Posts Tagged: realism
Eggshells
Eggshells
6″ x 6″ (15 x 15 cm) – oil on gessobord – SOLD
The last one! Number 6 of 6!
I had several subjects for this painting, some were planned for a long time. But that one evening, right before I was to start a new board, Lou decided to make an omelette and as we know – you cannot make an omelette without breaking eggs :). He threw the eggshells into the sink. When I picked them up to toss them into trash I marveled at how perfect they were. Out of the window went my planned compositions, I couldn’t sleep that night waiting for that morning light to hit my precious eggshells.
Now that this one is finished I am taking a much deserved break. The house got overtaken by entropy while I painted, I abandoned my sketches, a portrait promised to a friend is still in pencil… I am going to be busy doing all that :).
And then I am planning something new :)! Stay tuned!
Plus Two Dollars
Plus Two Dollars
6″ x 6″ (15 x 15 cm) – oil on gessobord – SOLD
The second painting for the second show I am painting for. This one in California.
But let me tell you a story. I have this church down the block, I am sure many of you have heard of it by now. Every year they have a rummage sale, and every year I go to hunt for props, and every time I hunt I score. A winning proposition :).
This year I went again and found a basket-full of mismachted bone china, bent silver spoons, a large shell with an ocean sound inside, and a set of 16 prints by Toulouse-Lautrec. Every object was a dollar or two. The fun started at earnest when I went to pay for my loot. The nice elderly gentleman was a singularly wrong person to manage the cash box! He decided to do the sums in his head and kept making mistakes in my favor. By the time he had 9, I had 11 and corrected him… by the time he had 14, I had 16 and corrected him again. All the while he wanted to talk about Lautrec, American realism, painting in general, and modeling for life sessions. In the end he got 18. I no longer believed him and gave him 20 – God bless!! 🙂
Here I have for you the three cups from the rummage sale… Plus the two dollars difference in our sums.
With Cherries on Top
With Cherries on Top
6″ x 6″ (15 x 15 cm) – oil on gessobord – SOLD
This was supposed to be the last of the three paintings for the Buck County gallery show. After this one the plan was to relax, go sketching, catch up with planning the USk Chicago Seminar, maybe do laundry… But while I painted it I heard from Randy Higbee about his spectacular 6″ Squared Show in December. I managed to miss it last year and promised myself to make sure to be in it this year. And so I need two more paintings to make it into two different shows. Pressure! Stress! Deadlines! I thought I left that kind of stuff behind when I left the corporate rat race – LOL!
I am rather pleased with this painting. The idea occurred to me in early summer, when Rainer cherries were in season. I composed my setup, but wasn’t sure of it. So I sketched it first and showed the sketch to my Sketckpack buddies. They liked it. With that I felt better and painted it :).
The Trumpeter
The Trumpeter
6″ x 6″ (15 x 15 cm) – oil on gessobord
The second painting for Buck County 6 x 6 show later this fall. Two down – one more to paint. I had fun with new textures I had to play with – leather, suede and velvet.
Being curious I Googled John McCormack and The Trumpeter and to my delight found a recording – from a vinyl – of John McCormack singing The Trumpeter in 1915 – 98 years ago. It is so good – it gives me goosebumps!
John McCormack sings The Trumpeter in 1915
Six and a half
Six and a Half
6″ x 6″ (15 x 15 cm) – oil on gessobord
It seems that every realist painter worth his or her salt paints eggs at some point. It is almost like a rite of passage. Can I or can I not?!… I noticed this phenomena some time ago and knew that I too would have to paint eggs sometime.
And now I have. It was damned hard, just as expected. They have to be perfect, I discovered, and curve perfectly in the light or they will not look like real eggs – and that’s the whole point!
Eggs are an excellent assessment of one’s current skill as a realist painter. I know I will paint eggs again in the future – to see my progress if nothing else.
Tea for Three or The Rummage Sale
Tea for Three
6″ x 6″ (15 x 15 cm) – oil on gessobord – SOLD
This little painting started last summer at a rummage sale at a church down the block. I always go and always get some great props there. That time I found 3 mismatched cups with their saucers. Mismatched and all, they still worked together very well, probably being from the same era. I asked the lady to keep them for me so I could pay for everything together and went to a books section.
When I returned to pay for them, there was Father John, the Rector of the church, standing there with these cups in his hands, and the lady explaining to him that the cups were put aside for someone else. Oops!! I don’t belong to this church, but I know Father John (and his schnauzer), just like you know people in the neighborhood. I almost had him sit for a portrait for me. Besides I did not want the wrath of God on my head… you never know 🙂 … So I said – please Father John, have these cups. And he said – no, no, you got them first! And we went on like that – back and forth – for a while, but in the end I got the cups.
Every time I look at them I feel a little guilty, but not too much. After all I did get them first. And nothing bad has happened to me either – Father John really is a nice guy :).
What I Drew Last Summer
What I Drew Last Summer
8″ x 8″ (20 x 20 cm) – oil on gessobord – commission
This was one of those very rare paintings that practically painted itself. It happens sometimes, not too often, and I wonder what is the reason for this. This is the second painting that did this: I am working on it… mixing and painting…, and suddenly it informs me – I think I am done, thanks! 🙂
I absolutely love my patron for whom this is painted. C.B. contacted me through my online gallery and basically said some variation of the following: I like your style, why won’t you paint something you like and I will buy it. I nearly fainted – the best art patron in the world!
Painting this was smooth and logical and presented very few problems. I did have a little bit of a fuss with strawberries – I did not nail the color right away, and the texture was a challenge. It was an interesting problem to paint graphite and pen drawing in oil. I had fun with that.
The only difficulty I had was coming up with a title. Polling family members yielded several possibles, none of which had a WOW factor. I did a crowd-sourcing thing on Facebook (again), and what a great idea it was – I got a dozen excellent titles. Combining ideas from 3 or 4 different people I came up with this – What I Drew Last Summer.
And here’s the sketch that got painted in this composition. I drew this in cafe Metropolis while drinking tea and sketching with my friend Don Colley.
QWERTY
QWERTY
8″ x 10″ (20 x 25 cm) – oil on gessobord – commission
Finished it today. At least signed it! Showed it to the client and she likes it! What a great thing! It is now drying, then will get oiled out and studied with great precision – I already see two spots that need some touching up, – then varnish and done.
This was probably the most challenging painting I ever attempted. Was even harder than the crinkled paper! Are you seeing all these ellipses? Those who are curious enough can count them and let me know.
The client asked me – How can you stand to let your pictures go? After all you put into them?
That’s a great question! I remember time when it was hard to part with artwork I made, but it changed. Some time around 2011 I started thinking of myself as a professional artist. This is what professionals do – we make artwork and we let it go into the world. That is if we are so lucky that the world wants to take our works.
And yet they never leave completely, do they, these sold paintings, commissioned images, pieces of our imagination? I may be working on a passage and it would be a slow going, and then I’d remember – I’ve done this in Fiddlesticks or in Waiting for Adam. I learned something invaluable in every painting. And then there’s another thing… I flew over France on my way to Israel a couple of months ago and I thought: one of my paintings is down there in Normandy. And I heard some news from Fresno CA the other day and thought: ah yes one of my paintings is there in Fresno – how about it…
So yes, I am happy to let them go. And to be paid for them too.
Giselle
Giselle
6″ x 6″ (15 x 15 cm) – oil on gessobord – commission
Just finished Giselle yesterday. The painting is commissioned in honor of this client’s mother who worked as a seamstress for a dance company. In my mind I painted it for all workers toiling behind the screen-stage-platform with no spot light on them, but never-the-less indispensable. Just have seen Oscars, at least in movie business makeup people, costume people, hair people get recognition. I don’t believe in theater they do.
I learned an interesting technique while working on Giselle – painting translucent fabric. Really neat! I did quite a bit of work on transparent stuff, reflective stuff before – yes! But never translucent stuff until now. Apparently you can just physically mix the hue from underneath and hue from above and it tricks the eye just enough for “willing suspension of disbelief”. But then you still have go after it with glazes or dry brush or both.
This painting also was under a self imposed deadline as I am holding tickets to go on my yearly trip to Israel to visit my family. The painting had to be finished at least 10 days before my departure to allow enough drying time to be able to varnish and ship it. Yikes! Now it better cooperates and gets dry and ready to varnish by March 7 or I am in trouble.
Memory Blocks: 9-Rabbit and e-Bird
Each: 6″x6″ (15 x 15 cm) – oil on gessobord – commissions
These two are commissions. The client saw them and approved, so I can show them to you. The two paintings were commissioned together to work as a pair or a diptych.
It turns out painting a pair is a fairly special project. Right away during the drawing stage I realized that blocks have to match in size – not a problem, but not something that you need to consider when painting a single painting.
When I started painting it quickly became apparent that I have to treat them as one painting. When I worked on surface of the mirrored table on one painting and then tried to match the color a few days later for the second painting – it turned out to be very VERY hard! It is much easier to do the mirror and the background for both paintings at once using the same color mix. Same goes about painting the visible wood of the blocks. Also if I painted blocks’ faces for 9-Rabbit on a sunny morning and faces for e-Bird on a overcast day – the color harmony would not work and I had to make adjustments in my lighting.
It is a rare opportunity to work on a pair and I am forever grateful to J.D. for it.
Oh, see this really cool block with a skull on it?… I invented it. I don’t have a block with a skull. But J.D. collects skull images so I made up one for him.