Monotype experiment after London

Nightlight with Zinnias and Cosmos, monotype with pastel,  10 x 15cm

I took some work down to London for one of those open exhibitions yesterday and had a ticket for  Matisse in The Studio as well.  The drop-off was quick so I was able to visit many galleries on the way and after my visit to the RA. I went to London in a problem solving mood so was looking at technique and approach as much as enjoying the art. One of the artists I found at Panter and Hall was Christine Woodside. http://panterandhall.com/artist/christine-woodside/Available-or-Enquire I can't see the exact paintings online - the ones I saw were painterly and joyous and featured colourful flowers - they were strong.

I saw Matisse twice and ranged from Renoir to Lucas Arruda and Emma Stibbon, through the Mayfair galleries. 

Back home in the studio today I wondered what would happen if I put some clear gesso on top of a monotype to create the nightlight behind a vivid bouquet; I wondered whether I could suggest the joy of both nightlight and that thing that flowers do to me. With Matisse's Middle Eastern delight  in my head, I explored the possibilites. I found that the monotype didn't change and the pastels went down well. I'll explore this again.

Summer Corner

It's Labor Day  tomorrow and this house, this view, has that poignant summer feeling.  I can remember early September in Maine, when I was a child, and how we'd do all of our favourite things one last time before the end of summer and the drive back to NYC.  Our friends, the Sullivans, bought the house from an islander, Winslow, and lovingly restored it beyond its former glory.

Thinking of Deibenkorn, I played with their view, looking at a black and white photo, turning it over, reversing the shapes in my monotype way. My childhood friend Don designed the porch and another friend Michael constructed it. As I made the monotype, I was not only sailing into colour and light, but into the past and a place that I love.

The To and Fro

Zinnias and Fog day 2, oil on canvas, 27 x 35 cm

Painting after drawing after painting takes me down a different path. Each iteration throws up other conflicts and my personality is to jump in head first and thrash around until something feels right.  There are still some things to straighten out.. the bottom of the frame, for one but finding the right colour for the right place seems to be the challenge of the moment. Scroll back a few days and you will see what I mean. In focus, out of focus, painting and drawing all at the same time.

Sam's Asters and my Zinnias

Sam's Asters and My Zinnias, pastel on paper 28 x 27 cm

I have had a pad of Sennelier Pastel Card since Christmas 2015 and never used it. I'm not sure why I decided to do the next version of this Maine/UK still life using it, I've been meaning to try it but the colour of the ground has always put me off.  I like my bright pastel grounds.   Maybe I didn't think this still life would work, and that it might be the occasion to try something new. 

I cut the pastel card down to 30 x 30 and gessoed around the edge.  Then I moved the tape to the gessoed area once it had dried.  It was a naples yellow ground. You can't erase the way I have grown accustomed to erasing, but the pastel seems to stick to it amazingly and it takes many layers easily.

I did many things differently for this drawing. I began by printing a photo of the current set up and turned it upside down, chose some pastels and with my back to the still life, I blocked in underpainting colours. 

I set up my table easel near to the still life but also had my bouquet sketchbook with my drawing from Maine opened. You can see how I edited, moved things around and substituted from the original drawing. For example, the bouquet on the left is a mixture of the bouquet Sam gave my mother in Maine and a bouquet I created yesterday - the blue rose is an aster and there is a yellow echinacea! Bob's painting is behind the bouquets instead of the paper I had tacked up. The mug is a pewter mug with the handle from the agate wear mug. I found that the drawing just needed all of those changes.

reconfiguring a drawing experience

Zinnias and Fog, oil on canvas 35 x 27cm

 This is a couple hours worth of painting on an idea I have had for a few weeks. The question is, how do you take a drawing and make a painting with it later?

Today was the first day I have really had free to work in the studio since I returned from Maine. Even so I had to get some canvases ready, clear a space to work, water parts of the garden and do some grovery shopping.  In the end I only had a couple of hours to paint.  I would have gone on and I will return to this to see if I can resolve it.

I don't have the same objects here as I had in Maine so rather than work directly from my drawing, I decided to use my drawing to set up something reminiscent but different. I have never done that before. I don't have Bob's painting (behind the bouquet) but I have 'notes' in the drawing and I have looked at it often over the years. 

Sam's Bouquets, pastel on altered book pages (Bouquet Sketchbook)

Three days of workshops

So I've been in London again for most of the week, taking workshops with NEAC artists in the Mall Galleries learning centre, but we've mostly been outdoors doing things I never do. It's been hard and I like a struggle, even when the results aren't to my liking, but it's been hard. 

Julie Jackson's plein air 'painting the summer light' was set in St James' Park.  Most of the day was overcast but the sun did peek through around lunch time and it was that light that I tried to capture.  People came and went, benches were moved and because I arrived late (someone jumped in front of a train) I didn't have my distance glasses or my reading glasses, I had my 'occupational' lenses which are middle distance.

Julie was brilliant at planting seeds of advice that helped me through my stuck periods.  I liked painting at my smaller plein air easel but found the palette a bit small and I didn't really have the best brushes for the job.  This was my first oil painting outdoors from observation, ever and I think working bigger would be better for me.

 I had about a 1/2 hour to begin something else, the intention was to paint morning and afternoon light on two canvases,  and this was the start of another view from my easel. I enjoyed working looser and the blue ground was probably an easier base for painting. I didn't clean my palette and my turps was pretty grimy, but the scene inspired me more. 

 Neil Pittaway showed us the properties of watercolour in the morning in the learning centre.  We experimented on sheets of paper, blending, mixing, trying new techniques.  In the afternoon we went out to St James' Park.  Neil demonstrated how he works and we went off and found something nearby to paint. I enjoyed looking with a brush but I never got beyond watery nebulousness. Neil's work had so much variety and energy and hopefully I will apply some of his approach in the future.  This day mine was dreamily dull. Above is a detail. 

Yesterday was painting the figure with James Bland. James did a wonderful demo of approximating colour by comparing light, value and saturation.  His painting was full of colour. I found bending behind to mix my colour on a chair with the glare of the lights difficult, and my palette became a muddy mess. Stella was far from me and silouetted by a window behind. I ismply ran out of time to pull it together and looking at it there are many problems.For one, Stella is much, much prettier than this. Although this 16 x 20" painting feels disappointing and I will paint over it at the first opportunity, I feel I learned a lot from James.

Remembering London

Although I intended to paint using the drawings from my workshop with Paul Newland, it occured to me that a monotype might be a better medium than a painting for me to use to evoke a place . I also didn't have a canvas the right size.  So this afternoon I found my 8 x 6" zinc plate, looked at Maurice Pendergast monotypes and watercolours as well as some of Whistler's urban landscapes. I also visited Paul Newland's website again (looking for answers) and felt even more of a resonance with his work. You can see it here:  http://www.paul-newland.co.uk

I rolled two blues on the plate horizontally and removed ink with my sock, q-tip and the end of the brush.  As I worked I realized working 'backwards' with the chaos of the intersecting roads was almost impossible. When Patrick dropped in, I told him I was not having fun.  I was more confused than I had been standing on the street corner… Anyone who has stood where I stood would be able to point out the errors in this representation but I'm telling myself that maybe that says something about memory and the way we record things rather than my poor hand eye coordination!

I am hoping to make a second version, using the ghost on the plate, tomorrow.