|"Norwich Coastline" Oil on Linen 24 x 36|
"The true end of art is not to imitate a fixed material condition,
but to represent a living emotion."
Saturday, May 23, 2015
Friday, March 13, 2015
Thursday, February 13, 2014
For the full story about the WPW blog and the international movement it has spurred, check out the April issue of The Artist''s Magazine, which includes my article entitled, Women Painting Women: (R)evolution. www.artistsmagazine.com.
Saturday, October 5, 2013
Illustrating a world of fantasy, or recording dreams, this contemporary master has developed a distinctive voice by honing his compositions through hundreds of sketches and paintings. And taking as his muse, the female ideal, his newest series is a tour de force appropriately titled The Dream Within a Dream.
You can catch a tantalizing peek of some of his new and never-before-seen work from the collection in the fall issue of The Artist's Magazine. It was my pleasure to interview Dorian for that feature. His work and words are inspirational!
|Dreamer Inbetween (Oil 62 x 60) Dorian Vallejo|
|Thread (graphite and watercolor 22 x 31) Dorian Vallejo|
Tuesday, August 13, 2013
|"A few of my favorite things" Oil on linen |
30 x 30 Private collection
If you have a passion for painting still life, have fun while exploring imaginative ways to paint everyday, nonliving objects, such as drapery, fruit, china, metals, etc.
Focusing on new interpretations of traditional artistic principles such as composition, lighting and form, students can experiment while working from life at their own pace.
all skill levels welcome.
Thursday, December 6, 2012
|"HOT to TROT" 12 x 16, Oil on linen panel.|
|"STANDING GUARD" 20 x 24" Oil on Linen|
Jewel Spiegel Gallery will hold a special holiday exhibit from 1 p.m. - 5 p.m., Saturday December 8, 2012. 10 of my paintings, including "Hot to Trot" and "Standing Guard," will be on display. All are welcome. Address: 30 N. Dean Street, Englewood, NJ 201/871-3577.
Thursday, November 29, 2012
A sampling of Kinstler's sketches and portraits grace his studio at the National
Arts Club in New York City. He has painted more than 50 U.S. Cabinet
members, seven U.S. presidents and countless celebrities and business leaders.
I took this long shot of Kinstler's studio, which was once occupied by the
artist's early mentor, Frank Vincent DuMond, an American Impressionist
painter and prominent teacher.
Tuesday, October 2, 2012
|"BREAKFAST with SABRINA" 9 x 12 Oil on Linen|
|A presentation of my latest painting|
took place at Design Domaine Gallery,
Bernardsville, New Jersey
Just off the easel... my latest commission through Design Domaine Gallery, which is on its way home with my newest patrons.
Working from a treasured family photo of grandfather and granddaughter, I was inspired by the intensity and intimacy of the scene.
The real standout, though, was the beautiful stream of light that cut across the young girl's body, placing a glorious glow on her face before connecting with her grandfather's arm and side pocket then settling on a portion of the table. 'Twas both a joy and a challenge to paint!
Tuesday, September 4, 2012
|"MAGICAL NIGHT" Oil on Linen. 16 x 16|
Tuesday, July 24, 2012
|"Pair of Old Shoes" Vincent van Gogh|
Thursday, May 3, 2012
A master landscape painter whose artistic roots hark back to the 19th century French Barbizon School, Osborne is senior instructor at the Ridgewood Art Institute (RAI) in Ridgewood, New Jersey, where he teaches teens and adults and twice yearly gives standing room only painting demonstrations that attract artists from the New York/New Jersey Metropolitan area and as far away as Maine and Virginia.
I recently interviewed my former teacher for a feature and step-by-step illustration of how to paint using a prismatic palette and understanding the principles of light. Says Oborne: "The light is always prismatic, no matter what time of day. There is always just one light source, which must be taken into consideration whether painting outdoors or indoors in a north-lit studio. I strive to get the prism under control with the subtle atmospheric progression of colors and values."
Here are a few key stills from Osborne's instructional progression, which is highlighted in depth in The Artist's Magazine-June, 2012 issue.
Tuesday, March 27, 2012
|"SATIN & GRACE" Oil on linen. 18 x 24.|
I placed an elegant sprig of white orchids center stage. They are a favorite of mine and add a delicate touch in juxtaposition to the heavy fabric backdrop. Rounding out the setup are a small Cloisonne egg and a small lacquered table. I thought the table enhanced the color of the floral centers; the egg accents the cobalt in the material.
Thursday, February 16, 2012
Some time back, The Artist's Magazine asked me to do an article demonstrating how I designed my award-winning painting, "Cheers!" For a link to Artist's Network, which highlights all the steps involved in setting up this composition along with insight into my choice of props, placement and intent, click on the link below.
Here I have included two photos from that series. One is of my original set up; the other is the resulting painting. Note how I took some artistic license with the finished piece. Despite having designed what I thought was a pleasing and moving composition as my inspiration, once I began massing in the shapes, I realized that if I tweaked a few things, (the height of the silver vase, the viewer's eye level and placement on the canvas, for example) my painting would be much stronger. I hope you agree!
|"CHEERS!" Oil on Linen 11 x 14. Private Collection|
|Set up for "Cheers!" |
Note the differences in my painting and set up
Tips for Creating Moving Still life
3. Learn to look at your subject with fresh eyes, as if for the first time. Relish in its form, color, inadequacies, uniqueness, and paint what you see.
4. When painting under natural light, it’s a good idea to take reference photos for backup in case the light begins to change.
5. Always photograph setups that include perishables such as fruit and flowers.
6. Use an assortment of compatible shapes that are varied in size and texture. If your props are too similar, they will vie for viewer attention.
7. Fruit is always a good subject because of its beautiful, natural shapes, rich colors and interesting textures.
8. Put some distance between yourself and the canvas. Take breaks. Stand back to view your work from a fresh perspective. If you find yourself mired down with details or losing enthusiasm, set the canvas aside for a few days. Work on something else. When you return, it will be easier to spot errors or areas that need adjustment and get motivated again.
9. Include various levels of interest by leading the viewer into your canvas toward your focal point, and from there around and through your composition.
10. “Instantly paint what you see. When you've got it, you've got it. When you haven't, you begin again.” Edouard Manet
Sunday, February 5, 2012
|"BRANCHING OUT." 24 x 24. Oil on Linen. Louise B. Hafesh |
One of 10 florals on exhibit through March 7, 2012 in Wyckoff, NJ
Saturday, January 14, 2012
|Douglas Flynt goes in for a close up.|
This past summer, I had the pleasure of attending a Douglas Flynt workshop at Grand Central Art Academy (GCA) in NYC and along with 13 other participants, explored classical techniques for painting still lifes.
| Using a hand-held palette, Flynt showed|
students how to mix color strings
|A fellow student works on her still life|
down his process into manageable, defined stages that include: blocking in; utilizing an oil transfer; creating a monochromatic underpainting and an Ébauche and premixing color strings, to name a few.
|Set up and work in progress by Cynthia Farris, workshop participant|