I’ve been working out this idea for a while and finally got the under painting pretty close. Then it started peeling off between the gesso and primer. I had to just take the whole thing off.

Peeling off between gesso and primer!

Redid the whole thing in about 2-3 days. Now to let it dry and start the next layers.

The redo of the underpaint

 

Karen, at Gard Vintners called me up the other day and said I could set up anytime. We hadn’t talked for 6 months at least and had never set a date for a show at their nice wine and music place in Ellensburg. I had two days to pull it together and hang a show of about 25 pieces. Looking through my older work, some enamel paintings and oil pastel drawings from the 1980s seemed to fit with some of the newer acrylics. They all had to be taken apart, cleaned up and reassembled. The glass and surfaces were really dirty, but with some cleaning the colors popped and I could see what I was going after almost 40 years ago. There is a continuity to these two eras, something that ties my work together that is only knowable after this many years.

Preparing for show

 

“Chelsea” 16 x 20 oil on panel 2019

I’ve been working on fine tuning my technique for figures and portraits. In this painting of my friend Chelsea, I used something similar to the Venetian Technique with a complete tonal underpainting in an earth red. In this case Terre Rosa and Venetian Red but with no white,

just the white ground showing through the scumbled drawing. In this way I had the time to really work on the drawing  without the complexity of the color. After that was completed and dry I could work over it keeping the shirt a looser more painterly style with solid strokes of opaque paint while tightening up on the face. This technique seems to suit my temperament right now, it can be as tight or loose as I want to go while getting the placement and tonal structure correct first to create the illusion that I’m after.

After sitting with this painting for a couple of weeks and getting some respected outside opinions, I’ve sanded out this guy on the left. I just couldn’t get the shadows right. Luckily, Neal, was over at Tito’s and I got some shots of him with better lighting. I did a tonal sketch at full size and here I’m whiting out the lights to lay a bed for the new painting.

Reworking- white out the lights

For the last two weeks several artists have been working in the big room at our local community gallery, GalleryOne. I put my painting hat on, hung out and worked there for a couple afternoons last week.

Painting at GalleryOne

In my current exploration of painting styles and subjects I felt inspired to head out to the garden with a canvas and paints. This is about 24 x 36 and has a good presence in the room. I need to do some more flowers, brighter and stronger colors than the portraits I’ve been working on.

Morning in the garden, Zinnias and onions.

It’s a time-honored tradition to make copies of master paintings. The best way to really get into the mind and techniques of the past masters is to be right in front of the real painting in a museum, but if we can’t do that then utilizing the amazing access we have through the internet is pretty good. Some of the great world museums let us download a high resolution image of a painting, and print that out to work from. But, I still like having a real book with good prints to look at. This is a copy of the face from a 1623 painting called the “Merry Fiddler” by Van Honthorst. It just makes me smile when I see it.

oil painting copy of the face of the Merry Fiddler from 1623
Copy of a Van Honthorst from 1623