Tuesday, August 4, 2020

Benefit auction update...

 

"Blue Glass Vase"
transparent watercolor

I donated this original watercolor to the "Bid Fore the Kids" auction, which is part of the 22nd annualgolf tournament benefitting the Worcester County CASA project. "Blue Glass Vase," was part of a three-item lot in the CASA auction (grouped with a gift certificate to Rotman's Furniture in Worcester, and a matted and framed photograph by Ron Rosenstock). 

The auction ended at midnight on August 3, 2020. 

The final bid for this three-item lot, "Home is Where the Art Is," was $1,500.00. 




Friday, July 31, 2020

A bit of news about two paintings...

I always enjoy sharing updates about my work -- never more than now, while we are all participating in social distancing, wearing masks, washing our hands, etc. So it's a pleasure to share some art studio news during this last week of July.

First, another of my watercolor paintings was chosen for inclusion in a permanent installation at a local health care institution (specific details later...). The original painting, "Gardenscape #1" was sold to a private collector last year. 



One-time reproduction rights for "Gardenscape #1" were granted to a Boston gallery that specializes in corporate art installations. Last year, L'Attitude Gallery also purchased similar rights to three of my watercolor landscapes. They are now part of a permanent collection in an inpatient unit at the UMass Memorial Medical Center on Lake Ave. North, in Worcester.

 

I donated an original watercolor to the "Bid Fore the Kids" auction, which is part of the 22nd annual golf tournament benefitting the Worcester County CASA project. As a CASA  volunteer since early 2017, I know first-hand the positive difference this organization makes for so many children and youth and their families. 


My painting, "Blue Glass Vase," is matted and framed, and measures 18" x 22." It can be bid on here:

https://www.32auctions.com/organizations/66587/auctions/83013/auction_items/2316724

 

To place a bid, you'll need to sign in to the auction site, and then look for the item titled "Home is Where the Art Is." Bidding is ongoing and will continue through midnight on Monday, August 3. 

 




    

Friday, July 24, 2020

Sailing...

I don't do a lot of boat paintings, probably because I don't live near the water. Sadly! But several years ago I did a small sailboat painting based on photos taken while out on the water with my son and his family. The painting sold, and I've always wanted to do another one like it. I completed this one a few weeks ago; it's quite a bit larger than the previous version. I've entered this into the upcoming Juried Artist's Show, "Sailboats and Sunsets," opening online on August 17, at the Cape Cod Art Center in Barnstable, MA.

"Breeze Off Cataumet"  transparent watercolor   12" x 16"
Contact me via email for purchase details. 

Tuesday, July 21, 2020

Paintings accepted into two national competitions...

My watercolor painting, "Garden Royalty," was juried into the 2020 National Watermedia Show that opens at the Rhode Island Watercolor Society in Pawtucket, RI on August 1. The exhibit runs through September 25.


"Garden Royalty"  transparent watercolor  19" x 23"
"Feeling Cheerful" was accepted into "The National," an annual open juried Show at the Cape Cod Art Center in Barnstable, MA. The exhibit, which is all online this year, runs through August 14. 

"Feeling Cheerful"  transparent watercolor   14.75" x 11.75"


Sunday, March 1, 2020

February Sunflowers II

I set this aside for a few days, and considered whether to add a dark background. Stark contrasts are often successful with bold-colored flowers so I decided to work the background in Indigo. Early stages yet, with only a portion of background filled in. It's interesting to evaluate how the upper portion of the top blossom "pops" where the petals are outlined in Indigo. As I have discovered with previous floral paintings, this often takes the image and kicks it up a notch...
I anticipate doing a second wash of Indigo over all sections, to add depth to the color, before the painting is completed.


Thursday, February 20, 2020

February sunflowers I

It's that time of year when seed catalogs start filling up the mailbox, and every time I go to the grocery store I'm tempted by the colorful array of cut flowers on offer. Today a bunch of sunflowers caught my eye and became the inspiration for this watercolor sketch-in-progress. Trying to keep it light and loose. I'm using a quarter-sheet of Fabriano Artistico #300 cold-press paper, a #6 Golden Fleece rigger from Cheap Joe's. Stay tuned for updates (and the finished painting).

"February Sunflowers, detail"

Monday, February 17, 2020

News about "Art in the City" 2020



Since 2013, I've donated paintings to this annual event, and this year I'm honored to have my painting, "Mixed Bouquet"selected as the signature artwork for the Family Health Center of Worcester's annual "Art in the City" benefit auction. 
This evening gala is held at the beautiful and historic Mechanics Hall in Worcester on Friday, May 8 -- it's always lots of fun, food, great music, and most of all, it's made possible by hard-working volunteers and generous artists and other sponsors! 
Learn more about the auction at this link  And if you're an artist who would like to donate a piece of your work to this year's auction here is a link for that. Don't delay: the deadline  for submitting donated artwork is in mid-March.

Monday, February 10, 2020

Holiday Amaryllis study

Holiday Amaryllis" detail

Last Christmas, my husband received an amaryllis that needs no planting. It doesn't require any potting soil (and not even a pot!). The bulb is encased in a thick blob of paraffin (or something!), so it can easily be set on a sunny windowsill to encourage its growth. It's been fun to watch it start to bloom -- and it's the perfect subject for an rainy-afternoon studio session.

I started with a line drawing on #140 cold press Kilimanjaro Bright White paper. My goal is to capture the sort of perky, stalwart quality of the bright scarlet blooms, and the hard, shiny surface of the encased bulb.
"Holiday Amaryllis" detail

The photo reference (taken with my iPhone) is not the greatest quality. And the quick (iPhone) shots of early stages of this watercolor study show the pencil lines as well as the mingling of several red pigments in the blossom.
Reference photo for "Holiday Amaryllis"



Finished study. Not exactly what I'd expected or hoped for, but at least it's colorful!

"Holiday Amaryllis"  transparent watercolor  12" x 16" unframed
$35.00 plus $9.00 shipping
Available at my online gallery at Daily Paintworks  (click to go to that page in a separate window)






Monday, October 21, 2019

Taking a Second Look

Painting outdoors doesn't come easily to me, but pushing myself in that direction has taught me a few things. First, I always bring at least two or three small-format painting surfaces –– 140 lb. paper securely taped to a 10" x 14" Gatorboard panel, a watercolor block (7" x 10" or 9" x 12"), a watercolor notebook made with high-quality paper (Moleskine sells a good one). Too, my three-legged, collapsible, folding stool (with a shoulder-strap for carrying) guarantees a place to sit. A one-gallon water thermos and a folding vinyl water bucket are both necessities, as are a few folded sheets of paper towel and a clean scrap of 100% cotton fabric (a man's discarded T-shirt is ideal) for blotting my brushes.
After painting non-stop for 40 minutes, I generally need to step back and check my work to see if I've misjudged an aspect of perspective, or if I have focused too closely on details. My goal when working outdoors is to capture the general mood or feel of a scene, without worrying about a completely accurate rendering. Recently I was painting at Tower Hill Botanic Garden, and discovered that the color values in my sketch were too uniform and the scene lacked depth.
Before adding deeper colors...

Rather than "fix" the problem right then, I set it aside and reached for a second watercolor block. When I got home, and my problem painting was fully dry, I thought about which areas needed deeper color, and how to make the background recede which would give the bright foliage more emphasis.
I started by mixing a wash made of Mineral Violet with a little Burnt Umber to darken the background foliage on the right. Using Burnt Umber and Sepia and a 1/2" flat brush, I dropped in dark shadows where the lawn met the gravel roadway, I added a few strokes of Mineral Violet wash to give depth to the road. Finally, with Shadow Green and Sepia, I added more deep green foliage. The changes I made were subtle, but the results are sketch that is more dramatic, and the eye is drawn to the vivid trees on the left at the front of the scene.
"Bend in the Road" transparent watercolor   10" x 7"
Available for purchase at my Daily Paintworks Gallery



Tuesday, September 3, 2019

Tim at Breakfast -- portrait sketch


Step #1
I've been experimenting recently with watercolor sketches of portraits and figures using old photographs as references. Some of my subjects sat for these photos more than 100 years ago, although I've also found it enjoyable (and challenging) to work from more recent family pictures. Many of these were shot in B&W, so choosing a color palette that would reflect the mood of the original photo is always interesting.
Step #2
Reference photo
Today's portrait sketch is of my son, and I used a photo taken when he was about four years old. It is slightly out of focus, and the shadow contrast is quite pronounced. I recall that my son was acting moody that day, and it was this slightly dreamy moodiness that I hoped to capture in my watercolor portrait.
I began with a light pencil sketch, then added a wash of Burnt Sienna and Burnt Umber. The eyes are done with Cobalt Blue and French Ultramarine. (Step #1) I added successive layers of wash, using a slightly darker tone to suggest shadows along the left side of the face. The mouth was emphasized with a pale wash of Quinacridone Scarlet  and the eyes received more details with Sepia and French Ultramarine. (Step #2) The hair is done with Yellow Ochre and Burnt Sienna, and the shirt details are Cobalt Blue. (Step #3)
Step #3
In the final version of this sketch (below) the pensive look on my sons's face is emphasized, and the contrast between figure and background, by combining French Ultramarine and Sepia along the left edge of the face. I used this same combination to add depth to other shadows as well. This entire sketch took about 30 minutes to complete.
"Tim at Breakfast"
watercolor   9" x 7" 

Thursday, August 1, 2019

Announcing two award winners

Thrilled to have two winning watercolor paintings in the 2019 LightSpaceTime Online Gallery's 9th Annual “Botanicals” Art Competition. There were 678 entries submitted by artists from 28 different countries, as well as from 32 different states and the District of Columbia, to this year's "Botanicals" show.

"Garden Royalty II" (below, left) received sixth place among the top 10 best entries in the category "Overall Winning Artists." This part of the competition can be seen HERE.

And, my watercolor "Peony Awakening II" (below, right) was one of 40 paintings chosen for a "Special Merit Award" in this competition. Winners in this category can be seen HERE. 


Both paintings are available for purchase through 
The Creative Hands Gallery
812 Main St., Unit #2, Osterville, MA 02655
phone:  (774) 521-4304  
email:  CreativeHandsGallery(at)gmail(dot)com 



Friday, July 26, 2019

Cliff Walk

After spending a few days in Newport, RI, I have been wanting to paint a few images captured on my phone. Yesterday's project was to lay down the cloudy sky in this small (12" x 9") painting of one of the mansions along the Cliff Walk.
My photo reference isn't the greatest, but I'm aiming mostly for atmosphere and "feel" of this water-edge setting, rather than to capture every windowsill, gable, and shrub.
Reference photo

French Ultramarine was my choice for the sky, with a little Sepia for the shadowy parts of the clouds. I added a wash of Cobalt Blue on the left to indicate where the sky was clearing.
The grass, shrubbery and trees are done with Green Gold, Undersea Green, and Shadow Green, plus some accents of Winsor Blue GS, Burnt Sienna, and French Ultramarine.

The finished painting, below, is available for purchase through my online gallery at Daily Paintworks, which can be accessed HERE
"Cliff Walk View, Newport RI"
transparent watercolor  12" x 9" unframed