Slow Going

 These rocks are taking a while for me to create.

Then again, they were formed after millions of years so I guess in the grand scheme of things, painting them is moving along quickly!

As I move to the bottom of the painting my rocks are getting less defined and less interesting. I want the focus on the upper rocks.

Rocks!

 

One might say I am particular about my rocks. With an M.S. degree in Geology, if my painted rocks don't read well it is as if I only painted three legs of a horse. Color, texture, and relationship are always in play and need to reflect the geology of the setting.

I was intrigued by the inherent feel of movement of these sedimentary rocks. 

 

 

Setting the Stage

Often I like to paint the animal last, saving the best for last. Here I have painted his spots so I don't have a blank spot where he is. After I finish the majority of the landscape, I'll work on him.

 

 

New painting in progress

 Generally, most wildlife paintings fall in to two categories. Either the animal is the main focus or the animal is secondary to the landscape. My paintings usually fall in the former group, however, sometimes there are places which really speak to me. 

This spot in South Africa was a good climb. Our guide wanted to show us very old large pots used by the bushman to store grain. My husband and I were eager to make the trek to this remote spot on top of a rock plateau. Once there, the view was outstanding. The pottery was much larger than we thought it would be and there were ropes and nets still lying nearby in the covered large rock indentation. 

Sometimes to get from one covered chamber to the next we had to crawl

Checking out the pots

Kneeling beside them

One of the views

In one of the deep caves under a rock ledge, our guide looked in to see if there were any bats to show us. Seconds after he peeked inside with a flashlight, he leapt back and grabbed his gun (pointing it at the small cave entrance.) A large shape had leapt over his head! The only thing that big would have been a leopard. Once the guide deemed it was safe we looked inside the cave and noticed there were many daylight exits, one about 20 feet up with rock ledges all the way. We never saw the leopard but I associate this rock plateau with him and he provides the inspiration for the painting, even though the focus is on the landscape.

For this painting I am going big (at least for me.) The painting is 48" X 32".

Detail

 

 

Recognition

 In the Oxford Dictionary recognition is defined as acknowledgment of something's existence, validity,

and in the Cambridge Dictionary in giving recognition people are showing admiration and respect for your achievements.

 

This may seem like an unlikely topic for an art blog. Aren't artists supposed to be above such things? In many cases we do work in isolation, creating our pieces without consideration of how they will be received by the "outside" world. 

However, I like to think of recognition as a positive word. If one is not chained to the praise associated with acknowledgement of one's work, recognition can be a force to advance one's creativity and push the boundaries of what an artist wishes to convey. Sometimes that happens when it is another artist who receives the award. We can ask ourselves how we can move beyond a plateau in our own work, reflecting our own interpretation of the world. How can we approach a subject, a technique, a color in a new way?

There are few artists who are not moved by receiving an award, especially one judged by one's peers. When a member of the public compliments a piece, even if they do not add it to their collection, don't we feel gratified that our work has resonated with someone? 

 

Recognition gives us a sign post that we are moving in the right direction.

I have a few recent recognitions I'd like to share. 

 

Buoy Six     Original Oil   8" X 9"

Finalist  2023 Richeson75 International Landscape, Seascape, & Architecture Art Contest
 

Duet     Original Oil    14" X 15"

Finalist  2023 Richeson75 International Landscape, Seascape, & Architecture Art Contest 

 

 

Buoy 23    Original Oil    11" X 10"

Meritorious 2023 Richeson75 International Landscape, Seascape, & Architecture Art Contest

 

 

 

Got Your Back     Original Oil    24" X 33"

Merit Award at the National Oil & Acrylic Painters Society’s Spring International Online Exhibit

 

 

 

This last one is recognition of a different sort. My painting Blue on Blue has been included in the Oil Painters of America Masters Show. As a Signature Member I am honored to have my work included in the Master Signature member show.

 

 Blue on Blue     Original Oil    24" X 24"

Oil Painters of America Masters Show 2023

August 3 - 31, 2023

Illume Gallery West

130 E. Broadway
Phillipsburg MT

 www.illumegallerywest.com

 

 

 
 

Finished

 

Above is the photo from the previous post. 

(Note: none of the middle and foreground foam has been painted.)

I try to not hold my paintings too dear while creating them. Yes, I painted a section and liked it when I finished it, but if it is not effective with the whole it needs to be changed.

 

1.) the heavy lines here are distracting especially for a background element. I softened the whole area by adding more blue and blending into the existing paint.

2.) having foam here makes a confusing transition to the curl and draws attention away from the wave's "peak" in the middle of the painting.

3.) the inside of the curl needs to be darker and more blue (shadowed.)

4.) I wanted the feeling of pebbles underneath the waves and some dark areas but these heavy areas are too much. They are the first thing I see when looking at the painting

Those are just some of the alterations I made to finish the piece.

 

 

Below is the scan of the completed painting

 

After the Storm

Original Oil

25" X 48"
 

Almost Done

 

At this stage the wave is almost done. I still had to paint all the "white." For the lightest parts I use titanium white mixed with a tiny bit of cadmium yellow deep. This makes a warm white which gives the feeling the "white" is touched by sunlight.

 

For the foreground, I used larger brushes. There are some browns painted on the lower left as I wanted the feeling of pebbles underneath the water's surface. The foreground holds interest but not the viewer's immediate attention.