Once again we celebrate our respective holidays – gatherings of family, joy, peace – or not! And once again, I’ve reworked this painting! I’ve been at it off and on for 4 years now. Recently, I even sanded down much of the bottom and lower right. I sanded back to the white of the panel. Notice how lustrous those grapes look on the right side. Painting layers of transparent color over a white board gives you the brightest most intense and reflective translucent color. Applying opaque colors is beautiful also – it just depends on the look you want to achieve. I added the bit of cloth and fringe. The bit of white livens the painting over all. I wanted to leave the foliage loose and abstract, though it received a touch up as well.
I can still remember the moment I photographed the lady in the window. She saw me looking at her. I motioned to the camera and looked back up at her – my way of asking permission. I remember that moment of connection with her. She nodded yes, gave me a warm smile – even waved. I wanted “the wave” in the painting but her arm and hand were positioned so awkwardly – I couldn’t make it work.
Below: This is a first time I painted a barn, trees, a field of grass. It was fun. I enjoyed it so much in fact, I painted it twice!
I didn’t like the trees I painted initially so I sanded down that part of my painting. I used an electric sanding machine rather than a sanding block – I was aggressive. I was pleasantly surprised when my trees were were immediately simplified and had a level of abstraction. Artist frequently say that removing paint is as important as putting it on. This is an example and I need to employ this as a technique more often rather than as a last resort. In 2022, my only resolution will be to sand off more paint.
I wishing you the best during this holiday season. Winifred
It’s been years since I photographed this beautiful and dramatic ballerina in my garden. I love the animated and graceful hands, and the tilt of the head. I always saw her as a butterfly and the words I used to title this come to me whenever I see this image. I worked with very limited range of colors in this painting, as opposed to the reference image colors of intense greens in the garden and the red of her attire and garden flowers in the background. These colors are subdued and unusual for me but prevent the distraction of colors too bright and saturated when I wanted to express delicacy.
Below: There is Greek Mythology that speaks to half man/half horse. I know nothing about it actually, but that doesn’t keep me from making an effort toward the artistic concept.
I took a photo of a friend. It was one of those perfect photos in its emotion, lighting, design, impact – everything. I didn’t feel I could improve on it by painting it in a conservative way, so I decided to just play and experiment; I proceeded.
I selected a panel to paint on which already had a painting on it. The colors were intense – turquoise, deep yellows, orange – you get the drift. I sanded it to smooth it a bit. Selecting a panel with a prior painting on it positions that painting to be an underlying paint layer. This allows that color to come through from time to time, creating color variation which otherwise would not occur. This can work well, creating some nice color surprises. I started by painting his eyes. They are distinctive and very emotional eyes – much like puppy dog eyes. Then I started to apply animated and colorful brushstrokes. Even with all the crazy brushwork and color applied, I noticed that the eyes remained dominant. When I finally stopped, I felt uncertain. I sat it aside and looked at it from time to time. It grew on me. It is colorful, energetic and unusual. The figure is recognizable to its owners and they love it. It’s those eyes! The painted image made me think of the Greek Mythology images of half man/half horse, which we’ve all seen – referred to as Centaurs and Chiron.
Well, I thoroughly enjoyed creating both paintings. It’s pretty apparent I enjoy painting in wildly diverse manners. These are pretty much complete opposites.
I wish you and your family a HEALTHY holiday season. I hope you’re vaccinated and wearing a mask. Happy Holidays, Winifred
I’ve had an eye on this image to paint for quite a few years now. It’s a full body photo with lots of outdoor space around her and cold gray skies. I hadn’t decided how I wanted to handle the design or painting of the environment. Finally I decided to just crop it. That’s where the story is anyway and the crop made the painting stronger. It was my fasted portrait painting ever. I would like to think it was so much faster because I’m so much better, but the truth is that when there are no eyes to paint no ears to paint, and overall very little in the way of a face to paint – the painting is so much easier to complete.
You might wonder why I am showing the painting in such a skewed manner. I didn’t really want to but I’ve been affected by something that happened recently. Essentially, I was contacted by a woman in Philadelphia – across the country from where I live, who let me know that she saw one of my images framed and on the wall of a restaurant in a town near her and was interested in this print. My name was on it she said and she searched for me. I was confused. I had not sold any such painting or print to anyone on the East coast. In fact, I don’t sell prints. Ultimately, I came to understand that someone took a posted image printed it, framed it and put it in the restaurant. It’s pretty hard to keep this from happening. I thought that if I skew my images a bit, that might dissuade a few people from stealing, but probably not. I knew you could still see and appreciate the painting even posted in this distorted fashion. Please let me know if that is not the case.
Below is the image that ended up on the restaurant wall. I like it also. They are so cute! It’s one of my very first oil paintings 4 1/2 years ago. I remember so well taking the photo reference while in Italy. Perhaps I should have skewed it in this post!
Well, that’s my story. Have a great weekend. Winifred
I was walking in Greenwich Village, New York a few years ago when I spotted a young man photographing his client.This photographer had, an interesting and creative lock hair style. I wanted to photograph him. He was working but I was hopeful he would allow a brief intrusion – just a couple shots of him. He smiled and permitted me to do so. I attempted this painting once before, in color and in a more conventional style. Ultimately, I didn’t like it and sanded it down to reuse the panel. That was probably 4 years ago. This is a new version. So far, I’m liking it, though as always, I’m always prone to make changes.
I’ve shied away from the complexity of painting the brick wall and netting she is draped in for long enough. It was actually challenging but interesting to do. Now I can stop looking at that photo and wondering if I would ever paint it. I took the photo of this model more than 10 years ago. It’s also interesting that I described the complexity of painting the background elements and attire before even thinking about the models face. I call that progress!
Not sure where you are but it’s now dark at 5p.m where I live in Poulsbo, WA. We’ve had a rainy week and a tornado watch as well. I’m so glad I love painting. I’m never at a loss as to how to spend my day. Hope your life goes well wherever you are. Winifred
Have you seen her before? The last time you saw this lovely lady she had her hands covering her face. No wonder you don’t recognize her!
With her bone structure and the way light graces her face, I thought I should uncover it for this painting. Throughout the summer at a certain time of the morning, I would often observe light coming through a certain window and think ” I must capture a portrait in this light”. On a certain day, I had that opportunity. One only has to “see” the light and recognize it’s potential. I had no idea what an important role my dramatic portrait photography would play in my portrait paintings. It’s also a good thing I enjoy costume design via paint. She was wearing a little black tee with sunflowers but I decided to create her as more regal.
Below, is the previous portrait I posted – her hands covering her face. I really like the painting but wanted to show her face as well. Hope you enjoy both. Winifred
I love the light and her serene expression. Overall, I enjoy the warm and calm emotion of it. Reference image provided by Tim Ichien. Knowing myself, this painting is not finished but it is the completed part of the first phase of the painting. That’s just the way the painting process goes. It takes time over time.
In the not to distant future I’ll show you why I’ve been so distracted from my post, but I did manage to finish this painting which I like quite a lot. I forgot to photograph this painting before framing it but that’s okay. This ends or at lease puts a pause in my Guatemalan series of paintings. It was fun. Thanks to Daphne and Art Carlyle for the reference photos. Hope everyone is enjoying their Spring/Summer. I certainly am. Winifred
There was no abstraction in the photo reference. It was a normal street scene with a building in the background, a door, a window, a street and a curb. Originally I painted this. The photo was interesting, but in the painting those street/building elements were not working design wise as I had painted them. I decided it would be a better choice to eliminate them. I wiped those elements from my panel, leaving some rough drying brush marks and the color changes I’d made to the background. It turned out the removed elements had not been essential to my focus – the woman carrying the load on her head. I added some additional brushstrokes to enhance the abstraction, the painting was was done and I liked it. Quite by accident I’d created an urban street scene abstraction or what might remind me sadly of war torn Gaza as a background. (Photo reference by Daphne and Art Carlyle).
There will be one more painting from a Guatemalan photo reference and I’ll be done with that series. It will be a man.
I enjoyed creating this painting – even re imagining various of from the photo. I loved the photo also, however. It was taken in 2014 by Art and Daphne Carlye during their travel. I have used their photos before but I feel that I’m just getting started. The original photo included 3 Guatemalan women at a flower market – no apples – the basket was empty and there was an empty blue bucket as well, and a different arrangement of the flowers. Initially, I thought I might paint all three women in the same painting and some day I might. At this time, that was just more painting than I wanted to do.
Before I did the figurative painting above, I painted the pears below – just to push and pull some paint around in a certain way with my paint brush. Can you see it?
There are so many ways to “make marks” on a canvas and it is important to pay attention to and to master a wide range of possibilities which allows my painting to be versatile.
There are too frequently weeks when I certainly I paint, but emotionally I cannot post because it feels so trivial to talk about painting in the midst of all the acts of hate, violence and racism which we all see constantly. I feel so inundated by it. Some day, I will create art which speaks back and at that time I will feel my art has a meaningful purpose. Right now, I’m just building skills.
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