As I was watching Downton Abbey this week I was reminded of this painting and the research required to get the bells correct. The only elements which I had before me were the set up with the ironing table in the foreground, and my trusty model Pat who posed with the white shirt and vest. The floor and background were all imagined but I relied on photos from the internet to accurately portray the essential summoning bells.
I don’t remember which episode of DA it was when… from our perches on the sofa, Pat and I turned to each other as we watched the butler ironing the newspaper…and smiled. Ah yes, we would certainly have been more comfortable… “Below Stairs”.
Below Stairs – Oil on Panel 24″ x 36″ Available at the Granary Gallery
Celebrating the season of long winter nights and welcomingly fragrant evergreens, a grateful return to my seat at the easel, the twinkling of colored lights, newsletters from loved ones, the trail of cookie crumbs from studio to cabin…and back, and the sparkle in the eyes of our sweet lapdog Finnegan who is thoroughly enjoying the frosty morning walks with her buddy.
Wishing you all manner of love and laughter and light…
Every woman needs a retreat. A place to be where the creative muses can find her while her hands are busy and her soul is at rest. For me, that place is my garden. And now, a sanctuary within that sanctuary…my greenhouse is finished !
Three days of hard work to finish the carpentry and then stain and paint and today Pat helped me to carry the books and seeds over to start filling the shelves…
Now I can cast about the studio and cabin to find some things to make it homey, and make cushions for the wicker chair I found and a few hangers for hats and jackets, and some sort of solar powered lamp. It feels so good to complete something as fanciful as this. My garden folly. Now to find the windex !
We’ve been home for over a week now and the re-entry hubub has settled down and I am back at the easel in earnest. And back in the garden as well but not so earnestly as the summer heat wave continues. But this is all good because I am getting my garden fix early in the cooler morning hours and then the rest of the day spent at the air-conditioned studio easel feels like a spa.
Time then to post some photos from the Granary show. The opening was wonderful…a sea of art lovers with many new faces and lots of kind words of support. I took some photos after the crowds had cleared to show you blog readers the installation.
And not to be left out… a few snaps from this morning’s raid of one of the potato bags.
I’m in the mood for some vichysoisse and decided to dig around for some spuds. A task which I approach like an archeological expedition… gently brushing aside layers of dirt to reveal the brightly colored treasures. It’s just magical. Though I’m not too impressed with the yield so far. I welcome any advice from all my master gardener pals on how to improve next year’s crop.
In the coming weeks I’m going to look back and show a couple “paintings in progress” photos I took while working this spring. And I’ve got a slew of panels ready for a series of smaller paintings which will be headed out to Denver for the Gallery 1261 small works show in November/December.
Meanwhile I finished this piece the other day…(here’s an unvarnished studio shot)
It’s title is “Aren’t We Aging Well”…from the title of that wonderful Dar Williams song. I’ve carried just the title forward through several sketch books and when I decided on a visual interpretation it was originally supposed to be an anonymous couple, though always two women. But after Pat and I posed together in the studio yard…I used the remote shutter release on the camera to sneak some shots from behind the chairs…and I looked at the pictures, I realized that we were in no way anonymous. And then it became so deeply personal that I took it out of the Granary roster and put it aside to work on after the show.
I’m so glad now to have it finished …and have cleared some wall space in the studio to hang it after it dries, is varnished and photographed…just for us.
It has been years since I allowed myself to do a painting that wasn’t destined for a gallery or show. It’s good, as the song says, to “steal out with my paints and my brushes”…and paint as if nobody is watching.
But now…I’ve got to be getting on with the current still life. A few of the familiar props are making another appearance like the red stiletto, the silk camisole, and is that one of Polly’s cigarettes ? Really ?
Patience dear reader…all will be revealed…in good time.
This one goes a little deeper…
and as the Painter’s Notes reveal even deeper than I thought.
The Trinity
I’m listening to Paul Winter as I write this.
His song, Belly of the Whale from his Earth Music Album.
If you were here and we were both sitting in front of this painting listening to it together… I wonder if it would expand your thoughts about it, the painting that is, too.
His saxophone is tilting in a graceful arc above the water while a clear soulful whale song bubbles up from the ocean deep. They meet a hair’s breath below the surface in a gentle but haunting cello solo…and dance.
There is darkness and pain which flows into a brilliant blue tenderness. A compassion that makes me weep, and one or two notes that are all I need of joy.
I never would have chosen any of those words to describe this painting. I’m not sure why I’m including them now. But I do know that this painting was a mystery from day one. It does not appear in any form in any sketchbook I’ve kept. The objects are as far apart from each other in the studio as it is possible to be.
I remember picking up the clarinet in order to adjust the string that was holding it askew on the wall. Then taking the painting of Ted, which hangs facing the easel, off the wall so I could hang it there. Seeing the yellow of the whale oil strainer from across the room… and then noticing the morning light catch the tip of the seagull feather in the driftwood. How I got them all to stay like that on the wall and how that window got there I don’t know.
During the weeks I painted this Pat was away caring for a critically ill Uncle and his wife. We weren’t expecting it and the separation was disconcerting. I suppose the muses knew I needed a meaningful distraction. And so they brought me to the edge of this latest in the spirit vessel series.
And I suppose they are at it again…
choosing tonight, as I write, to have Paul Winter’s Saxophone to fill the studio, my heart, and my spirit
Turning this old Boston Library building into a brand new Museum dedicated to Realist Art is the dream project of Co-Founders, Pamela Sienna and George Kougeas. They are well on the way to making this a reality and have just launched the website which is a virtual platform to provide a look at their progress and for the growing list of artists and artwork which they have curated into the museum as “Inaugural Associated Artists”.
I am honored to be included in this group and will be providing milestone updates so blog readers can follow along as this important new venue comes to life. Here’s a blurb from their site and a link to read and learn more about the museum and the artists…
Welcome to the future Museum of Realist Art in East Boston.
The Mission of the Museum of Realist Art: Create a world-class cultural destination in the neighborhood of East Boston by exhibiting and collecting well-crafted painting, drawing, photography and sculpture with a specific focus on realist and narrative art.
Our focus is on contemporary realism, illusionism, magic realism, surrealism and visionary realism.
A planning team is working with Co-Founders George Kougeas and Pamela Sienna to develop this non-profit museum. See examples of art and follow our progress on Facebook as we establish relationships with a selected group of ‘Inaugural Associated Artists’ that we will exhibit in a future physical museum in East Boston.
The painting that keeps reminding me what a small world this is…
As I mentioned in a blog post way back in January of 2011, many members of the original Circus Kirk have contacted me after learning of this painting to share stories of their time in that circus, indeed on that very truck.
This week two more people wrote asking about the availability of prints, Ellie who went on to be a teacher and photographer and remembers the “hectic” schedule traveling with the circus, and Terry who actually painted the name on this very truck.
I wanted to update the information here that yes, the original of this painting has sold and YES, I do have prints available. They are discounted for Circus Alumnae and are $125 – printed on archival paper that is 17″ x 22″ and shipping is FREE. Please send a check or money order to my address (listed on the contact page of the website) and include the address to which it should be sent and off it will go.
We are welcoming 2012 here in the studio by painting apples.
Yes I’m still….painting….apples !
Try as I might, this final work – the seminal, keystone, massively fundamental focus of the apple themed series – is just simply spanking my artistic self. And it’s all Chris’s fault. Back in 2010, when picking apples at the Tiasquin Orchard on the island of Martha’s Vineyard and visiting with it’s farmers, the Magnusens, my beloved gallery owner Mr. Morse had a vision. Wouldn’t it be sorta fun for someone to do a painting from the bottom of the hill looking up through the trees at a person picking apples ?
Simple idea, lovely idea…who better to do this painting than the woman whom Patricia Neal dubbed, “the artist who paints people without their heads “… Heather Neill.
OK she says and rounds up her favorite Vineyard model, Mr. Theodore Meinelt who happens to live just down the road from the orchard, and off we trot to pose among the heavily laden limbs. Now viewing this photo you will see one of the biggest challenges I faced in composition. These are ancient trees and, like so many of the island specimens which are battered by ocean storms, they are small. Wonderful for picking, and probably pruned to their diminutive height for just that reason…but when you put a human next to them he ends up looking like a giant.
One other challenge was that, good for Debbie tough for me…it was a bumper crop. Thousands and thousands of apples. I knew that in order to do this idea justice, again Mr. Morse must be thanked, it would need to be a panel large enough to let the viewer have the same panoramic feel that originally inspired my muse. And I knew that my ridiculously high standards would not let me take a pass on rendering every one of those apples (forgive me) right down to their core.
I debated, fussed, dripped with procrastinating angst…(Pat has been driven to longer and longer walks with Finn as each stressful day of whining passed) … and finally decided to use the 60″ panel thereby committing to what I knew would be weeks of work.
I started out taking daily shots of the progress with the idea of sharing the journey with you all. But I was so frustrated with the slow pace and the overwhelming amount of detail that I bagged on that early on. But now, as I am nearing the end…she says oh so hopefully… I have decided to show you the abbreviated “process” shots. I’ve been putting detail shots up on facebook as I complete small sections and now seem to have a small but dedicated group of followers with whom I have been teasingly withholding the ” big reveal” of seeing the whole finished work.
There was a great amount of artistic license in play in an effort to wrangle the tree and background, concept and balance, in the pursuit of the “essence” of the orchard. Here is one of the dozens of photos that I used as reference…the closest to the finished comp…
The initial sketch…
First pass… Some sky…
Needs to say more about the island… so how about a water view ?
Flash forward…weeks forward…to the first detail shots…
And now…I’m off to the easel to finish this baby. Have about two square feet of apples, leaves and branches to tighten up and one long branch to snap into shape. Might be two days of work since I have squandered this morning writing this entry…and allowing the tylenol to take effect…since the steady hours of resting my pinky on the panel to work the tiny brushes is taking a toll on my own limbs.
But I’ll get back to you just as soon as it’s done. I promise you will be able to hear the huge sigh of relief in the furthermost corners of your own apple orchards.
