11.29.2010

Edison and Bram

A large (almost life-sized) sketch of the boys, completed just two days before taking on a four-portrait commission for Christmas. All my own sketches, portraits and paintings in my new chair series have been cast aside in order to complete this job by the deadline.

Edison and Bram in Two Beds, graphite on paper, 2010

11.19.2010

Harold Reddicliffe



Last night David and I went to the opening of the Harold Reddicliffe retrospective at BU and as I always am when confronted with his work, I found myself once again mesmerized and speechless. I've always been in awe of hyper realists and wish I had the ability to paint in such detail, but alas, it simply is not something of which I'm capable. I'm not wild about cameras, movie projectors, microscopes and various other banal appliances on their own, but in these pieces, arranged so dramatically, lit so beautifully and executed to absolute perfection in vivid colors, I go ga-ga over every single canvas. Thirty years of extraordinarily intricate, intimate and at the same time, bold, works and all of them in one gallery. I defy anyone to not be blown away.

Projector and Light Stand, 2008
Scale, Coffee Pot and Light Stand, 2008
Two Slide Projectors, 2005

11.12.2010

Another Purchase

I can't seem to help myself when it comes to buying art. It doesn't matter whether I have the money or not, when something draws my eye and speaks to my heart, that's it. I really, really tried to avoid buying this small oil study of a nude. I really did. I walked away from the artist's studio and told myself I couldn't afford it. I walked through all the other studios, visiting friends among the artists and making new ones, and yet in the back of my mind that entire time was this one piece. I told myself if it was still there when I was done schmoozing and being ADD Art Girl for the day, then I'd buy it. If it had been sold by then, then it wasn't meant to be. I thought of little else for the rest of the day. When the day was done, I wandered back to that studio. There were a lot of little red dots on her works, but this one was hanging there, utterly dot-free, and so I kept my word to myself and bought the piece. I told myself I couldn't afford it as I took it down from the wall and handed the canvas to the artist. I told myself I shouldn't be doing this as I handed the cash to her too. I told myself that this was bad, very bad, as she handed me back my new painting, securely wrapped in brown paper. I spent the ride home trying to justify the purchase of yet another piece of art. And then when I got home, unwrapped it and gazed at what was now mine, I knew that nothing else mattered. Because it's art and art is all I have.

Patience Epstein, Untitled

11.05.2010

Fall Open Studios


The 21st annual Open Studios Event will be held this weekend at Saxonville Studios in Framingham, 15 miles west of Boston, Massachusetts. While I'm looking forward to seeing everyone's work (as always), I'm especially looking forward to seeing the current works of Perry Lowell Bent and her new studio. Perry is a fiber artist whose works are both delicate and powerful at the same time, with colors both vibrant and moody, and texture that makes you just want to reach out and touch (just a bit). You can see her works, as well as that of more than a dozen other artists this weekend at the Saxonville Studios.

Saxonville Open Studios
November 6 and 7, from 12-5pm each day


Perry Lowell Bent, Autumn in New England, 2010
Perry Lowell Bent, Hope Lives, 2010

11.01.2010

Historical Palettes Part II

Once again, from my alla prima book and list of historical palettes, come the palettes of another two of history's greatest artists. Part I may be viewed here on August 4, 2010.

Pierre-Auguste Renoir (French, 1841-1919)
silver white
red madder
red ochre
cobalt blue
emerald green
verona earth
naples yellow
yellow ochre
raw sienna
ivory black

Girl Braiding Her Hair (Suzanne Valadon), 1885


Peter Paul Rubens (Flemish, 1577-1640)
lead white
orpiment (a yellow)
yellow ochre
yellow lake
madder red
vermilion
red ochre
ultramarine blue
cobalt blue
green earth
vert azur (a blue-green)
malachite green
burnt sienna
ivory black

Infanta Isabella Clara Eugenia, 1615