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Posts Tagged ‘#Fine Arts #The Study of Art #Color and Luminescence’

A big part of the enjoyment of art for me, is playing with ideas.

Front yard in moonlight, Abaco, personal photo
Edited version, more focused on light

Interpreted scene, oils
Interpreted scene, ink
Interpreted scene, Water color
Personal Photo of our front yard, Abacos

Do I go forward with an oil painting of this, with more vivid colors?

Or should I play with something even more abstract?

What will be gained from taking this to a different concept of artistic thought?

Will anything be learned about its value as a setting?

If I do take such a leap, how can I add to the idea of luminescence?

What is it that lures artists to repeat paintings, differently?

Perhaps life, itself?

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Our Front Garden, July 2021

Part of the beauty of gardens are all the hiding places for baby birds who can’t yet fly, for small animals seeking safety while nibbling at low greenery, protecting busy bees and butterflies settling into cooler places during the hottest part of the day. I find when painting these darker places, that they point like arrows to colorful flowers, often contrasting the showers of light that shoot carefree through grasses, and sometimes pointing straight up to daisies announcing, “over here”, “over here” to thirsty birds in need of the bird bath.

This is an oil painting on canvas, 20″ x 24″. My husband asked for the painting before I even took it off the easel in my art studio. I think that he likes it.

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Landscapes we paint, no matter how big or small, are wondrous moments witnessed through our abstraction.

When thought of this way, there is nothing real about a landscape, other than the fact that light is shifting, objects are reflecting and atmosphere hovering, and we experience constant movement of ideas and thought, while traveling through these variable, natural compositions.

Nature is for painters, our most wild and beautiful challenge. Lucky for us, nature is everything, and we have many opportunities to paint, to write, or simply observe its amazing show.

There is no right or wrong painting or poem as all abstractions are personal.

Knowing this, brings freedom of our own thoughts and choices of shifting moments we remember.

Watercolor

Oils

Oil

Watercolor

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The Bird Won

Alone, oil painting

It wasn’t so long ago, but almost forever and a day, before the sun fully lifted into the sky.

The light broke, and now Freely into Blues.

Together alone

Variations of the same oil painting while playing with glazing and color mixing on birch wood.

Oil painting variations were completed during the period of time that I participated in an art class called Painting on the Edge taught by Michael Orwick, offered through the Oregon Society of Artists.

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There are people whom I carry with me, in my head and my heart.  I am finding the time, through my paintings, to bring them back into view.

Street children  have lingered in my memory for decades.  In this case, I recollect two boys playing cards on a heavily utilized footpath near the dhobi ghats where their parents were working as laundry washers, on the streets of Mumbai, India. I call this painted moment, “Unity.

I took notes describing the scene.

“The boys play their game as though they are alone. Yet, in fact, they are surrounded by people swiftly walking past them. The boy’s feet touch, defining their play area. The sidewalk patterns mimic the shape of their feet and legs, further symbolizing the boys’ sense of land ownership and unity.”

Personal notes
“Unity”, Oil painting

I took a quick photo of the people walking nearby.

Walking area, personal photo

Most likely, the children’s parents were working in the dhobi ghats where laundry workers wash and dry clothing. The urban work space looks like this.

Personal photo of Mahalaxmi Dhobi Ghat area, Mumbai, India

Each laundry washer, or dhobi, has a small area to work from where clothing and bedding are washed and hung them out to dry.

Clothing drying on lines, Mumbai, India, personal photo

Children are around the scene, and on the streets, as many of their living arrangements are very nearby. In some cases, children are living on the sides of streets, with family members, some under difficult conditions.

Children living on the streets of Mumbai, India, personal photo
Home of mother and son, on the side of a busy street, Mumbai, India, personal photo

Cars and trucks hurriedly stream by some of these tiny home shelters.

Street shelters, Mumbai, India, personal photo

Successfully capturing the surrounding light and colors, depicting the boys’ levels of intimacy, illuminating their likely concerning situation and yet at the same time, highlighting the strength and endurance of these children, abstractly, is the challenge for this painting.

Work developing ideas for this oil painting are showing in an earlier blog, here. This oil painting has been completed during the period of time that I have been taking the art class called Painting on the Edge taught by Michael Orwick, offered through the Oregon Society of Artists.

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Somewhere between the art of tonalism and luminism is a painting of all the colors seen on the horizon at the moment of sunrise. It depicts the time when a night-darkened horizon line breaks loose from the underground with bright light. Colors go from soft grey to white streams of light that allow colors to jettison through the atmosphere, bouncing onto the grounds and waters below.

It is a moment of rainbow color craziness, lasting only a few seconds before the plain morning light breaks, leaving the simpler blues and yellows of breakfast sunshine.

An en plein air painter might have 10 seconds to observe the shifting array of sunrise colors.

Photography and painting alter it, limited by the technology, techniques and mechanisms used to depict it.

I call this painting, Alone Together.

These sketches were completed during the period of time that I have been taking the art class called Painting on the Edge taught by Michael Orwick, offered through the Oregon Society of Artists.

Alone Together, oil painting

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These sketches are notes prepared for planning a future painting.  In the process, I  play with brush marks and edges on cardboard, first in black and white and then adding some more abstract color perspectives. 

I am thinking about a simple painting of a person and a bird on an ocean beach, and am wondering what direction to take. 

Where should the person and the bird be positioned?  Should their lines be hard edged and realistic or might these objects be better depicted in a more  abstract and reflective way?  Should they stand out and burst with color or be more tonal in nature, positioning themselves smoothly between water, sky and beach?  When and where should the sky, and the water erupt into being?  How does light run through this?

These sketches on cardboard are for me, a form of meditation.

They are a kind of warm up where I roam about the gessoed cardboard with ink, some acrylic and finally oils, while playing with shapes and soft edges, varying the texture to see what affect it has on the person and the bird.

Person and Bird, Acrylic on cardboard

How important is this bird?

Water Bird, acrylic on cardboard

What about reflections, and of what?

Water bird with reflection I, acrylic on cardboard

Playing with water reflections and edges.

Water Bird with Reflection II, more abstract, acrylic on cardboard

Let’s try mixing it up a little, who has the sharp edges and who is soft and fuzzy?

Sketches for future painting called Alone Together, acrylic on cardboard

A person and bird on an ocean beach, with greater emphasis on the bird.

How complex should the textures be when sketching the bird and person? How about varying brush strokes and types of edges and how these variations create differential emphases on the sky, beach and ocean? How much color should I add?

There are five parts to this simple painting: bird, person, waves, beach, sky, However, this bird seems to be taking over.

Person and Water Bird, (oil paint on cardboard)

Shifting to color when thinking about the horizon and light, I paint some potential perspectives on the background.

Abstract I, Oils on cardboard, hard horizon
Abstract II, oil paint on cardboard, soft horizon

How to depict with horizontal lines, those beautiful shifts in color, the blended statuses that occur, between sky and the imagined ocean horizon; repeated when ocean waves become still waters and beach sand?

Abstract III Oil Painting on Cardboard

And how would it look if it all turned out in blues?

Abstract IV, oil paint on cardboard, lines upon lines

These are early thoughts about edges and brushwork that I might use while preparing a future oil painting of a person and a bird, positioned on the soft and often merged horizontal lines between water, beach and sky.

Time will tell how this all turns out.

These sketches were completed during the period of time that I have been taking the art class called Painting on the Edge taught by Michael Orwick, offered through the Oregon Society of Artists.

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The whole reason for taking an art course it to break into new territory, and that is what I am doing. Since the beginning of this year, I have been following the courses taught by Michael Orwick through the Oregon Society of Artists. Knowing what kind of teacher he is, I decided to carry several pieces of work through his entire set of courses to see what I might learn about each aspect of art that he teaches. The first course he taught focused on The Value of Design. The second course, that I am now taking focuses on Creative Color and Luminescence.

After several weeks of reading, painting, thinking about color, and trying various ways of approaching this painting, I feel that my painting of a Winter Bridge is now reaching a point that the painting shows new growth and development on a color perspective. I appreciate the commentary and critique of our instructor, Michael Orwick, and the many talented art students who have offered observations and suggestions about directions to take.

Michael Orwick’s course is three hours per weekly session for six weeks and on Zoom, leaving us all deep in thought and happily tired from all the thinking and planning that we do during these intensely focused three hour sessions. I look forward to discovering next steps in this art series.

As a suggestion to anyone who decides to take this course, I have found it very helpful to carry several paintings that I want to complete through the entire series and adapting them according to what I learn as I go along. This approach, thus far, has resulted in some adaptive best practices for how to adjust and rearrange my existing art plans to meet current needs.

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