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Volume 15 Number 1 June, 2010

Like deep set eyes of sapphire...

The fresh facets on the base of the Mendenhall Glacier are rapidly fading from the summer heat. Already white around the edges, the superbly transparent deep blue ice created under great pressure is re-crystalizing into the more ordinary white ice. The blue facets result from frequent calving that litters the lake with icebergs. The glacier has lost hundreds of feet in length and thickness since I last saw it 5 years ago. The changes since when I first saw it in 1977 are even more dramatic.

A wandering jet stream gave Southeast Alaska two months of sun and the Seattle Area inherited their two months of rain. In spite of my pulling weeds in the rain, the grass and vetch are rampant in my garden. The berries are several weeks late in ripening. My peonies and lilies were brown and slug-ravaged from the constant damp. Some lupines were covered in mildew. Most of the lupines set no seed as the bumblebees did not fly much of the time when they were blooming. I am cutting off the flower stalks to encourage them to bloom again, but the weather is still rather strange and rainy in the first days of this summer.

This constant gray for two months has upset me in the studio as well. It is the return of the glorious sunlight that inspires my painting in the spring. This year's pearly gray light was only mildly inspiring so I focused on some paintings of hot autumn days in the mountains. I have continued with the oil on copper or on copper toned canvas. I did some small works as a warm up for a large painting of Golden Larch that I had in mind. These were painted on a golden toned base, so my palette had to be changed accordingly.

In the midst of the doldrums, serendipity led me to a marvelous catalog on Luis Meléndez. He was a Spanish painter especially known for his still life paintings of food and kitchen ware. To me, he was the equal of Vermeer in the accurate rendering of textures. Of course, after carefully reading all about how he painted, I had to try painting "in the style of" Meléndez. The hardest part was finding fruit and vegetables with interesting flaws. The organic fruit is much more interesting. We have become a nation obsessed with flawless fruit. I find it to be like painting portraits of plastic fruit.

Thinking about all this, I decided to start a blog about beauty in everyday objects. I think the flaws, dings and scratches make for more beautiful objects. Where did we get side-tracked to valuing perfection above all? Has that always been our preference, or has it developed because we can make perfect things now by mechanical means? If that is the case, we will always love robots more than people, as they can be perfected and stay that way or be restored to perfection. I remember loving the bubbles in glass, then being told that these were flaws and a sign of poor workmanship. Hmmmm.

If I wanted a flawless surface on a painting, I should create it on a computer and have it printed onto plastic in a clean room to avoid any flaws. But I already know that I like rougher and matte surfaces a lot better than shiny polished finishes so I continue to paint directly on surfaces with flaws. Linen has more slubs than cotton canvas, but it is livelier, so I have grown attached to it. For that reason, I also prefer to paint on textured Gessobord™ rather than the very smooth Gessobord™. I must admit however that the lack of resistence to the brush of a metal surface is delicious. The strokes are so free and frictionless. Every touch of the brush shows and leaves a textural mark that rarely shows on a canvas surface. If everything were slick and shiny how would we experience the contrast of rough with smooth? I think that contrast is the most powerful force in the world.

I have enjoyed my experiments with turning linen or canvas to metal. I have done a good bit of research with different paints and talking to paint representatives and manufacturers for help in achieving my goals. I really like painting large, but to use copper sheet for the larger works gets too heavy to manage easily. Applying copper leaf has its own sets of problems and really takes much too long. I would need an apprentice to do my prep work on the supports. Everything is a tradeoff.

Arne recently helped me prepare a new batch of larger copper sheet mounted to Baltic birch plywood. I have not had time yet to paint one of them. I consider them to be a luxury and as such have a tendency to hoard them rather than use them. I am planning to do a series of related paintings on this batch. I really want them to be the very best that I can conceive and execute, so the pressure is on. I have a theme in mind and am at the stage of gathering reference material.

I had hoped to get out in the countryside this summer, but so far it is not looking too promising. While I was out weeding yesterday evening I got three mosquito bites. That is another downside of wet weather. Far more bugs! The weather has been much harder to predict for the last few years. Even with the gray days I will use this delightful coolness to enjoy painting. The light rain and overcast make for great watercolor subjects. The colors are always enhanced as well, rich and fully saturated in the pearly light.

This year our neighborhood will be having French theme pot lucks on a neighbor's deck. We had one already that ended in everyone wearing blankets, then moving indoors because of the damp and chill. I do hope we will have better weather from now on. Otherwise, we may need a heated screened porch for these gatherings. Think of the popular painting of Renoir titled "The Boating Party". That is what we are aiming for, dogs and all.

Enjoy the sun as the days are already growing shorter.

Rosemary

Volume 14 Number 2 December, 2009

Storms of Autumn....

Create the finest conditions for an exciting trip to the ocean beaches of the Pacific Northwest. How could this ocean have been named Pacific? It is anything but peaceful in a storm. Huge waves fling immense logs at the beaches and headlands, then sweep them back to sea for a repeat assault. Hard to believe that a 3 foot by 40 foot log can be moved that swiftly.

But a low tide morning after a big storm is a wonderful time to walk the beaches, examining what the water abandoned. I think the beaches were more fun before the advent of cheap plastic. Then, more of the detritus was either organic and sea-related or wooden. Only a few non-wood artifacts such as glass fishing floats and stoppered bottles were to be found. It was on such a trip years ago that I took the slides that resulted in the painting of Ruby Beach.

Ruby Beach is a huge experiment. I painted a smaller version of this on 6" x 9" copper sheet and loved how it turned out, titling it Lonely Place. Loving painting on copper, but also loving painting large, I tried priming a 30" x 40"canvas with copper paint and using the style I use on copper to make the large version of Ruby Beach. Now I love them both, but for different reasons. Much of the differences between them are due to scale.

Scale is really on my mind as I write this newsletter. I rented a large studio so that I could more easily paint my favorite mountains in a scale that gives more of a sense of grandeur than a small image ever could. However, small paintings have their place as well. What we must always consider in the display of artwork is the viewing distance envisioned by the artist. That is, how close are your eyes to the painting you are contemplating?

Monet's largest water lily paintings are designed to engulf the viewer, but his impressionist style becomes ever more evocative the farther the viewing distance. In contrast, paintings by Vermeer such as the Girl with a Pearl Earring are best appreciated in a more intimate setting, where you can appreciate the subtle nuances that disappear when viewed farther away. These small paintings belong to the class of paintings called Cabinet Paintings. Much smaller in scale, they were displayed in a small, cozy room where the sight distances would not exceed 10 feet.

When we display art in our homes, we put work that is intended for a longer sight distance over the couch or other large piece of furniture, as we can not approach it too closely. Generally such work has less fine detail and more emphasis on form and color in larger shapes with high impact. There is not much of interest to the viewer at a sight distance of inches, other than perhaps the brushwork or texture.

We display smaller, more detailed and less contrasting work in settings such as the walls in an entry hall, stairway or nooks. The other places to display and enjoy the small works are on plate rails, shelves, tables and desks and of course, in a curio cabinet or china cabinet with lighting and glass doors.

Certainly there are paintings that are intended to grab your interest across the gallery and yet reward you for a closer inspection. To get the most enjoyment from this work, we hang it in a room such as a dining room where there is not a large piece of furniture preventing your closeup inspection, or perhaps a landing at the top of the stairs where you can see it from the bottom of the stairs and also stand 10 inches from it and admire the brushwork, subtle variations and details. The wall at the end of a long hall is another good location for such work.

As I thought about my paintings in terms of where they would be best viewed, I decided that perhaps a desk or table top might be a congenial spot for my work that is under 8" or thereabouts. I have put some of the small work in frames that could sit on a tiny easel, but I wanted something other than the common plate stands to use to display the small work. I told Arne about my insight and bemoaned the dearth of ready made interesting stands. He replied, "Let me think about it." A few hours later, he said that he had something to show me. I was speechless when I saw the section of natural bark covered tree limb that he slotted to receive one of my little paintings. The stand complemented the art and the art completed the stand. Wow! I could just see these sitting under a lamp with gleams of light reflecting from the copper.

The only difficulty is that this wood was gleaned from local tree pruning activity. It had to be cut at the right time of year so that the bark would not fall off and it had to be slowly seasoned so that it could be worked. We had only a few limbs saved because of limited space to store them to dry. Unfortunately, we have used almost all of it making stands for existing paintings. They have been carefully matched to enhance the appearance of both pieces. Nature's smaller work of art and my impression of the larger scenes of nature are synergistic in their effect. I enjoy using one as something to look at while meditating.

Those of you who have followed my newsletter over the years may remember my obsession with painting white flowers, especially white peonies. I had visualized and drawn out a painting some time ago and only now got around to completing it. I cut a stencil to protect the areas that would be painted from the areas that would be gold leafed, then coated the exposed areas with red gesso that I polished to a shine. Then I leafed it with double 22k gold leaf from Italy. I protected the leaf with white shellac and then removed the stencil and painted the flowers with water media. After I was satisfied with their appearance I varnished the whole thing to protect it.

Now the fun starts. I painted this on Ampersand's Gessobord , and composed it not considering how it would be framed. Now I see I need to float it in a frame but will have to glue the panel to something to allow it to be fastened into the floater. Why do I do this to myself? I have been painting long enough to know better than to compose to the edge, but I always get greedy and want to use the whole surface. So once again, I need a framer rescue party. Any suggestions out there?

I enjoy the comments I hear about my art. They are food for thought for me as it is a peek through strangers' eyes. I welcome discussion and the information that I get from the discourse.

A number of visitors to my studio have told me that I am painting in a Tonalist style. So I did a little research to find out what Tonalism is. I didn't remember it from art history. My research informed me that other than the paintings generally portraying more subdued lighting than Impressionism, the other prominent feature of Tonalism is a certain moodiness or emotion inherent in the composition. Well, duh! I believe that a work of art must communicate emotion to be successful.

I will confess that I love the dawn and twilight and even the night conditions. The northern midsummer long twilights are exquisite to paint. I think I have been more influenced by the Canadian Group of Seven and the Scandinavian Impressionists that had the same influences as the Tonalists had. I love subdued but dramatic light, but other than that commonality, I don't see the connection. I prefer Thomas Moran to George Inness.

Others have compared my work to Maynard Dixon and Edward Hopper. I share a love of shapes and light that these artists explored in their work. What influences do you see?

In the summers I used to roam the Cascades, hiking, climbing and backpacking. The country I saw was always begging to be painted, so I have rummaged through my slides and selected views that are interesting enough for me to want to paint them. My taste is not for everyone, I know. In fact, it is the adventuresome that seem to most enjoy my paintings of wilderness. Those who have seen the wild high places for themselves are my greatest fans. I just do not paint the postcard views of the mountains that everyone recognizes. This last large painting was a favorite view of a dear friend. As I remember, this is Hibox and Alta from Box ridge. The shape of the ridge is what appealed to me along with the lighting. Shapes and light, that is what I love.

Keep warm dear friends,

Rosemary

Volume 14 Number 1 June, 2009

Gleaming softly...

the copper surface beckons. The color is like no other, indescribable. I have tried painting on gold and silver, but only copper appeals to me. The slick surface is also very appealing. My oil lubricated brush slides effortlessly, leaving a trail that reveals every touch.

Accustomed as I am to painting on a Cadmium orange toned canvas, it has been very easy to adjust to the quietly assertive hue of burnished copper. It has been less easy to factor in the reflective effects on transparent and translucent oils laid down on the copper surface. Even more difficult has been my search for the perfect frame for these paintings. The copper is so much heavier than stretched canvas it requires a sturdy frame that sets it off without stealing the show.

Another challenge has been my urge to paint larger rather than smaller. I continue to research ideas that would get the look without the weight, but have not achieved the ultimate solution. In the meantime, I have been painting some 2 foot square paintings on stretched canvas primed with a metallic copper paint. It has been interesting to experiment with the paint as it has many of the qualities I am looking for.

Alaska has been on my mind. I still think it is the most beautiful place I have ever been, especially when the sun shines. I feel privileged to have spent so many years in the vast wildness that is only punctuated by bits of civilization. There is an exultation that fills my heart when I see the mountains there. I cannot explain it, but I feel welcomed by the land.

One of my fondest memories is walking among the big cottonwoods on Basin Road in the early fall on a sunny day. The fragrance that is released from the cottonwoods is a healing energizer for me. I even keep a few cottonwood buds sealed in a can to smell when I yearn for that time and place. With these warm memories, I painted Basin Road in fall color. I left out the huge black bear that sometimes frequented the area. Another favorite place is the beach south of Douglas. The last time I was there, even more of the remains of the mine had vanished under the onslaught of nature. But I bet the big chunks of waste rock on the beach with large pyrite crystals in them are still there. It was fun to watch the crows try to peck out the crystals to take home with them. The view of Juneau from there is great and I chose it for another painting. There were usually eagles hunting along the beach for fish in the shallows. Once I saw an eagle with a king crab, sitting on top of an old piling, struggling to not drop the crab, yet get inside to the tasty meat.

The twisted trees at the timberline at Eagle Crest asked to be painted as well. I marveled at those trees above the top of the ski lift in the winter when they were sheathed in rime and ice. I hiked up there sometimes in the autumn to enjoy the views after the mosquitos were gone.

Here in the Puget Sound area, I chose a view of the vines at the Bainbridge Island Winery to paint. I painted there one year with the local plein air painters. This location features a tractor path, something that I love for the way it follows the land and the irregularity of the surface and shapes. It was very kind of the winery to welcome our group to their beautiful grounds. It is an advantage to belong to a plein air group so that more than one set of eyes has been looking for sites with a lot of interesting views.

A small painting I did last year on copper inspired the larger painting of a lake. The early morning stillness with wisps of fog and shafts of sun captured my interest in this scene. Of course, I could not leave out the water lilies. They complete the ambiance of peace and quiet.

Based on another small painting done last year on copper, I painted the crescent moon above a beach area on Fidalgo Island. Back when I had a studio in Anacortes, I was able to spend some time roaming the shorelines and access points for interesting views of other islands along with the varied local flora and fauna. Perhaps by now, the tree has lost the battle with the sea, but I love the way it arches, trying to grow vertically while the sea undercuts the bank here. I confess to moving the island in the distance to improve the composition. It really is easier to get good compositions when you are willing to rearrange the landscape to your own satisfaction.

A sudden fascination with desserts required me to paint on Gessobord to achieve the verisimilitude I thought these creations of the pastry chef deserved. I investigated a number of new and several established bakeries to see who had the most interesting pastries for sale. I enjoyed picking and choosing creations that were lovely to look at. Lucky Arne got to eat the models for these paintings. (I can’t eat food containing gluten.)

Solstice approaches and the weather is warm and conducive to lazy conversations on the deck. I love these days of long sunlight and find myself in the garden weeding, just to enjoy the weather. I do hope you are all enjoying the light and burgeoning life all about us in riots of leaves, flowers and birds. Well, I guess I should mention the insects as well, but not too loudly. Thankfully, the very cold winter seems to have decimated the hordes of hornets that plagued us last year. The bumbling bees that have taken their place are much more welcome.

May all your days be beautiful,

Rosemary

Copyright 2001-2010 Rosemary Sylvanus Antel. Email: RAntel@seanet.com
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