Jordaan Viola

For several days I've been collecting bits and pieces for a complicated still life series, and taking digital photographs, switching out elements and tweaking the light. I have more items coming. Meanwhile, I still managed to do a little painting, and tomorrow will be entirely dedicated to the canvas.
I worked on the copper lamp base on the far left, and added the rim of the bike's front wheel and a layer of dark beneath and behind the bike. Lightened up the fuchsia velvet cloth. Just started turning the edge of the rug into fringe. I still need to add some dents and ridges to the scuttle, push the darks and lights, and define the leaves on the ground in the background. Last of all, I'll paint the spokes of the bike wheel and the two busted strings on the viola.
I am going to set aside the photography and tomorrow I am going to paint on the Kunst. It's time to bring it back onto the front burner and work on it until it's done.

more Jordaan

I worked on the very worn embroidered top of the warming pan. First a couple of layers of carefully mottled paint, then dragged my palette knife edge across it for the grid pattern, then painted over that so the faint scratches nearly disappeared.
Next took on the brass sides, which mostly reflect the violin and rug, so it's like painting an abstract, while keeping an eye on the elliptical shape. Then I sharpened up the scratch and dent viola/violin, working all over its surface, plus the bottom edge and the sides that dimly reflect the rug too. I began to suggest the rug's fringe that lies alongside the orchid pink velvet.
Finally took on the tarnished copper item that I think is a kind of scuttle. Might be a odd pitcher. One side of the lid is attached the other partly open. I think both sides hinge in the center. Wonderful complex colors there. I covered more ground than usual and saw the difference, which is a great feeling.

Violin or viola?

Had a great painting day working on the Jordaan Market.
I mostly worked on the violin. There is some debate as to whether it is a viola or a violin. I just love all the 'road hard and put up wet' scrapes and dings and scratches.There are two strings on this (not yet painted in) and only one of them is fully attached at both ends.
Today the paint behaved itself, the brushes were lively yet docile and edges were all cooperative. A rare day, to be savored.

Progess on the Kunsthistorische

I'm between shows - the next one is this Thursday - and happy to be back in the studio. I laid in the red sketchbook this morning. Last week was all about the bottom half of the marble, the woodgrain and deepening the dark behind it all. Later this week, once things dry a bit, I'll be working on the view outside the window. It needs to be both more substantial and less distinct. Then I'll take a metaphorical deep breath and tackle the sketch of Rembrandt.
I'm also entering a juried show, and applying for a residency at an artist's retreat, which mean asking for three letters of recommendation. Humbling experience, but humility is good for my soul, therefore good for my art.
I'm trying to figure out how to get a hold of certain props for a still life I want to put together. That's an adventure all by itself. Life is good.

I got some paint on the violin and the rest of the rug yesterday, and did the foot warmer today. The foot warmer is round and brass with an embroidered padded lid. The lid is hinged and hot coals go inside. I've seen these in some old Dutch paintings; a woman sitting on her chair making lace, with her feet on just such a warmer.

The unexpected challenge - this is a linen canvas and with the gesso layer, it's like painting on glass - very, very smooth. Paint just skids. As soon as I have one layer down, the paint will stick to the paint, but for now it's the painting equivalent of ice skating for a novice. Every few brushstrokes I fall on my butt, so I have to proceed cautiously and use patience.

Before enlightenment, carrying wood and drawing water. After enlightenment, carrying wood and drawing water.

Or 'before the opening, going to the studio and painting; after the opening, going to the studio and painting.'
The Huff Harrington Fine Art opening was exciting. A nice crowd turned out, tons of chatter and hellos and waving going on. My ears were literally ringing when we left. I am not a big party goer, so my memories are a mash up of freeze frame glimpses, like a kaleidescope in a blender.

To reward myself for valor, I started Oilily Meets Vermeer at the Jordaan Market. The thing that caught me was how elements of northern renaissance - a musical instrument, an oriental rug on a table, a bolt of velvet cloth, copper pans, a brass footstool with an embroidered top - are in present in this modern context. They are in celebrated paintings all over Amsterdam, but here on market day they are castoffs. Possibly they're waiting to be rediscovered and restored, or maybe they are headed to the scrap heap. Oilily in the title because their very distinctive look came out of the Netherlands. Mostly it's color but also pattern. Orange, pink, and aqua, floral and stripes mixed. It's bright and busy, but somehow harmonious.The image I am painting strikes me as the same - cluttered but harmonious. Orange and aqua are in the rug, and the bolt of velvet is vivid orchid pink.

I'm almost done with the Library - it needs to sit quiet for a week and dry while I see where I can improve it. Meanwhile I'll be bouncing between the Kunst and this.

Meanwhile, Back at the Kunsthistorische

Some days a change is as good as a rest. I needed some perspective on the library painting, so I switched back to working on the Drawing Rembrandt at Kunsthistorische.
I deepened the cherry and rose velvet colors on the velvet sofa, put the third coat on the sketchbook pages, and worked on the marble behind the sofa and on the bottom of the pillar. Doing marble is very Zen, or maybe a little like doing a topographical map. Then I studied my original drawing of the Rembrandt portrait that will be going on the sketchbook page in the painting.
A good day.

Anacreon

Another long painting day, though I did break for a walk.
Did an Indian Yellow glaze on the back wall, did the lettering of the name on the plate, messed around on all the books. After I took this photo, I went in and painted my blue sketchbook in on the bottom right hand shelf.
Titles or author's names on books is next. Fooling around with that will be way too much fun.

Busted

Yesterday I made progress on the top shelf of books and the middle shelf on the right hand side.
Worked on the bust today - pushing the darks and lights. Very satisfying. I'll be making a Indian Yellow glaze and bringing a mango tone to the wall soon. And, every day, more books. Instead of 'bird by bird,' it's book by book.

hanging out in the library

Books cast a spell on me, even though the Kindle-d may inherit the earth.
For a recovering writer, the library is a shrine, a holy and sacred place where you can worship your ancestors and find inspiration for the future. One of the pleasures of working on this painting is spending time paying close attention to books.
Worked on the wall, the bookshelf, the window and the top shelf of books. It might take the rest of the month, but I can smell the oats in the barn.

incremental progress

Today was slow. I kept painting and painting - from 9-5, with a 30 minute break for lunch - and it felt like running faster to stay in one place. But I have faith that progress was made. Worked on a first coat for the rest of the books on the top shelf and a second round on half of the middle shelf. Oh, and just a bit on a gold-beaded border beneath the bust.

Library in the Palais Liechtenstein

I've been working on this new painting for about a week. Today I got started late for various reasons, not until 2pm. But then it just went like a rocket. The walls of the library are faux painted, as are the edges the bookshelves, and I am adding pattern to that as I go. I love the window niche in the upper left that has a flare of aqua light. It's my favorite thing in the painting.
I worked on the bookshelves behind and to the left and the wall behind the bronze bust of the Greek poet Anacreon. Not until I came home and Googled him up did I learn that Anacreon is famous for his erotic poetry and stanzas in praise of wine. The funny thing is he reminds me of my husband.

I kept painting after I lost the light, mostly blurring edges of the mottled wall.
This one really calls to me. I wake up happy because I know it's waiting for me on the easel. At some point I'll hit a wall and get frustrated over something, but not today.

bass and gilt chair

Refining today - changed the curve of the bass, finessed parts of the gilt chair, added the red behind the sheet music, began the woodgrain of the door (lower left so far). A good, steady day. I was explaining to my husband that this is the part of building that takes a long time and very little seems to show - like adding the quarter round and molding in a new house - but the cumulative effect is substantial.

Double bass and All Small Redux

Working along on the double bass and gilt chair. I am starting to push the values of light and dark.
Yesterday I gessoed two new canvases with burnt sienna. I started drawing the bust of Anacreon in the library of the Palais Lichtenstein and worked on the books - 62 of them so far- this morning.

I'm very happy that the six paintings I submitted for a juried show at the Dalton gallery in February have all been accepted. I found just the right frames as well - fine line black aluminum.
Here they are on a cookie tray - it's for a show titled All Small Redux and each of these works are 5x5"

Delft, updated

Finished the Delft, Updated group. I'm the one holding the doll. Daughter Emily. a creative geyser, is drawing with sidewalk chalk, son Parker is on the swing, and daughter Robin is blowing bubbles. It's been interesting to explore something outside my usual interests - like line paintings in classic Delft blue.
Also I started putting together a new a postcard with some of my latest works, this blog address and my gallery contact information.