Birthday Sunrise on the Bay

I've been working on this one for awhile. I have always loved clouds and I'm bound and determined to paint them and paint them...and paint them, until I figure them out. I suspect this will take a lifetime. That's ok.

My sister sent me a photo last year of the sunrise on her birthday and I had held onto that photo for awhile, finally deciding it was time to tackle these fabulous clouds. I used every color imaginable in this painting, but you don't notice it until you get close.

I thought that was appropriate for a painting entitled "Birthday Sunrise." It's like God threw a party in the sky in celebration.

Here's a detail of the clouds to give you a little better idea of how many layers went into these clouds. The layers were more due to dogged determination to finally get it right than anything else. I'm sure there are artists out there who can whip up beautiful clouds in the skies in no time, but I'm not one of them...yet.

I'm still searching for my next sky photo to tackle. (Photographer friends, that's a hint for you!)

"Birthday Sunrise"

36"x36" oil on canvas, gallery- wrapped

Schilo's Delicatessan, San Antonio, TX

On a trip to San Antonio last year, while strolling through the downtown, we stumbled upon Schilo's Deli which has been "serving up hearty German soul food at breakfast, lunch, and dinner since 1917." (Fodor's) I love finding a restaurant that has been around for ages and the building that houses Schilo's oozes of history. We had a great deli lunch and the service was quick. I had a feeling there were as many locals there as tourists (always a good sign).

What first attracted me to the original photo was the brilliant colors outside the window. Only after admiring the colors did I notice the man at the table. He was secondary to the original intention for the composition and that's the way I tried to paint him. I think he must have been a regular, he would turn and observe everyone who came in the door.

I have to say, it's nice to paint a person where I don't have to struggle for the likeness. Since I'm not trying to paint a specific person, I can just enjoying finding out who my paintbrush wants him to be. He reminds me an awful lot of my friend's dad, but it wasn't intentional.

I have another Schilo's painting on the easel which will be called "Take a Big Bite." You can imagine what that's about!

"Lunch Interrupted"
12"x12" oil on canvas

Psalm 36:9 - One True Light

My friend, Jerry, from Celtic Crossings sent me a photo of the Umpqua Lighthouse near Winchester, Oregon quite awhile ago. I had wanted to paint it, but as is often the case with any photo, I spend a lot of time checking back in on it and thinking about how I would do it or what meaning it has for me. I never know when the bells are going to go off and realize "It's time to paint!"

What finally sealed it for me was when I looked at the photo for the umpteenth time and decided what I really liked about it was the fact that the lighthouse wasn't lit and the light in the picture is generated from the sun. I thought of the guiding lights in my life and what inspiration they are to me and yet, nothing can replace the "One True Light" that guides our lives.

Further research led me to a history of this lighthouse which was made automatic in the 1960's and actually stays on 24 hours a day (so it is lit in my photo). Apparently there was talk about taking it off automatic to limit the hours it was lit and there was quite an uproar. People demanded that it stayed on continuosly. Now, I like that even better because even though the lighthouse is on, it's outshone by the light of the sun.

Psalm 36:9
For with you is the fountain of life; in your light we see light.

"Psalm 36:9 - One True Light"
12"x12" oil on panel, sold

Alone But Not Lonely

I was originally inspired by Edward Hopper's "Lighthouse Hill" when I first put paint to canvas for this one. There was something about the simplicity and contrast that drew me into his painting and I hoped to capture some of that while making the painting my own interpretation. From the beginning, I wanted to capture a sense of solitude, but not one of loneliness or abandonment. While painting, I thought of my own ancestors who lived on ranches and farms, working and toiling without the conveniences and interaction that we have today. Sometimes, I wish I had my own house like this one to retreat to as a break from the constant "connectedness" in today's world. At one point of painting, I had asked everyone who came through the house what I should add to this painting (there were some wonderful ideas). I also took the horse out at one point, but my daughter said that made it lonely and took the life out of it so I put it back in. Did it need something more? In the end, I decided to stay true to my original vision and keep it simple.

"Alone But Not Lonely"

18"x24" oil on canvas, $400+S/H

Sneek Peek

I thought it would be fun to give you a little sneek peek of a painting I just finished. Shown here is just a very small portion of the painting (albeit the focal point). What do you think might be going on in the foreground and all around it? I've been studying the style of Edward Hopper and tried to capture the mood of his painting in my own way, but changed the surroundings. I had a very hard time deciding what to include and not to include in my own version. I'll post the full painting in a few days.

There is a sort of elation about sunlight on the upper part of a house.
(Edward Hopper)

No amount of skillful invention can replace the essential element of imagination.
(Edward Hopper)

Different Strokes

Artist Karin Jurick has created a fun blog where she posts a bi-weekly photograph and invites artists from all over to interpret, paint and submit their paintings which she then posts on the blog "Different Strokes from Different Folks."

I have thoroughly enjoyed seeing how different artists will express themselves through various media while using the same reference photo. This week, I decided to join in on all the fun and this is my resulting painting.

I love visiting San Francisco and driving by all the colorful Victorian homes, dreaming what it would be like to actually live in one.

If you are interested in seeing the various artists' interpretations, be sure to click here to go to her blog
.

"Pink Ladies"

9"x12" oil on canvas, $150 + S/H

New Addition

A commission, I painted this little one's brother when he was a pup and now she's joined the family. Cute as a button, I hear she has a little mischievous streak in her. Her expression here captures a bit of that, I think.

"Maci"

8"x10" oil on canvas board

NFS

Poppies on a Hill

Poppy paintings are so popular right now. I'm not one to jump on the bandwagon, but the reds were too tempting. The prettiest poppy I ever saw was here in Texas and it took me several years to find out the name of it - a "Shirley" poppy. I wasn't much of a poppy fan until I saw it. I'd say it's pretty much of a showstopper as far as poppies are concerned (the actual flower, that is).

Poppies on a Hill

5"x7" oil on canvas board, framed, SOLD

fineartbymj@aol.com

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Lavender Fields

Every now and then, it's nice to take a break from larger, detailed projects and have a little fun putting paint on the canvas with a goal towards painting a happy little scene and not much else. I wish I could say I had been here in person (Provence), but maybe one of these days.

"Lavender Fields"
5x7 oil on canvas panel, framed as seen, SOLD


Yikes! I just noticed that I posted an incorrect size earlier for this painting. It is a 5x7, NOT an 8x10. Sorry!

Niece With a Pearl Earring

A couple of people heard that I was doing another adaptation of a master painting and expressed hope that I would post my progress on this blog as I did with my daughter's version of Fragonard's "Young Girl Reading." I hadn't really thought of doing this, so I'm a little later in the game with this study of Vermeer's "Girl With a Pearl Earring."

Before I even did my first attempt at portraits several years ago, I knew I wanted to do my niece as "Girl With A Pearl Earring." It wasn't until this past summer that I found time to sit down and pose her for the painting.


I've studied this painting for several weeks now and I must say that I am so pleased with this first stage that it has me nervous to continue. The only thing that has anything close to a finished coat on my version is her right eye (and it took me three hours!)

But here's where the computer comes in handy and my early excitement gets a reality check. Putting mine next to Vermeer's (Egad!) reveals a whole new list of things I need to be mindful of when I pick up the brush to continue on. Notice how warm Vermeer's background is even though it is dark. Vermeer's girl literally glows, mine is just beginning to glow. Vermeer's hard and soft edges work together magically...that's a little intimidating for a novice like me! Vermeer has completely captured the moment with the expression on his model's face. (Do you think he loved her? Have you read the book by Tracy Chevalier? It's really good. I think Vermeer was more taken with her youth and innocence. I hope that with the last stroke of my brush I can say I've captured some of my niece's personality and my love for her too).


I have one thing going for me though, my model is a true beauty, isn't she? (Inside and out if I do say so myself). The inside beauty is what I really want to capture.