I am so happy to have completed this challenge and will do it again when it rolls around in 2015. Most paintings are available for sale. Many will be holiday items at the Workhouse Arts Center in Building W-9. Woo!
The remaining unposted paintings from the 30 in 30 days challenge are more florals!
They are from a day of painting at McCrillis Gardens in Bethesda, Maryland. I was fascinated by the late season begonias, in particular, but also wanted to focus on geometry and large shapes. They are 2.5x3.5"and 8x10". They were nearly finished on site and all have watercolor underpaintings. The smaller is on mounted Uart and the larger two on Pastelbord.
I have finished my 30 paintings for this month! And it only took 25 days! If I am able to work on some larger ones next week, I won't stop at 30. I am really enjoying how loose these miniatures are. It'd be fun to translate them larger.
(My plans for the weekend preclude painting, so I actually got them done in advance. Woo! for the artist with little sense of time!)
(I spent the day as the desk jockey at my gallery today in Building W-9 at the Workhouse and had to do something!)
So here ya go. They will be gradually uploaded to the challenge site as the days open up for posting.
Baltimore is a world unto itself and I love it. As a small child, my now teenaged son, who had easy access to the wonders of Washington DC, would exclaim, "Baltimore is my favorite city in the whole world!" He was highly motivated to make the one hour drive in order to visit the B&O Railroad Museum as well as the features of the Inner Harbor, like the National Aquarium, Constellation historic ship, Coast Guard vessel, WWII submarine, and water taxis. Delicious crab cakes from Fells Point made our stomachs happy, too.
This painting is from an image I took from the eastern edge of Baltimore near Dundalk, back toward the winking, red neon, National Bohemian beer sign to the glow of Camden Yards in the distance. It was during the second home game of the season this year. The sky was celebrating in Orioles orange.
From Natty Bo to Camden Yards
9x12 on black Canson
I am still successfully working on 30 paintings in 30 days. In part, I am taking the time to work on miniature art for the holidays. I am also adapting some work I'd put to the side and giving them new life.
Today's post is all about the miniature. I have reused a 9x12 piece of Uart that had an underpainting done in watercolor plein air a while back. I didn't feel that the piece was worth developing once I got home and I moved on to other projects. For this challenge, I have taken that paper out and divided it into space for nine miniatures.The old watercolor underpainting has been handy, even as I find new applications for it.
So far, I have the under the sea series, additional sea turtles, sunsets, and these, which are from photos I took as the sun was setting on my first day in Curacao in June. I strolled the resort's property on the southern edge of the island at Piscadera Bay. I am very happy to have kept up with the 30 paintings in 30 days challenge, because I am not usually a daily painter. My goal is to be more prolific, even if it means doing miniatures, which are their own genre unto themselves.
Much of my work is done en plein air, French for "in the open air." People often associate it with the Impressionists, but the move to paint outside preceded them by a number of decades. The trend to appreciate landscapes as a genre at all was new for the time.
Several characteristics contribute to the distinctive beauty of en plein air painting. They are generally smaller in size in order to be able to capture a scene in a single sitting. Because of the time limit and environmental factors such as the sun and shadows moving, they often lack extensive details and might appear slightly fuzzy or unfinished. Lastly, they tend to have a freshness and spontaneity which makes them impossible to compare to traditional and methodological studio work. That said, my own studio work tends toward the same feel as en plein air, which then identifies my overall style: softness with an edge.
My aim when painting en plein air is for alla prima paintings, which roughly translates for me as "what happens outside, stays outside." It adds another level of difficulty to the work.
These are some local places for landscape painting; most are within an hour of the Beltway. Look here for the complete album, a couple hundred views from my photography collection, which are mapped here.