, and if it's still important and not just something to check off a list, take some baby steps to get started. Once you get going it might turn out to be just the spring tonic you need.

Have a creative and rewarding 2019!

And thank you for joining me on my art journey.

For all you new readers, you can check out earlier studio news here where you can also search for past subjects. Please share this newsletter with anyone you think might find it of interest.

Happy Artful Holidays!

2018-12-21T07:57:00.001-05:00

It's been a wonderfully creative year - not the least of which is because we've had two sweet grand children enter our lives this fall - can't get enough of them. Welcoming a baby is the perfect pause in our somewhat chaotic lives. They are perfect reminders that all's right with the world.

But... all that snuggling takes time, so I will not have a Christmas card painting for the first time in several years. I'm thinking it might be a New Year's painting! Stay tuned.

I am very pleased to note that although it's been a busy year with non-art needs and distractions, there have been some wonderfully rewarding opportunities on the art front.

This fall my trompe l'oeil painting Noteworthy was juried into Oil Painters of America's Eastern Regional exhibit. It's my first acceptance to a show by this national organization. The exhibit is at McBride Gallery in Annapolis, a lovely gallery in a beautifully historic and artsy town. Happily, the show has been extended into January.

Earlier this fall two paintings were juried into Borderland State Park's Ames Mansion, in North Easton, MA. I enjoyed discovering this gorgeous historic venue and getting to know artist, feminist and inventor, Blanche Ames. Such a fascinating woman! She and her husband, Oakes, also happen to be grandparents of actor George Plimpton. A portrait of Oakes Ames in the dining room looks, eerily, just like grandson George. (But I digress.)

My next new art adventure will be to participate in Art Show: Bedford which has been ongoing since 1973. And it was the first art show I ever visited when we moved to the area in the 70s. I'm very pleased to be invited. The exhibit runs from January 25 to February 3 at St. Matthews Parish House in Bedford, NY. It's always a popular event and all proceeds benefit local charities - so it's good works for good works!

Since I haven't got a new Christmas painting to share, here are two of my favorites from past years (which some new readers haven't yet seen). Santa's Chocolate Shadow was painted last fall and it has recently found a new home.

Christmas 1945 is an ongoing favorite of mine because it features vintage ornaments from my parent's childhood trees.

So this is what I enjoy about still life - the opportunity to explore light, color and reflection while spending time with vintage, nostalgic subjects that draw me into another time and place. Sort of a painterly, mini Downton Abbey adventure.

I do have several new paintings in the works - almost finished - and I plan to write about my painting process after the holidays, so please keep an eye out for that.

In the meantime, thank you all for your kind comments and support throughout 2018. You helped to make a busy year even more rewarding. I hope you are enjoying time with family and friends in the coming days, reminiscing about all the goodness in your life. I look forward to entering 2019 with renewed creative energy and sincere wishes for joy and peace in this crazy world.

When it's hard to feel thankful

2018-11-19T10:41:00.002-05:00

At this time of giving thanks I want to take a moment to thank the art lovers who feed the energy and creativity of artists with your support and kind comments. Whether you have purchased artwork, visited an exhibit or shared your feelings on social media please know that you play an important role in our continued creative effort. Sure, we're artists and we're gonna make art, but knowing our work strikes a chord is truly validating and keeps us going. And as I've said before, the world could use more beauty.

We are in California for Thanksgiving this year where the raging fires are all too real. Smoke permeates the air for hundreds of miles and there is a heaviness in both the air and in our hearts as we experience this devastating tragedy. It feels kind of trivial to focus on gratitude for the good things in my life at such a time, but I think - I hope - that appreciation is what gets us through such difficulties. I haven't quite decided how to help the victims of the fire but in appreciation of the generous support that I experience as an artist, I know that I will.

So, again, thank you for inspiring me!

As far as my artwork goes, a selection of my paintings will be hanging at Who's Cooking in Croton Falls for one more week. Below are a few of the paintings on exhibit through November 26 (closed on Sundays).

And just for fun - ho, ho, ho - a vintage Santa figure and his chocolate shadow.

I will also have a few paintings at the annual Mark Twain Library benefit art show in Redding, CT from November 30 - December 9th. It's a short run, but worth a visit. The show is well-curated and well-displayed, the library itself is lovely and the folks involved are some of the most appreciative art patrons around. You might even find a unique work of art for special gift giving!

Meanwhile, the next few days will be focused on meal planning and preparing for guests. As with making art, the work of preparation is important to a successful outcome, but the spirit of what's behind the effort is what brings the work to life. So, whatever your Thanksgiving dinner plans may be, I hope you are also grateful for the goodness in your life and appreciative of all those whose small gestures of kindness feed your soul. Because gratitude is a happiness multiplier!

Happy Thanksgiving to you and yours, and special thanks for joining me on my art-filled journey.

Trick or Treat, celebrating challenges

2018-10-28T09:32:00.002-04:00

It's that spooky time of year where we enjoy putting on costumes and playing different roles...just a little. It's probably all about the candy, but maybe it's also about adding excitement to the ordinary.

It's all about balance: boring and brilliant, comforting and challenging, familiar and fantasy. We all have our own definition of what constitutes a challenge as well as what qualifies as basic contentment. (I'm thinking about painting here!)

Painting - we hope - brings restorative zen moments, but it also causes frustration and consternation. When we have trouble getting started its the frustration that looms large! Really, the most satisfying paintings will frustrate and restore. Ya gotta eat the vegetables before you can enjoy dessert.

Recently our painting group was discussing what holds us back, the challenges of getting started and how to establish productive routines. Of course it's different for everyone - we all have other commitments: work, family, etc. Fear of frustration and failure is probably the biggest deterent, until we remember that time spent painting can be the wonderful dessert of life.

What's really cool is when painting becomes your vegetables, your sustenance. That's when you know you're hooked. And of course for me, it's often literally... vegetables.

We're coming into the busy holiday season with all its added responsibilities as well as moments of wonder. My advice is to take it all in, relax and enjoy the cookies... but eat your vegetables to keep you going. It may be harder to find the time, but it's always good for you.

If you're an art enthusiast rather than an art maker, this is a great time to exercise your creativity by finding unique gifts at holiday craft shows and art exhibits. Discovering the perfect piece for someone's life and personality is an exciting adventure. Ridgefield Guild of Artists and Putnam Arts Council both offer holiday gift fantasy worlds in November and December where you can find unique artistic offerings.

Closer to home, my paintings will be at Who's Cooking in Croton Falls through November 26th, including the veggies, Heirloom and Hubbard, above.

The added bonus about stopping by Who's Cooking is being tempted to treat yourself to a great lunch, bring home a gourmet meal for your family or plan a catered holiday event with Russell, whose culinary taste is exquisite. No stress and delicious - the best way to eat your vegetables and enjoy dessert!

Below are some of my paintings on exhibit there. Except the interior with the red chair (second from right) which, I'm thrilled to say, is going to a new home!

There are still lifes, interiors and holiday paintings, as well as some sweet little florals on display.

Add caption

Vintage Sleigh Bells (l) and Santa's Chocolate Shadow (that one cracks me up!)

This month I also delivered a painting to the Oil Painters of America's Eastern Regional show in Annapolis, MD. It was my first acceptance into a show by this prestigious organization and I'm thrilled to be included. The exhibit is at the McBride Gallery right on Main St. and the folks there couldn't have been nicer. The show runs through November 28th, so if you happen to be in the area... or need a road trip to a sweet historic town, stop by. I know you will enjoy it!

McBride Gallery, Annapolis, MD site of OPA's Eastern Regional Exhibit

I hope you have a Happy Halloween with lots of little, smiling faces delighting in the festivities!

WELCOME to all the new readers of my newsletter! If you'd like to look back on earlier posts you can go here to search for subjects, or just browse.

My warmest thanks to all for joining me on my artistic journey!

New art news

2018-09-12T07:44:00.001-04:00

Hey Friends,

Just a quick note to tell you about a few recent and upcoming art events. In northern Westchester, my paintings will be at North Salem's Ruth Keeler Library during September. If there is something you've been wanting to see up-close-and-personal come check it out. The library is on Route 116 along the beautiful Titicus Reservoir. (And if you time it right you can stop by Purdy's Farmer & Fish for a glass of wine on their porch.) The show will be up through September 27.

I also have paintings at the Blanche Ames Mansion National Juried Art Exhibit in North Easton, MA. The reception is September 22, from 7-10pm and all are welcome. This exhibit is held in the mansion of artist, inventor and women's suffragist, Blanche Ames, at her historic home in Borderland State Park. Ames designed the estate herself and it's beautifully furnished as it was when the the family lived there in the 1900s. I'm honored that two of my paintings were juried into this national exhibit which runs from Sept. 18 to October 6.

Closer to home, three paintings are at the Kent Art Association Gallery in the quaint town of Kent, CT. And I'm pleased to say my interior, Come in. Peace, was awarded Best Oil Painting! This show will be up through Columbus Day, October 8th.

I've had a little trouble getting my website updated lately so if there is something you are interested in, please email me and I'll get back to you asap. I'm so grateful to my wonderful collectors who warm my heart with their enthusiasm and support. In fact several of recent pieces were purchased while the paint is still wet! These paintings are going to their new homes soon - once they are dry, varnished and framed!

And finally, I'd like to let you know about a landscape show for another local artist, Maggie Ryan, at the Mahopac Library. If you're interested in landscapes, be sure to check out Maggie's lovely oils and pastels this September during library hours.

Thanks for following me on my art journey!

How important is a personal style in art?

2018-08-26T07:20:00.000-04:00

I think on some level we all want to be unique. Even when we're admiring and aspiring to be as accomplished as someone else, we still want to leave our own mark and have a personal style. At least I hope so.

But personal style can be tough to nail down. Painterly or precise, which way does the needle point? Seems like the thing we are most passionate about should come through without having to really force the issue. When I paint still life that "thing" is realism, hopefully with a touch of a poetry... or maybe humor. It used to trouble me that my interior paintings were less realistic ...and not at all humorous! Does that mean I have no style?!

Turns out what interests me in a still life is different from what interests me in an interior scene. For still life it's about defining and comparing objects and textures in a way that differentiates them or describes their inter-relationship. Interiors are more about atmosphere and mood. Sure, there are textural differences to convey and light and shadow to describe, but in the end it's about communicating the essence of a place, a time of day or even an era. There's a difference in focus more than a difference in style.

I'd been thinking about this a lot lately having just completed this historic Victorian house interior, followed by the very detailed still life of a vintage camera, above. Both paintings were challenging in different ways - which made me realize that difference was a matter of focus, not style. And suddenly it felt just fine. What I don't want to do is to follow the trends of others that don't connect with me.

Coincidentally, I listened to an Oprah Winfrey Master Class podcast recently. These aren't woo woo motivational speeches, but interviews with varied and accomplished artists who also happen to be amazingly humble. The talk with Alicia Keys was especially meaningful at the moment. I was interested in the contrasts within her personality: confident and humble. Even early in her career, she was able to insist on following her own style when record executives knew they could make her a star as a pop artist. But she knew she had a different passion to follow.

Alicia cautioned to avoid molding to the mainstream. "We are all walking a journey that is constantly evolving before us. Plan, but be open to life." Be open to life. Now, that's a plan for enrichment!

In contrast, she also had had a habit of downplaying her hopes as a kind hedge against failure. Then her writing partner challenged her use of self-deprecating, negative phrases like, "with my luck..." or, "that could never happen..." He said if that's what you say, that's how it will be and she realized "the things we say build our road - words have power." So she banned words like "if" and "probably". Alicia Keys is determined and confident. And she also works very hard!

So how does this relate to painting? I think it's important to determine the direction you want to go and really work toward that thing. Stay focused on what feeds your soul without getting distracted by trends that work for others. There is nothing wrong with thinking of artwork as work! The analogy to music is apt - no one expects to pick up a violin and be able to play. It takes work, it's not all about inspiration. (But if you're looking for inspiration try listening to Master Class or Your Creative Push podcasts.)

And finally, Alicia says it's important to stay humble because "that's the only way to continue to become your best. You have to keep an eye on where you've been to appreciate where you are now."

How true. Improving means setting new goals and taking on new challenges. Sometimes you just have to paint a camera with concentric circular lens details! And then go back and look at early attempts at ellipses and circles - hopefully it will be an enlightening comparison!

On the subject of "being open to life" I happened to see a national call for artists to exhibit at the Blanche Ames Mansion in North Easton, MA just one day before the submission deadline and I decided to give it a try. Both the above interior and my trompe l'oeil Noteworthy were accepted! This is my second time exhibiting in a National Historic Site and I'm thrilled.

And now I'm getting to know Blanche Ames: artist, inventor and suffragette! (More on Blanche to come, I'm sure.) And if you're in the area of North Easton, MA stop by. The opening reception is September 22nd.

Below is my painting Noteworthy which will also be in the exhibit.

And last but not least, you can see my work at Ruth Keeler Library in North Salem, NY during the month of September. Stop by and see some of my newer small works.

I hope your summer has been full of great adventures and, as always, thank you for joining me on my artistic journey!

Picking up spice from my palette

2018-06-24T09:45:00.001-04:00

Multi-colored tomatoes from the farmers market at Muscoot were a fitting subject for my first painting of the summer. Colorful and juicy, they whet my appetite as I worked. So maybe that explains why I started to think of my palette as a... spice drawer.

This one was meant to be a return to "alla prima" which essentially means all at once, painting wet into wet. For me, it meant jumping in with brush and paint, not taking the time for a preparatory drawing and transferring it to canvas. But truthfully, it was not "at one go." It took me three days.

For me, alla prima can feel scary - there's no time spent observing the subject while drawing. I tend to rely on the structure of a refined drawing as a road map for what goes where.

My worry was missing the classical technique that I rely on.
My hope was finding a fresher finish for these bright, luscious tomatoes.

Below is a sphere painting that was done as a classical exercise in creating form with light and shadow. A good practice, and it clearly applies to tomatoes!

Correctly articulating how light interacts with an object is what makes it believable as an object in space. Color and texture is what differentiates objects - these are tomatoes not apples.

I found myself dipping into piles of paint thinking, "too dull, it needs a bit more spice." Experimenting like we do in cooking. But you can only ad lib a recipe if you have some experience and know the benefits of cumin or cayenne.

In studying color we talked about saturation (vibrancy) and how to soften (neutralize) a color. Sorting through which reds, for example, were warmer or cooler, vibrant or dull. All of that was in my repertoire as I dipped my brush, finding ways to match the reds of different tomatoes.

Some artists soften the vibrancy of a color by adding it's compliment, like purple to tone down yellow, but I was taught to look for the closest color on the color wheel, moving in the direction needed. So, maybe neutralize cadmium red with some yellow ochre. Nothing dramatic, it's the beauty of subtlety. Just like cooking, this process draws on prior knowledge. When is it best to sweeten with sugar or honey or molasses.

In the end the tomatoes look pretty fresh, I think. And it was slowing down just enough to observe and use classical techniques that got me there. That, and studying with Todd Casey and many hours at the easel!

There's a two-day workshop coming up with Todd. If you'd like to learn this approach to painting check in with Todd (toddmcasey@gmail.com).

Details are -

July 21 & 22
10am to 4pm (30 min break for lunch)
$250 for two days

Topic covered include -

Proper Lighting
Constructing Form
Light & Shadow
Transferring a Drawing
Value & Color
Edges
Working a narrative into your painting

It's such an enjoyable and informative artistic experience.

Meanwhile, Happy Summer and thanks for joining me on my art journey.

Gathered Realism at Muscoot Farm Manor House Gallery

2018-06-02T11:06:00.000-04:00

Hi Friends,

This is a quick note to remind folks that our group art exhibit Gathered Realism begins TODAY at the Muscoot Farm Manor House Gallery.

This exhibition is a collection of realistic artwork by artists who have all studied classical methods of painting with Todd Casey. The goal in painting Realism is making paintings that realistically represent identifiable objects from life. So... painting stuff that actually looks like stuff!

Come by to see how our artists have interpreted their artistic interest in Realism. Each artist's personal touch adds a poetic individualism to their work, rather than creating hyper-realistic copies.

Subjects range from classical still life compositions to floral, landscape and portraiture. There's even a Death Star! (which can happen when you master painting spheres)

My paintings below were actually exercises in painting objects with a narrow range of chroma, in preparation for a white-on-white cast drawing (the one I seem to talk about more than work on).

We all have an appreciation for the classical atelier method and would love to chat about it with you so come on by!

Lastly, we've been invited to open early on Sundays to coincide with the Farmer's Market shoppers. But, if you plan to come early on Sunday morning please email me to make sure we have been able to cover those hours. I will definitely be there at 10 tomorrow June 3.

Hope to see you!

New Paintings, new experiences

2018-05-21T08:42:00.001-04:00

They say it's spring. And I guess we can tell by the torrents of rain, but other than that, signs of spring have been disappointing. Take heart: the real proof of spring is the art shows and fairs that are beginning to pop up.

I'm very pleased to have several paintings in recent and upcoming exhibits. My cheeky painting Chick Please was in the Salmagundi Club's Spring show in April & May.

Ticket to Ride was juried into the Allied Artists of America associates online exhibit. This painting, I'm happy, to say was purchased in the fall, so an online exhibit was a good way to show it. The entire exhibit can be seen here.

I've been playing with gargoyles lately and this new painting, A Congress of Characters, will be in the Hudson Valley Artists Association exhibit at the Lyme Art Center this June. It's only the second time I've had work accepted by this prestigious group (they seem to like my quirkier subjects). I'm looking forward to re-visiting beautiful Old Lyme.

Two paintings are on exhibit at Ridgefield Guild of Artists through June 24th: a small still life At the Opera and my classic trompe l'oeil painting Noteworthy. You can read more about this painting and trompe l'oeil in an earlier blog post.

The most exciting and unusual place my work is hanging is in the historic home of artist Julian Alden Weir in Wilton, CT. Last May, as Artist in Residence, I painted six interior scenes of the artist's home. (read more about that here) After my residency, Weir Farm purchased all six paintings and I was thrilled to learn that they are now on display in Weir's house at this National Historic Site.

I love that wild blue William Morris-esque wallpaper and one of my paintings is the view from that bedroom into the hall with a bust of Weir backlit in the window. The painting is now hanging over the bed and if you stand at the foot of the bed in front of the painting and look left, you see the same view. Very cool.

Below left is the view from the bedroom. Center is the bedroom where my work is hanging and hanging over the bed is the view at left. On the right is my painting of that hallway view.

Weir farm is a wonderful place to visit for nature and artistic inspiration. And now you can take a peak at my artwork when you tour the house (let me know what you hear, because I've never been part of a historic house tour before!!!)

And lastly... I'm pleased to announce a group exhibit that I'm helping to organize at Muscoot Farm this June featuring representational paintings by students of Todd Casey. All are studying traditional methods of painting to create realistic and poetic images of objects from life. The exhibit is open on weekends and I hope you will stop by during June to see what we are all up to.

Thank you for joining me on my artistic journey. Hope to see you at Muscoot!

Working through some classical exercises

2018-04-02T22:53:00.001-04:00

I was born a few hundred years too late, or about 40 years too soon, because the classical art training I coveted wasn't available - or accessible to me, at any rate - in my college years. So I've set myself the task of working through some of the elements that might have been part of a more classical, fine art education.

This artful bucket-list includes painting genres that feel essential to an old world, fine art background. The most recent challenge pulled from the bucket was a vanitas painting. Vanitas paintings have to do with the transience of life. They are as old as Rembrandt and were very popular in the Netherlands in the 1700s. This one is by Karel van der Pluym, a student of Rembrandt's and it seems to fit his penchant for imbuing mystery and moodiness into his subjects.

by Karel van der Pluym, a student of Rembrandt

Vanitas paintings are not cheerful. Mortality is implied with symbolism galore - from skulls to snuffed candles - with a side helping of guilt-inducing luxury or sinful, secular pleasures. Fun times!

Still, I've felt compelled to tackle this genre. But vanitas motifs are almost exclusively male which didn't excite me and I didn't have a skull to paint (that's OK because they're super creepy tucked in a dark corner of the studio). So it was fortuitous - and a tad freaky - to find an old, peeling, babydoll's head to stand in for a skull. Thus, my "vanitas maternitas" was underway.

What was meant to be a generically female-themed vanitas became more personal as many of the objects either belonged to my mother or reminded me of her personal items from years past. Gloves, compact, pearls, playing cards - all brought this painting very close to home.

This piece was emotionally wrenching and took far longer to paint than any other. After the composition was underway, my mother's health began to fail and the theme of mortality was all too real. Eventually the composition became a personal touchstone to commemorate motherhood, as it included a photo of my mother before she married and me as the baby in the highchair. On the dice the numbers 5 and 2 represent my mother's five girls and two boys. (Coincidentally, the "5" is in shadow and the "2" in light - just a fact, no judgement). The book under the doll head is, I swear, a vintage Encyclopedia of Mother's Advice, chosen for size and color before noticing the title!

I don't know if this painting will resonate with anyone other than me. And it doesn't really matter. What started as a classical challenge became something of a soul searching journey. It sat for months, unfinished, in the studio after my mother died. I hoped, eventually it would feel right to work on it again and I'm glad I got to that point. When I look at it now, sometimes I sigh, sometimes I'm sort of proud and sometimes I just feel at peace.

"Painting is silent poetry and poetry is painting that speaks."

- Plutarch

The next art bucket challenge is a cast drawing. My subject is the head of a bearded old man, purported to be Saint Andrew. Like all good challenges, it's kicking my butt. But I WILL get it done. More on that in a future newsletter.

Peace to you all, my friends.

Violet Oakley and Inspiration or Imitation

2018-03-08T08:04:00.001-05:00

In honor of women’s history month I'd like to "introduce" Violet Oakley who I rediscovered at the Woodmere Museum’s exhibit "A Grand Vision: Violet Oakley and the American Renaissance” this fall. Oakley was an artist working during the Golden Age of Illustration when so many beautiful posters and children’s books were published. I've always admired these books, from Mother Goose to Last of the Mohicans. But I wasn’t aware of the professionalism and scale of Violet Oakley's illustration. This exhibit focused on her grand murals including the studies and research that went into creating them.

Along with fellow artists Elizabeth Shippen Green and Jessie Wilcox Smith, Oakley had studied with renowned illustrator Howard Pyle (who also taught N.C. Wyeth). Pyle admired the talent and accomplishments of the women. That’s great. But, he referred to them as the Red Rose Girls - and that name sort of set the hairs up on the back of my neck! Turns out it wasn't as sexist as it sounds, the name came from the Red Rose Inn where the three women lived. (Were there any Red Rose Boys? No, certainly not.)

Oakley also studied with Cecelia Beaux, one of America's earliest professional female artists. While she admired and was influenced by the style of the Pre-Raphaelite Brotherhood painters, she developed her own themes of peace, equality and justice.

The Pre-Raphaelite influence is evident in Oakley's women.

Violet had her work cut out for her. Not only was she a woman working as a professional artist in a man's world, but, due to her father's disability she was the sole support for her family at an early age. Fortunately illustration was at its peak and not yet suffering the stigma of "mere commercialism" that denigrated this art form in later years.

Painted for the Pennsylvania Senate Chamber.

Oakley's creative ability and professionalism led her to seek large commissions. She was the first woman chosen to execute grand murals for civic buildings, including the Pennsylvania’s Governor’s Reception Room which she painted at age 28. Her large, historical allegories are on the scale of Sargent’s murals in the Boston Public Library and Sorolla’s paintings at the Hispanic Society in New York. Moreover, when she was asked to step in to finish an important state project upon the death of artist Edwin August Abbey, she demanded - and got! - equal pay for her work. Unheard of then, and rare even now.

Whatever the subject, she found a way to render her passion for humanity, equality and peace into the scene. At the end of World War I Oakley became interested in the League of Nations and took it upon herself to document these peacemakers by making sensitive portraits of the delegates, many of which were on exhibit at Woodmere.

Drawings of UN delegates reflect Oakley's interest in peace

Oakley did a lot of research and spent a great deal of time setting up varied compositions. The exhibit showed multiple iterations of some compositions - an interesting insight into her process. While mastering the power and majesty of historical allegories with such themes as Peace and Unity, Love and Wisdom, and Divine Law, Oakley also sensitively portrayed essential human attributes of tender care between individuals, especially mother and child, as in these paintings. Life, full circle.

Part of Oakley's Youth in Art series for a private residence

The Pearls, 1911

So, how will Oakley's paintings influence me. First, I love the style of her compositions, from the art nouveau-like figures in their theatrical poses to her patterned borders reminiscent of illustrated storybooks. And her sensitive, elegant lines are breathtaking. There’s a geometry to her murals and stained glass that adds strength and character to grand history paintings. But I’m not a figurative painter so I won't be emulating her style in a literal way. Inspiration is not imitation.

My inspiration might be to pay homage to the manner in which she stages people creating sensitive interaction. Oakley’s subjects were often renowned figures - and mine are often pottery and vegetables! But still, I hope to capture that essence just a little. Plus, observing the hierarchy of color and value in her compositions is a reminder to use those elements to move the viewer's eye through the painting to grasp the full story.

It's a good idea to figure out what it is about a particular artist that inspires and then perhaps add a touch of that aspect within the scope of your own work. Otherwise you run the risk of being a shallow version of the artist you admire. We all have our own voice. Be inspired. Don't imitate.

In addition to the work itself, I admire Violet Oakley for her conscientious commitment to being a professional artist. She made no excuses and had every expectation that she would be treated as an equal. She did a tremendous amount of research and preparation for every project she undertook – all of which added to the emotional impact of her paintings. There are no shortcuts for master work!

Oakley's study for Youth and Art with grid overlay for transfer

Since this is National Women’s History month, it’s important to note the barriers that Violet Oakley transcended. News about her acquiring the important Pennsylvania civic commissions headlined the fact that “a woman” got the job (her name was only mentioned in the subtext). There was surprise – and doubt – that a woman would have the strength of body or mind to execute a series of large, important historic murals. Not only did she execute these massive murals onsite, on scaffolding, she did it in a long dress!

In interviews about this accomplishment Oakley said she got the work not because she was a woman, but because she could do it. It was pointed out that there is no “masculine mind” any more than there is a masculine liver.

Violet Oakley was clear on her ability as an artist and her rights as a human being. She stayed focused on what she aspired to achieve and did the work necessary to fulfill her dreams. That is what inspired me most about this incredible artist. No excuses. Just get it done. Not quite as easy as it sounds.

You can read more about Violet Oakley on the Woodmere Museum exhibit page.

Thanks for joining me on my artistic journey.

Just for fun... here's some of my research for this post -

Goals and resolutions

2018-01-08T08:56:00.003-05:00

Hard to believe we're a week into the New Year already. Did you make any resolutions? I guess most have to do with health and happiness. Super good goals, hard to quantify. What about art goals? If you're an artist, your art career needs to be healthy to make you happy. And if you're a collector... find art that makes you smile!

Some of my past goals have included tackling new subjects, showing in new venues, joining new arts organizations, attending workshops, tracking of artwork and sales better and painting more! Generally, focusing on becoming more professional. This year I'm thinking of doing a related series of paintings, but I haven't quite figured out what the theme will be.

I've already accomplished one goal (more of a to-do list item) - reorganizing my studio, with Todd Casey in preparation for his workshop. Amazingly, it really didn't take that long. Funny how true that is for many projects I procrastinate about. My studio looks so much bigger, so open! Such a worthwhile effort.

If you're into making art goals, an important one is to set up and maintain a website. This was reiterated time and again in marketing sessions at the Figurative Art Convention this fall. When someone has seen your work and been intrigued by your style or subject matter, your website gives them an opportunity to check out new pieces, peruse your body of work, become familiar with individual paintings and get to know you better as an artist. Here's the artwork page on my website as an example.

Setting up a website is not as daunting as it might seem. I'm no expert and don't even know the terminology well enough to explain it all, but I encourage you learn and get your work online. There are many website hosts that are reasonably priced and easy to maintain and edit yourself: Wix, GoDaddy and Network Solutions are three that I've tried. I started with Network Solutions but left because of problems with features I specifically wanted. So I moved to GoDaddy, which is where my website is now. Their customer service has been very helpful whenever I needed them. Wix is another host that I used for an organization I'm in. It has nice design options and was easy to work on.

Ease of editing is not just a stress reducer, it's a money saver. You need to be able to update your website yourself in a timely and accurate manner - and not have to pay someone to do it. You don't have to be tech savvy to use Wix or GoDaddy. Honestly. I'm certainly not! Do some research, make some calls, ask a lot of questions and get started.

And here's why. In the last few weeks several paintings were purchased from my website after buyers had seen them elsewhere. They didn't make the purchase at the time, but kept thinking about it, revisited the work online, then decided to make it their own. With an online presence folks interested in your work have another opportunity to fall in love with it.

The other reason to have your own art website is that it's what professional artists do. Even if you show in a gallery, buyers expect you will have a website. They will stand in front of a piece they like and google your website to see what else they might love. And galleries want you to have that breadth of exposure and professionalism. Of course you must always abide by your gallery agreement in terms of pricing and sales. It's only fair since they brought your work to the collector's attention.

These are the paintings that were recently purchased from my website. In each case the buyer had seen the work somewhere previously, but was not yet ready to buy. Also, my website has additional information, like what the painting means to me or how the composition evolved. Collectors like to know the story behind a painting.

Meanwhile, while researching the technical aspects of hosting, etc., start gathering the content needed: a brief bio, resumé with exhibitions and awards, education, affiliations, organizations as well as any interesting news, publications or press. You will also need decent photos of your work: no frames and no glare. It does sound like a lot, but most of it is material you may have gathered for shows already.

The thing we really don't want to tackle is the technical part. It may be unfamiliar territory, but believe me, you have done more difficult things in your life! I was at the Apple store in a workshop for new users with a woman who was grappling with iphotos. She was clearly unhappy and feeling incapable. Then the tech guru said, "don't worry, it's not like it's a heart & lung machine" and she sat up and said, "Oh! I can do that!" She was an operating room nurse and he had unwittingly put it in perspective for her. Basically, if you've learned to drive a car, you can handle a website.

Get to it! And in the words of Dr. Suess, "Oh the places you'll go!"

Have a beautiful and creative 2018!

Thanks for joining me on my art journey.