When something works it's time to try it another way

Snowy Walk, egg tempera on panel, 30x20 cm, 

For the past few years I have stuck to particular media to use for different subjects.  I use pastels for still life, landscapes in Maine (mostly) and life drawings, egg tempera for portraits, monotypes for UK landscapes and life drawing. Oils are for everything. I've also made a few egg tempera paintings of still lifes and Maine landscapes since I began using the medium   Today I tried it for snow light. What I was trying to do was to create the surface interest that I love from egg tempera, to try to get the luminosity you find in snow and to find colour that would provide interest.  I used a few drawings I made when the snow was on the ground and photos from walks. The image was a collage of some of these images. 

When I went to the Bonnard I saw how he used drawings to do the same thing and how he used animals as devices for colour and shape within the painting. 

I think I'll do a series of these if I can find different things to say about it all.

News From England

News From England, pastel on opened altered book

We've had a little snow over the past few days and we live on a hill so it stuck around enough to whiten the ground.  Our dog, Lyra, loves the snow and charged ahead, rolling on her back and sniffing wildly. Early morning with a dusting of snow is certainly news and the milky pink light delights us all. 

And I'm still filling up my sketchbook for the Sketchbook Project. The mug was a gift from my friend who accompanied me to the Bonnard exhibition!

Record what interests you (quickly), consider it, make changes and slow down

Tiger at the Table, pastel on paper 30x37cm

 I'm keeping up with my sketchbook drawings.  What I notice is that the energy of looking for something interesting (because I have to) and recording it so it says something exciting QUICKLY is opening up lots of possibilities for more sustained drawings like the one above, Tiger at the Table. It's not always possible to transfer the energy and excitement that comes from an quick sketch, but I think there may be a better chance to find that when you are doing lots of the quick sketches and only choose the ones that feels particularly inspiring to inspire the bigger drawing.

I visited the wonderful, beautiful Bonnard at the TATE today with Bridget Moore.  We were there for more than 2 hours and it was never unpleasantly crowded, really.  How inspiring to be beside them all. SO much to think about.

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The freedom of gifting your drawings

Deciding to make a sketchbook with a theme, in my opinion, creates a momentum of its own. Another thing I've found is that knowing that I am 'releasing' the drawings makes me freer and sometimes better. I discovered The Sketchbook Project https://www.sketchbookproject.com/ before Christmas and began putting my sketchbook together, due early March, over the weekend.  They say you can rebind your sketchbook with different paper so I began doing that.  After a hiccup I decided I needed four signatures for the pages to sit right and prepared them for pastel with gouache and ground. There are 32 pages so I need to make at least one drawing a day.

If you don't know about the Sketchbook project, you pay, they send you a sketchbook, you draw like mad and send your sketchbook back to them, in Brooklyn, and you never see it again unless you visit the Sketchbook project, or find it digitally online. Good thing I have no problems with letting go. 

Using a drawing to inspire a painting

The House with Green Shutters, pastel on opened book, 23x16 cm

Occasionally when I do a drawing I think, 'Maybe I could make a painting from that idea'. That's what happened when I made the opened book above, over the weekend. The title of the book, The House with Green Shutters, inspired the drawings and led me to trawl back through images I had taken or drawn in America over the years. When I think of green shutters I think of America. In Maine every other year there are open gardens on the mainland and if I am there at the right time I love to follow my mother through the gardens and past the mansions. I'm noyt sure if I am more enchanted by the spaces or my mother in her hat and bespoke tops.

I made the drawing on the left first and when considering what to put on the right I knew I needed to make something bolder. Hydrangeas and peonies are the two flowers I think of when I think bold. I liked the scale of the figure and the acid green and purple. Still not sure about the sky. I've looked at Milton Avery, Dorothy Eisner and Fairfield Porter but will wait to let the paint dry again to test some alternatives.

Hydrangeas and Hat,  oil on canvas, 30x40cm

Looking at myself

(study) Self Portrait in Red Chair - egg tempera on panel - 15x20

So I had lots of goals when I began the little egg tempera study. Reading Bonnard I thought about this statement: 'The artist who paints the emotions creates an enclosed world... the picture... which, like a book, has the same interest no matter where it happens to be. Such an artist, we may imagine, spends a great deal of time doing nothing but looking, both around him and inside him.' Patrick took a photo and using that in black and white, a mirror and my intuition I tried to project something about myself. I looked at Bonnard, in particular ' Vivette Terrasse c.1916.https://my-museum-of-art.blogspot.com/2014/02/pierre-bonnard-vivette-terrasse-c1916.html 

I wanted to make the surface exciting but to draw the viewer to my gaze.

Self Portrait in Red Chair - oil on canvas - 40 x 50

When I  finished the egg tempera I primed a canvas with kings blue and used the leftover paints from before Christmas that were still on my glass palette. I think I did that to avoid delay and maybe because I could blame the colour choices on that… mostly though I just wanted to get something down. At first it was really loose but I found that I wanted to do something that felt complete at the end and I didn't know how to do that without getting more explicit. I looked at Bonnard more and I looked at Julie Held. I have worked on this a bit more - the left side of the chair and the wall and the vase all  work better, but haven't photographed it yet. 

Jettisoning local colour for January

According to the Nabis from: https://www.theartstory.org/movement-les-nabis.htm, a painting was a harmonious grouping of lines and colors, with outcomes to include many different solutions. An artist's personal style was, in fact, accomplished through the choice of how to arrange these lines and colors. As an example of the Nabi approach, at the beginning of their meetings, they would recite the following "mantra" together: "sounds, colors, and words have a miraculously expressive power beyond all representation and even beyond the literal meaning of the words." 

When I visited the Barber Institute last week, in Birmingham, to see the current Vuillard exhibition, I came away remembering that I don't have to stick to local colour and that my instinct, even my handwriting has always been about colour and pattern primarily. I reflected  that last year taught me how to see acccurately and how to record what I see better but that my personality can sometimes be obscured when I think too hard about all of that.

Today, arriving late to drawing, I worked quickly to put something authentic down. The two rectangular drawings below, 19 x 28cm were 20 minute poses made before the break. The square below those, 17 x 17 cm, was a challenge in that it was a 1/2 hour pose and I had to look hard to find something to say about it. The moment that I chose the blue, I began to feel it was about shapes and colour and no longer a model.  The image at the top was the final drawing and it was about 25 minutes, 28 x 19cm, and the surfaces and the design elements of the arrangement inspired me. The ground was a lime green which guided me in colour relationships.