Tuesday, March 31, 2009

Lucky Hats

   I normally don't do specific paintings for specific shows... I find it can be distracting... but when one of our local art groups decided to do a Pop Art show for its members, I thought it would be a good chance to step outside of myself and see what could happen.
  Lucky Hats, a 40x16, oil/canvas, is a nod to the style of one of my favorite painters, Wayne Thiebaud... whose early works of commercial items of mass culture, including his paintings of cakes and pies, are associated with the Pop movement. I kept in mind Thiebaud's use of strong and definite shadows, bold color and loaded brushstrokes, while making sure my own interest in reflected light played true. It may not be apparent in the photo here, but there are a few edges that have a touch of the glow I am after in some of my recent paintings, as well. Maybe I didn't step completely outside of myself with Lucky Hats, but far enough for a learning experience. I am pretty sure there are no soup cans in my near future, but cowboys hats... heck yeah!

Sunday, March 22, 2009

Red Cabbage


This 8x6, oil/linen panel was an exercise in getting the brilliant colors of the red cabbage before it became cole slaw for lunch today. I used several reds to get there... Quinacridone, Cad Red Medium, and a little Alizaron Crimson, but I think it was the rogue and long forgotten tube of Magenta that made the difference. I must think about bringing it into my pallette more often.

Thursday, March 12, 2009

Shadow Dancing


With this 6.5x15.5, oil/linen panel, I chose to revisit the subject matter of a previous painting, but in a different format with a few changes. I have also changed my palette a bit since the earlier painting and this version reflects some of those additions/substitutions. The "new" colors I am using include Prussian Blue, Cadmium Red Light, Quinacridone Red, Terra Rosa (all Gamblin), and Winsor Newton's Green Gold. The Green Gold has been an interesting color to use, especially when mixed with a little Cad Red Light.  Here, this mixture is in the shadowed palm fronds and was used as an underpainting in the foreground.( There is no Terra Rosa in this painting, I use it mainly when working on flesh tones.) I am also finding variations of this mixture useful in flesh tones... it seems to give a radiance I felt was missing before. Oh yeah, sorry about the title of this one.. it's a little quirky even for my standards.

Tuesday, March 10, 2009