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Marble Top, 3 x 3" o/c...
At one time I considered doing a small line of these mini's on little easels. And I theoretically could have been that industrious--but tiny isn't really doing it for me. In fact, for next year I'm thinking of not allowing myself to do anything smaller than 16 x 20. It's time to think big.

Persimmon Pot; 7 x 7" o/c...
For people who grew up in the Depression, I imagine spending money on artwork was an indulgence many avoided and never allowed themselves even after times improved. Now enmeshed in the art world, surrounded by painters, I think we often forget this is still the case for perhaps the majority of people. As Jack White has said, art is a “want”, not a “need.” Yet in spite of this, we live in a time when painters seem more prolific than ever and more people of ordinary means find owning original art important enough to spend a little money on it.

Once in awhile I "re-realize" and contemplate growing up in a house without a single painting on the walls. True, the house itself was a work of art. Designed by a relative who was a talented architect, it had large, back-to-back, family/living room fireplaces of native granite, hand rubbed birch paneling and doors, and a contemporary color scheme. The kitchen/dining/family room had recessed lighting above a deep purple “light deck”, and the floor was orange linoleum flecked with black and white. Plaster walls were lavender or turquoise--but nothing in a frame hung on them.

Maybe this is part of the reason I have always had so much trouble pricing my work and can never quite believe or get over the kick of people actually wanting to buy it. I am grateful to live in a time and place with the privilege of being able to paint—and for my buyers.

Cracked Open; 9 x 12; oil on panel
Although another larger piece is on the easel, today I felt the need to paint something I could finish in one session. I painted my first egg way back in art school for a design assignment titled "The Container and the Contained." If not the most brilliant idea, mine was at least completely original at the time. Ironic that eggs have since become a rather popular subject in the daily painting movement. It's also kind of interesting to compare one's treatment of the same subject over a long period of time. This one is slightly freer than the watercolor egg in my blog header, but I'd like it to be far looser.

"Don't let the noise of others' opinions drown out your own inner voice. And most important, have the courage to follow your heart and intuition. They somehow already know what you truly want to become. Everything else is secondary...Remembering that I'll be dead soon is the most important tool I've ever encountered to help me make the big choices in life. Because almost everything--all external expectations, all pride, all fear of embarrassment or failure--these things just fall away in the face of death, leaving only what is truly important."--Steve Jobs, 2005 Stanford University commencement address

Pretty good advice for artists of all types on this sad day, I think.

The Container and the Contained, 1978; watercolor, 13.5" x 12"

Dollars and Copper, 16 x 19" o/c
This brass and copper teapot is the other little item I got on my mini-splurge at the antiques mall a few weeks ago. I love the shape and the warm tones of the copper--one of my favorite things to paint. The tall, elegantly shaped mauve vase was another thrift shop find, cracked and on sale for $1.

Lavender Roses, 16 x 16" o/c
To encourage students, Craig Nelson has said, "There are no bad paintings, only unfinished paintings." This painting was quite "unfinished" when I left it. I've pretty much re-painted it, but, as usual, am not at all objective yet in judging whether it's a success or a failure. As always, it will have better color when I can scan.

Even though I had completed school and been illustrating for a dozen years when I attended my first workshop with Craig in 1994 (with no idea what I was doing there), I consider him my first painting teacher; because while some illustration certainly can achieve the level of art, most of it is not painting as I have come to understand and aspire to do it.

Surrounded by natural beauty, I grew up in a home and community with virtually no artwork in sight. A couple of primary and secondary classes gave us the chance to dabble in graphite, charcoal and watercolor; but as far as I remember, unlike many of my painter friends who were exposed to art, art history, and even painting instruction at an early age, I spent no time studying or even seeing any of the world's great paintings. I was late to the party and have been playing catch-up ever since. I had a great childhood with many advantages, so this is neither an excuse nor a lament, merely a recognition of what is. How it explains the source of my desire to paint or where it may be going, I can not say. To paraphrase R. F. Coleman, whose books I'm currently devouring, a recounting of my art career reads like a recipe for hot water: nothing to it. I am still an early work-in-progress.

Untitled, 12 x 12" acrylic & oil on canvasboard
I'm a little tired of how dark and/or contrast-y my paintings often are, so thought I'd try something a little different. I painted a splotchy, drippy acrylic ground, used it as a background for photos of some thrift shop bottles and spent hydrangeas, then replaced the board with a similar colored drape (I like to look at both the set-up and my photos) and painted on the board. I covered up more of it than I wanted to, but some of the texture still shows. Haven't decided how I feel about it yet. It's still pretty contrasty, but the color was kind of fun.

After taking longer than planned to finish this thing--as usual--I finally sat down to post and found that Google had "updated" Blogger's upload editor--to one that DOESN'T FREAKING WORK with my Firefox browser. I searched some forums for help and fortunately was able to switch back to the old editor. Why, Blogger? Everything was working just fine, and I really don't have the patience.

Yeah, I'm just a little tense. As well as the Vino de'Art event in Auburn on September 10, I suddenly have both the art tour and a little show in Sacramento scheduled in November. So I'm starting the afterburners and doing whatever it takes to get inspired. Found some fun props at the antique mall last week and plan to use another textured acrylic ground for the next painting featuring the old fan.

Mountain Retreat, 10 x 10" o/c
This "faux plein air" (painted from a photo) was the most successful of the three pieces I did at last week's workshop. The other two, painted from life, are below. In spite an accident that nearly destroyed my French easel on Day 1 and contracting a cold on Day 2--which fortunately did not get nasty until the last day--I enjoyed the beautiful mountain setting and getting some insights into how the other illustrator/painters work. I also left with a little more confidence in my own developing style and ability.

I have just returned from being away for two more weeks, with another load of inherited "stuff" to add to the pile that needs organizing and putting away. Hopefully I will be able to stay home and work on that and some painting for a good long while now. A small show at Latitudes in Auburn has been scheduled for August. Never a dull moment.

Cowboy, 14 x 18" o/c

Earthy Crocks, 11 x 14" o/c

Had to do something 180 degrees from the red and black stuff. I'm not keen on showing my work-in-progress messes, but it's either this initial lay-in of a painting that ultimately may or may not work out--or nothing. I'm not moving too fast, either: my arrangement of our lavender roses--already at the end of their bloom--totally wilted before I even started painting. So I cut another one for color, and will have to rely on my photo for the rest--though maybe a whole new crop will bloom before I get around to finishing.

I attended the preview party for the 20-20 Show last night and was stunned to find the first place ribbon on the wall next to my collection. I'm sure it was a factor in selling five of the paintings, so I am doubly pleased. Hoping for a few more sales at tomorrow night's Second Saturday event and throughout the run of the show. And that will be about enough partying for me for awhile.

One Down; Black, White & Red series; 8 x 8" oil on canvas panel ...

Tight enough? I am not proud, but it was the default approach for this subject. This is actually a vintage bottle in a new carton, with some artistic license taken.

Also, I had to be a "squeaky wheel" today--always my favorite pastime.

Red Velvet Cupcake, 8 x 8" oil on canvas panel; Black, White & Red series...

Mwah, haa, haa.

Tomato Sundae, Blk & Wht + Red series; 8x8" oil on canvas panel

I have renewed respect for the daily painters, some of whom have been churning out a finished 5-6" painting every day for years. Maybe I'm getting a little faster; but unlike many of them, I do not whip these out in an hour and then move on to larger paintings for the rest of the day. Speed has never been my strong suit. If I manage to set up and complete one of these in a day, then plan and start the next one, that's about it for me! I don't know if I'll ever work any faster.

Pssssst!, Black, White & Red series #9, 8x8" oil on canvas panel

As usual, better reproduction coming tomorrow.

Although it's invisible, I have Statcounter installed on this blog. I don't show it, because in comparison to a lot of other blogs, my hit count is embarrassingly low. Having even a few regular readers already stresses me out; so, although I do check a number of other blogs frequently, I don't often comment or do much to actively promote my own.

Anyway, if you have Statcounter, you know it records the daily number of unique visits, repeat visits, the referring URL (if any), and the general part of the country from which visitors come. But unless people comment, in most cases it is impossible to know visitors' identities. I can identify some of my facebook friends, because that group is also small! But when I get repeat visits from someone in, for example, Roseville, Sacramento, Houston, etc., and it's not someone I can guess, it makes me intensely curious to know who is interested enough to check back regularly. So if you are one of those, and you'd like to satisfy my curiosity, please say, "Hey!" I'll try to return the favor.

Tulip Shadows (revised); Blk & Wht + Red #8, 8x8" oil on canvas panel

Thereby proving to herself that if the values are right, the color is pretty flexible. Which means you can play with it. Does it still fit with the others? I don't know. I don't care--it's better.

Tulip Shadows, Blk & Wht + Red #8, 8 x 8" oil on hardwood canvas panel

Hmm, in the light of day, this one looks so much browner to me than it did last night. To put it another way, why do the lights look so much duller, the reds so much less red. etc? What was I thinking? Oh, yeah, I remember. Instead of "Get it right," I was thinking "Get it done." So for that, I get to "do it again." I'm hearing Hatfield in my head--"Which primary color is it? Nothing with a hyphen or an "ish". "Figure out the values." Needs more pure color, flowers and pitcher are too picky & need to be more simplified. Argh. I know these things, why do I not do them? Guess I'll give it the once-over this morning and re-post tonight.

Open and Shut, Blk & Wht + Red #7, 8 x 8" oil on canvas panel

As usual, a more accurate scan will post tomorrow. Otherwise, tonight I am a woman of few words.

Cracked Up, B & W+ Red #5, 8 x 8" oil on canvas panel
This will be more accurate tomorrow, when I can scan it.

One of the greatest things about painting instead of illustrating is having control over what, when and how I paint. Absolutely love it. One of the hardest things is periodically being assailed by doubt about whether it's "worth" the effort--about whether I'm too old, too slow, too amateur, too ... you know.

The age question really bugs me. Reading a recent post on Fine Art Views documenting sexism and ageism in the art world didn't help. One of my grandmothers was paranoid about age (among other things) to the point of refusing, at age 51, to be called "Grandma". When I was growing up, being compared to her usually was not a compliment. Something of a pessimist, she was fond of saying, "Life's just one damn thing after another." We used to joke about that but now realize that, to a great extent, she probably was right. As well, I have come to better understand her fear of being perceived as old--of not being taken seriously, of being marginalized, and ultimately of losing control. I've also realized for some time that being in control of anything is largely an illusion, so I'm working through it.

Grapes in a Square Bowl; #2 of 8x8" black & red series
I am so grateful to be back home. Painting has resumed, if only for a few days.

Lean on Me, 8 x 8" o/c
I did this with the idea of entering it in a show in which artists will submit 24 8 x 8" thematically related pieces. The idea of choosing and confining myself to some parameters appeals to me right now. Rather than choosing a theme based on subject, I decided basing it on color might make a dramatic and unified presentation. My plan involves compositions of subjects that are black, white and red, but painted with a full palette (and almost no actual black). Even though I have a lot of ideas, in the early stages of this first one I was discouraged, uncertain and thought I might have made a huge mistake in thinking I could pull it off--especially 23 more times. But thanks partly to Hatfield teaching me not to fear mud, and I ended up kind of liking it. Keeping a consistent style may be a challenge, because I know I will be tempted to render some of them more tightly. I have a feeling those black stripes might be making another appearance.

10 x 10" oil on canvas; weird set-up, glare-y photo
Art-wise, it's been a one-foot-in-front-of the other kind of week, after tripping and literally falling on my face on the way into last Tuesday's workshop. Bruised and somewhat in shock, I didn't paint at all well, and that day's piece went straight into the trash. It doesn't take much to derail me; the wolves of self-doubt have been snapping ever since: I'm in some sort of slump for no very good reason. At my age, it seems I should be giving workshops, not taking them. I am teaching a junior college community ed painting class in April, but that's not remotely in the same ballpark.

Nevertheless, I just mailed my registration and am stoked about attending the Masterpiece Christian Artists Conference in Ashland, OR this summer (near my hometown) with fabulous artists Michael Dudash, Chris Hopkins and Mick McGinty. I met Chris and Mick at the Air Force art presentation dinner in October; Michael is a former illustrator turned painter I have admired for literally decades. He is featured in the January issue of Southwest Art. I still have some of the TV Guide covers he did in the 80's and can't believe I'll finally have a chance to meet and work with him.

"Wanna-Be Roses" 6 x 6" oil on canvas panel
One of the many downsides of perfectionism is the delay tactics and mental gymnastics I often go through before getting started. The fear of mistakes or failure is one of the biggest impediments to any creative effort, I think. I'm back in the zone of realistic-but-a-little-more-painterly and am actually fairly happy with this one. But it seems it will take much more painting and many more successes for me ever to get past that initial fear of starting.

11 x 14" oil on canvas
I'm doing a presentation tomorrow that involves some sort of demonstration, so I guess this was practice. Also, everything decent I've ever done is at the gallery, so I have nothing to show. If I can do this in 4 hours or so, maybe I can paint a single apple in one. Anyway, for some reason the family likes this painting. But what do they know? I think the DH likes it because everything is from his garden. I admit I am much happier doing still life than figures--even though Hatfield says it's "all the same thing."

10 x 10" o/c
I still have to finish the last little corner of the Air Force piece, but needed a longer break from what essentially feels like one more tight illustration assignment. This one has some freedom, but other than that, objectivity escapes me. I have no idea whether it has any redeeming qualities or is just a mess. I think working under Don's tutelage deludes me into thinking that I'm improving. Doing it alone at home is a whole different ballgame.

14 x 14" oil on canvas
Tonight I did the rough lay-in of one I actually (hopefully) intend to finish. As usual when paint is wet and I photograph instead of scanning, there's a little glare, and colors are only semi-accurate. I got the little copper vase on eBay and the black apricots at Costco, thinking of eating , not painting them. They are super-sweet and actually taste more like the plums I'm sure are a component of their genetic make-up; but they also have a fine coating of fuzz that gives the edges and highlights a soft bluish cast. Hoping my flowers will hold up for one more day--stock likes cold weather and is already wilting. If not, I will work from a photo I took before beginning. Trying to get back in the groove after a few days doing other things: sketches for a small label job, grocery shopping, laundry, taking my son for surgery on an unhealed broken toe, catching his cold. You know--standard "life" stuff.

Auction begins Thursday, July 8, at 6:00 p.m. PDT

8" x 10" oil on canvas
.....Right about now, with each painting, I still have to resist adding the disclaimer, "this is not how I really paint"--and redeeming myself with a tight little rendering. I am tending to like each new piece a little more than the last, so I hope that means I am progressing and that this is leading somewhere--though I'm thinking this one probably got tighter than Don would have approved. I really like his latest post about not drawing. Even though that's not easy for me, I love the concept.
.....Painting a little finished piece almost every day is also tough! (and I've only done 3). Gives me even more respect for those daily painters who have kept it up for a year or more. Maybe it gets easier with time? Yeah, right.

14 x 18 O/C, 3-hr
.....As I am still finding my way and very SLOW, this is as far as I can get in a 3-hour workshop. Ironically, this mushy study is the "bones" of what might have become an OK painting, given more work. Though unfinished, each piece seems a little stronger in some way. We spent a long time on the set-up before getting an arrangement Don approved of. Clearly getting the right values and his "conversation of color" over the entire canvas--not just the subject--are the thing. In a cohesive painting, the background is as important as the foreground and can not be neglected. I get it; for me, it pretty much negates the temptation to revert to those easy, subjects-popping-out-of-flat/dark-backgrounds solutions, in which there is no relationship between the subject and the background colors.
.....I am crushed to have to skip the next session, due to a final sprint-to-finish (by which I mean blood-out-of-a turnip) on the book; and Don will be taking his show on the road for much of July. I will miss him and his instruction greatly, but I guess we have to share. In about three weeks, I will finally have some long-awaited time to return to weekly, maybe even daily (gasp!) painting. So I am eager to see what I can do, even though on my own, to incorporate what I have learned from him.