PASSING STORM - NEW 12"x36" Original Oil Painting

Studio No. 615 - PASSING STORM (Taos, New Mexico) - New 12"x36" Original Oil on 2" cradled panel.  Completed 1/8/15 - Sold

EVENING VESPERS - New 16"x20" Original Oil

EVENING VESPERS (Placitas, New Mexico) New 16"x20 Original Oil on Belgian Linen. Completed 1/6/15 - Sold

PASSING STORM - 12"X36" Work in Progress (Underpainting)

Studio No. 615 - PASSING STORM (Taos, New Mexico) - 12"x36" Original Oil on 2" cradled panel.  Panel is gessoed with Payne's Grey tint 3x.  Colors are mixed to pastel tones with MG Underpainting White and Distilled Turpentine.  Clouds: Paynes Grey, cobalt blue.  Mountains:  Prussian Blue, Cobalt Blue.  Trees:  Cadmium Yellow, Yellow Ochre.  Foreground:  Cadmium Red, Chrome Oxide Green Opaque.

ANOTHER NEW BEGINNING......1/5/15

COUNTRY LANE (Near Dixon, New Mexico), New 22"x28" Original Oil

Studio No. 315 - COUNTRY LANE (Near Dixon, New Mexico) - New 22"x28" Original Oil.  Completed 12/17/14.   Preview/Purchase.

CORAZON SAGRADO (Tesuque, N.M.) - New Studio Edition Print

CORAZON SAGRADO (Tesuque, New Mexico) - New Archival Studio Edition Print.  (Look for Santa in the window!) - $40.00.  Preview/Purchase.

COUNTRY LANE - 22"x28" Work in Progress (Glazes)

Studio No. 315 - COUNTRY LANE - 22"x28" Orig. Oil - Work in Progress (Glazes).  Glazes are transparent or semi-transparent colors applied to the underpainting once it is sufficiently dry with oil painting medium.  Fall foliage:  Burnt Sienna, Pink Ochre, Ochre.  Grasses:  Burnt Sienna, Deep Ochre, Olive Green, Burnt Umber.

COUNTRY LANE - 22"x28" Work in Progress (Underpainting)

Studio No. 315 - COUNTRY LANE - 22"x28" Orig. Oil on Belgian Linen. Work in Progress (Underpainting) - Colors are mixed with MG Underpainting White and Turp. - Pinon Trees:  Chrome Oxide Green Opaque - outlined with Prussian Blue and Burnt Sienna.  Fall Foliage:  Cadmium Yellow; Yellow Ochre.  Grasses:  Combinations of Mars Orange, Yellow Ochre, Chrome Oxide Green, Olive Green, Cadmium Orange.  Road:  Mars Orange, Holbein Rose Grey, Burnt Sienna, Yellow Ochre.

ON THE ROAD - NEW 6"X14" Original Oil

Studio No. 415 - ON THE ROAD (Near Tierra Amarilla, New Mexico) 6"x24" Original Oil on a 2" Cradled Panel.  Completed 12/12/14.  $350.00   Preview/Purchase.

ASSEMBLA DE DIOS (Truchas, New Mexico) New 40"x40" Original Oil

ASSEMBLA DE DIOS (Assembly of God Church, Truchas, New Mexico) - 40"x40" Original Oil, unframed. Completed 11/20/14. Note: I rented the small adobe house to the left of the church from my friend, Susie Romero, and it was my studio once upon a time.  Click here to Preview/Purchase.

Studio No. 215 - ASSEMBLA DE DIOS - 40"X40" Work in Progress (The Glazes) - Glazes are transparent and semi-transparent oil colors which I believe add richness and depth to the final painting.  Glazes are mixes with Oil Painting Medium (Recipe will be posted next week).  Trees and Yellow Grasses:  Transparent Gold Ochre, Burnt Sienna, Gold Ochre Deep.  Green Trees and Grasses:  Burnt Sienna and Prussian Blue - with some Chrome Oxide Green Opaque.  Note:  Opaque colors can be thinned to a semi-transparency.   Reddish Grasses:  Burnt Sienna and Alizarin Crimson.

LAS NUBES DE TRUCHAS - 12"x44" Original Oil

 

LAS NUBES DE TRUCHAS (The Clouds of Truchas, New Mexico) - New 12"x44" Original Oil on Belgian Linen completed 11/7/14.  Preview/Purchase.

ASSEMBLA DE DIOS - 40"x40" Work in Progress (Underpainting)

ASSEMBLA DE DIOS (Truchas, New Mexico) - 40"x40" Work in Progress (Underpainting).  Almost all colors are mixed with Winsor-Newton Underpainting White.  Note: Am testing this new white - doesn't dry as fast as Grumbacher MG.  Sky:  Thalo Blue, Thalo Green.  Trees and Grasses:  Cadmium Yellow, Cadmium Yellow Light, Cadmium Red, Burnt Sienna, Chrome Oxide Green Opaque and Yellow Ochre.

ON THE EASEL - ASSEMBLA DE DIOS - 40"x40" New Work in Progress

ASSEMBLA DE DIOS (Truchas, New Mexico) - 40"X40" Work in Progress - Basic sketch in Prussian Blue and Burnt Umber.

HOW I PAINT - Creating a Portable Work Station

CREATING A PORTABLE WORK STATION - I am an easel painter and I need a comfortable and easy set up for my palette and tubes of paint.  I have a stationary taboret where I keep my additional supplies of paints and brushes.  This steel utility cart (purchased through Amazon) can follow me all over the studio and this set up works perfectly.  This arrangement is great for part-time painters who can't keep a permanent set-up - you can put a cover over your palette and tuck the cart in a corner or closet.  Remember:  It is much more efficient to have your colors set out where you can use them at any time - that way you don't have to wait to be inspired, you can just put on some salsa music and paint, paint, paint!

LAS NUBES DE TRUCHAS - 12"x44" Work in Progress

 

LAS NUBES DE TRUCHAS - 12"x44" Work in Progress (Underpainting) - Original Oil on Belgian Linen.  All colors mixed with  Winsor Newton Underpainting White and Turpentine -Clouds: some Naples Yellow Light.  Payne's Grey for darker areas.  Sky: Cobalt Blue, some Thalo Blue and Thalo Green.  Foreground:  Olive Green, Chrome Oxide Green Opaque, Yellow Ochre and Mars Orange.  Stand of Oaks:  Mars Orange and Cadmium Red.

MORE SOURCE MATERIAL - INTO THE SUNSET......

Gather ye source material while ye may!!!  A quick sunset trip through the hiways and byways of Tesuque Village and Rio en Medio last evening - 10/30/14.......

PREPARING MY CANVAS - GESSO/TONED GROUND

PREPARING MY PAINT SURFACE (Canvas, untempered masonite panels, birch panels, Italian Gessoed panels) - All my paint surfaces are prepared with two to three coats of toned gesso.  What I like about the gessoing is that it fills up the interstices of the canvas and the toned ground softens the final layers of paint.  (Toned Ground:  Renaissance painters used a "grisaille - or a sketch in various shades of grey).  I also don't have to worry about covering all those darned white spaces at the edges of trees, buildings, etc.  I mix a large amount in an old coffee can, apply with a regular "trim" paint brush and tone many canvases of different sizes at one time.  Gesso "days" can easily turn into a "gesso week" - but once this is finished,  I am free to think of the painting, rather than the preparation.  Recipe:  Liquitex gesso (amount depends on how many canvases you want to cover) - small jar(s) of Liquitex Payne's Grey (mix to desired tone) - small amount of water to loosen gesso (I don't want it to leave brush marks once it is applied).  Apply in a loose fashion and try to have the canvas positioned in the same direction as the final painting.    10/30/14 

HOW I PAINT - FIELD WORK - Photography

FIELD WORK - Photography -- Years ago I painted plein air when I could.  Had three small children at home and worked a full time job!  Would get together with friends and pack my paints to have some wonderful autumn afternoons painting in Madrid and Golden, N.M.  Then some kind soul gifted me with a Canon camera with a zoom lens.  That camera became so familiar it was an extension of my arm for years and years.  Recently gave it to my son who just happens to be a very talented photographer.  Then -- TaDah! - along came digital cameras, the computer and Photoshop and everything changed!  Back in the day it was shameful for an artist to admit that they used photography.  I read a life changing book by Van Deren Coke from UNM, The Painter and the Photograph (some copies used and new are still available from Amazon).  Realized that the camera was an essential TOOL for me to use.  Made a pact with myself to know this place that inspired me so deeply - and then it would be possible for me to FEEL what I painted.  10/29/14 

HOW I PAINT - WHAT TO PAINT? FIELD WORK

HOW I PAINT - FIELD WORK:  CHOOSING MY SUBJECT MATTER.  Before leaving Chicago for Santa Fe, N.M. 48 years ago, I was able to be one of thousands who lined up at the Art Institute for the major Andrew Wyeth retrospective.  After waiting in lines that stretched almost to Lake Michigan, we were only given seconds to view each painting.  This exhibit had a powerful effect on me in that I realized Wyeth focused on what he knew best - his own love of place where his spirit was completely "at home".  After visits to Mexico and Guatemala, it took me a while before I came to know "my place".  This knowing settled in slowly once I came to know and love northern New Mexico - especially my sometimes home, Truchas, and the surrounding villages.  Authenticity is important to me - I paint what I know - and especially the places I love best.