|7.95" x 7.95" x 3/4", oil on masonite|
If you'd like to purchase a print of this painting, please feel free to visit my Etsy shop!
The still life is composed of a few items passed down from generations on my mom's side of the family and are set on the mantel of our fireplace. The mirror cutting into the top left is a gold leaf painted oval mirror that was a housewarming gift from my great great grandparents to my great grandparents circa 1920s, and the blue and white finial was once fit onto a hanging lamp in my mother's childhood bedroom - she liked it enough that she brought it with her when her and my dad bought the house. The dried rose was a gift to her from my dad's business partners after our second dog died. The mantel is located in what used to be a family room but was converted into my parent's room years ago. I have many good memories of sitting in the family room during the winter and watching christmas movies with my sister, or as a family, with a warm fire going.
Tuesday, December 4, 2012
Thursday, October 18, 2012
Saturday, September 29, 2012
Thursday, September 6, 2012
Tuesday, September 4, 2012
Thursday, August 30, 2012
Saturday, August 18, 2012
Wednesday, August 15, 2012
Thursday, August 2, 2012
|12" x 12 x 1", oil on masonite panel, 2010|
Here's a relic of a painting for me (well only from about 2 years ago, but it feels like much longer) that I painted for my girlfriend's mother, using her antique creamer and an eggplant as the subjects. I believe this was the second still life painting I had done in about 4 years and although I don't hate it, I'd like to think I've improved since then (why wouldn't I?). To me it looks like someone else painted it, but what I've learned is that most objective observers are able to see far more similarities in your work than you, no matter how diverse you think it is.
I was experimenting with oil glazing techniques at the time and had a lot of trouble with them. If you're not familiar with glazing, it is the laying on of thinned, semi-transparent layers of color one over another on a dry black and white underpainting. So if you wanted something to be green you would first use a layer of blue then a layer of yellow over that to create the illusion (somewhat like pointillism where you are using multiple different colored dots that when combined deceive the eye into thinking it's looking at solid colors). The result at best is a painting with an unequaled amount of depth in the color and a photo-realistic quality (just look at a Vermeer).
I think it was a combination of my being so rusty after years of not painting as well as not having the patience and confidence required to execute such a precarious technique. I was using all different materials then including many cheap valu-pak brushes, I'm sure, and I also wasn't using any kind of alkyd drying agent, so I was waiting 3-4 days to lay on each layer of color. Also, if you notice in the image are vague scratch marks and outlines under the painting. After looking at it for a minute or two I realized that it was a failed conceptual painting from years ago I had forgotten about that I had gouged out parts of with an exacto knife (probably to cut shapes out of the tape I would tape off paint with). I recycled cut up failed paintings all the time with this as a result (never again).
Sunday, July 29, 2012
Monday, July 23, 2012
Friday, July 20, 2012
Thursday, July 19, 2012
This is one of a few scenes I will be painting from a trip to Cape Cod in early July.