Primitive landscapes are a beautiful way of sharing the world through art. And for me of late, they have been a fun way to combine my enjoyment of painting abstractly with painting landscapes. It was a surprise to me that when I viewed a movie memoir about a primitive landscape artist in the early 1900's that I became so intrigued by what she was doing. Her work, though realistic, was sharing her world with joy. That appealed to me greatly. I wanted to try melding it with abstraction.
I followed the first painting with the second,a few weeks ago. It is a 12x12 which includes some collage along with acrylic paint.
I am working on gathering my thoughts to write down as to what makes a primitive painting really work. If I decide to continue in this direction of painting I want to become more intentional about how the paintings are developed. The images here are incomplete works which I am hoping will help me put my ideas together. Hopefully, they will be completed in the month to come. I'll keep you posted.
Here are some progress photos of a piece I did this past August. It's approximately 22x36, oil on canvas, titled "Red".
After I did a few sketches to decide on a composition and a quick color study, I did an umber underpainting to decide on my values and then blocked in color.
I continued working all over, never stopping at just one spot, so I could always compare values and intensity of hues. I also check the drawing every day, since it is a live model, it is important to be flexible and change the drawing if necessary.
Every new day I sit in front of my painting, even if I've been working on it for weeks, I pause and sit quietly for 10 minutes, assessing what I see/drawing/values, etc. I might make notes so I remember throughout the day. I am always surprised, thinking "Why didn't I see this yesterday?".
"To see we must forget the name of the thing we are looking at."
October Artist of the Month - Kelly Oakes
This piece is called "Grandma's Beach" and its is an oil on linen 18"x 24". Most of my work is done from a live model in front of me, although I do some commission work from photos.
This piece was done this summer at the Art Students League in NYC. It took about 3weeks, 3 hours a day/5days a week. Working from life is a privilege as the model is working harder than the artist and it is so much harder than anyone thinks.
I first do thumbnail sketches to get a good composition. Then I do color sketches and then finally do an underpainting on a toned canvas. I work very thinly at first, blocking in color to establish values. Then I gradually paint thicker, always comparing colors and values. I don't always have this much time with a model or to work this long and detailed on a portrait. The pictures below begin to show progression as I add color and depth to the piece.
Over the month I will post a few photos of some portraits that I did in a few hours each to show another side of my work. More "a la prima".... painting wet/all at once.
BozART returns to The Women's Initiative for another exhibit October-December.
Enjoy works by Randy Baskerville, Terry Coffy, Matalie Deane, Julia Kindred, Carol Martin, Caroll Mallin and Madeleine Watkins.
A reception will be held on First Friday, November 3rd, 5:00-6:30 pm. at 1101 East High St, Charlottesville 22902...
Through October JMRL Northside Library hosts BozART. The works of Richard Bednar, Carol Barber, Randy Baskerville, Matalie Deane, Judith Ely, Frank Feigert, Anne Hopper, Brita Lineburger, Craig Lineburger, Carol Martin, Caroll Mallin, Kelly Oakes and Madeleine Watkins are in the main hallway, 507 Rio Rd. W. Cville, 22901
Starting with the most basic of cameras a child, I have been photographing for almost 70 years. The transition from film to digital started about 20 years ago and it has been rewarding.
What do I look for? Some of my photos come from travels, some from simply walking around town. These images vary from situation to situation. It might be the mood; it can be a strong graphic element or an odd or humorous juxtaposition; it may simply be strong colors, or their absence.
In short, like most photographers not on assignment, the real question is, “what interests me at the moment, and can an interesting picture be made from this?” I hope you find the images pleasing.
Julia Kindred, our featured artist, enjoys painting landscapes though plein air or from photographs. She always uses her imagination to add to the scene – altering a color, object or mood of the painting. Indoors, she begins with a white canvas referring to the photo for inspiration then focuses on the story the comes out as she paints, rarely returning to the photo. Outdoors (Plein Air), she sometimes tints the canvas to dull it’s brightness. Then she takes in the view to isolate an area that inspires her. The first layer is simply shapes then she adds color, line, texture to create details for the story in the painting to unfold. If she is unable to complete the work, she will take a photo and complete the painting in her studio.
September Artists of the Month - Julia Kindred and Frank Feigert.
We will have two artists this month. Julia will but up first and Frank will finish off the last two weeks. Double the artists...double the awesome art!!
The moment I put that first brush stroke to canvas, it captivates me. The interplay of oil paint, brush and canvas allows a give and take – like a dance. When I create, no matter what my intentions, I allow the brush and canvas to take me on a journey that is part real and part interpretation, and part fantasy.
I begin with an image – either painting plein air, from a photograph or from something that caught my eye. First shapes emerge to give structure to the painting. Then I decide if I want to render the painting as I see it – or make changes to improve the scene. I might warm the colors to change the mood of a painting or change a stormy day into a sunny day.
Attached are a couple of examples showing how I start a painting and the completed work.
Last September I had the delightful experience of touring Tuscany, Italy for
three weeks with an art group from the Beverly Street Studio School in
Staunton, Virginia. I decided to try a new medium, gouache, because of its
portability and strong, opaque qualities. We were advised to do quick, small
5"x7" pieces in primed, heavy paper. Before the trip, I filled a purse sized
notebook of gessoed pages with various undercoat colors of acrylics.
After the first few days touring Rome, I painted my first pieces in the
nearby village of Arezzo where our group enjoyed walking to a beautiful
A day trip from there was to a lovely vineyard which I couldn't resist painting, since it reminded me of my
home in Virginia.
Another fun day was had painting an overlook of Sienna: there I sat on a
stone wall and pulled out my tiny palette to quickly paint a hillside view.
Most of the others came from a breathtaking tiny village called Poppi which was an artist's dream.
The trip ended in Florence where I was taken with the
loveliness of the famous Duomo and Ponte Vecchio. And lastly,
I painted some "Italian onions" just for fun!