artist

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IMG_1378-002Teaching forces an artist to consolidate one’s own education, experience and knowledge of art history into a focused exercise in order to help the student learn. My own philosophy of teaching is to craft exercises where the student will discover new things on his or her own. That is the scientist part of me. To help students learn composition and creating form, I had them reproduce one of Cézanne’s still lifes. I gave them a line drawing of Still Life with Apples to help them learn composition and how to define form with color and shading.

 

Cezanne was a Post-Impressionist painter whose work laid the foundations of the transition from the 19th-century conception of artistic endeavor to a new world of art in the 20th century. He created space and depth of perspective by means of planes of color, which are freely associated and at the same time contrasted and compared. This was his way of translating and combining the observing eye of the artist and abstracting rather than reproducing nature. In so doing, he broke the rules of perspective and used this process to study the hypothesis of how to strip knowing from seeing—how to paint perception. During the last thirty years of his life, Paul Cézanne painted the same objects–the green vase, the rum bottle, the ginger pot, and the apples–over and over again. This, in my opinion, is truly experimental painting. His multiple paintings of the same subject matter were data in his experiments with shape, color, and lighting.

When my students painted this Cezanne still life, they were dealing with some of the same issues with which Cezanne experimented. Even though they were using line drawings of Still Life with Apples and had reference photos of the original and a watercolor painting I did myself as a demonstration shown here, they still the same issues distinguishing knowing from seeing. This was most pronounced when some students attempted to draw the perspective correctly rather than taking Cezanne’s approach. After they have the experience of not liking their outcome, they are more receptive to advice on seeing and how to look at what they are trying to paint.

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IMG_9275Well it’s Spring in Delray

Beach, which means it is starting to get hot.  But the weather was great for the opening event for Delray Marketplace: Le Cirque Delray.

I decided it might be a good place to paint-out so I organized an outing for my plein air group.  Although several signed up, only two of us found each other amid the chaos of marching bands and costumed superheroes.

IMG_9279Even before I realized it was going to get hot and muggy, I had staked out spot in the shade by the bounce house.  This turned to be a good idea as my fellow artist succumbed to heat exhaustion and had to be taken to the hospital by the paramedics.  I gathered up all her art supplies, and she came by later in the evening to pick them up.

Many of the people attending the event thought I was part of the entertainment and asked if I were doing caricatures or face painting.  My husband came by and we had lunch at Terra Fiamma.  It was fantastic, and you can see his review of it on TripAdvisor.

I decided to paint some of the architecture.  This is great way to force yourself, as an artist, to get the correct perspective as you can hear the comments of those passing by.  It’s always better to hear “Oh, I see she is painting the building”  rather than “What is the World is that?”

All painting is a very intimate encounter, but painting plein air is even more so. I do find it challenging to work in this manner and often have to do a lot more work on the painting back in the studio, but I love painting outside, even in a mall.

It is like being all by yourself with your subject while at the same time being in the middle of a crowd.  The major difference is once you set up the crowd has to walk around you.

This proved to be a serious problem when our the group was painting at Delray Beach Play House at Lake Ida Park East .  We were having our critique session, and suddenly, three busloads of school kids were having a picnic around us.  The kids were very good but it was still too much for us, so we had to call it quits that day.

Delray Marketplace is a good place to paint, and because of the 911 call, I got to talk with the manager of the complex, Amy Ferguson, who told me she wants to have our group back at another time.  It’s very nice that the businesses are so receptive to artists painting at their locations.


Plein Air Artists are often looking toward the past, in that they document the structures of a town before they are torn down; at Delray Marketplace, we were at the opening.

Can’t wait to see the bougainvillea next year on the archways!  It will give us some nice shade to paint under./

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My husband, John  and I were at the opening of the  Artist as Author: An exhibition of artists in various creative disciplines who are authors and it was splendid.  It is presented by Cultural Council of Palm Beach County at the Councils headquarters at  601 Lake St, Lake  Worth. The exhibit will be there until  May 18, 2013.

Must see this exhibit

It was fun to drive up to the valet, turn over our keys and enter a magical space of art and culture.  Elaine Meier is the guest curator for the exhibit and has this to say about it:  “Artist as Author is a celebration of creative talent as well as an exploration of the relationship between the arts and the written word.  The artist participating in this exhibit work in multiple disciplines but they all share a passion for excellence… and a Palm Beach County address.”

The exhibit is fantastic and the opening was a wonderful opportunity to see the work, meet the artists/authors and be with others who appreciate culture in Palm Beach County.  There are fourteen artists as authors in this exhibit, all of them captivating.  I guess the one that really caught my eye was Sandra Thompson. She is known for her quintessential paintings of Palm Beach. I was immediately drawn in to paintings and felt like I could walk around in them all day.  My eyes did feast on them for some time.

Great job by all at Cultural Council of Palm Beach with this event.  To find out more information about the exhibit see  Artist as Author Exhibit

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IMG_8736Getting back to painting more regularly has been good: good for me and good for my work. Painting is a lot like dance.  The muscles don’t forget, but to be good requires constant practice.

One of the directions I have been exploring is a mixed media approach using digitized watercolor combined with photography and digital painting.   The initial step is to complete a watercolor in the conventional manner. To create the initial image, there is nothing that can replace the dynamic and expressive way watercolor develops on paper.   Then, it is converted to a digital image.  It is quite exciting to see the details in an enlarged format in a digital image. This approach reveals a level of exquisiteness inherent in pigment in water that is otherwise invisible.

Once the image has been digitized, I combine it with a digital photograph, usually one of the images from my “nature’s wonders” series.  I, then, break up the photo highlighting design elements of the photograph and integrate them into the watercolor image.  In this way, I create the effect of the complexity multiple layers of nature and, if all works well, reveal a level of beauty that is otherwise unobtainable.

One of the digital paintings I’ve created with this process is Hidden Orchid.  Here, I have used a spider-webbing technique on the original watercolor with colors that incorporate the light and reflections of an orchid I photographed growing on a tree.  The photograph was manipulated also digitally to isolate the blossom and stem.  The background light of the photograph was further broken up and moved to enhance design and to integrate that image with the watercolor.  The watercolor image was also modified for transparency, and several layers of different sections with varieties of transparency were integrated with the blossom to give the effect of the complexity beneath the beauty of the blossoming orchid.

I have been pleased that the work I’ve completed in this Art/Science series has been well received on Fine Art America and my CafePress Store, Donna’s Art for Everyone  As much as I’d love to be seen as the next great artist to collect and have collectors in a bidding war over my work, I truly believe in art being accessible to everyone.  So, the fact that prints and merchandise of this new direction has had recent sales encourages me to believe that people are responding to my art.  The problem is most of the local venues for group exhibits do not allow digital work, so I am looking into finding venues that do allow it.  In my view, this is “the new art” of our time, and resistance to it has to be expected.

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I’m going to take the opportunity of March being “Women’s History Month” and study a bit about women artists in the past.  The biggest problem with studying that topic is that there just isn’t that much readily available material.

My first group show was in 1956

Women in art seem to have been largely ignored until the 1960s and the Feminist Artists Movement.  Of course, this was a challenge, and I love a challenge.

Some of the findings were real eye-openers.

Women artists had not been unproductive in the past.  However, much of what they did was not defined as “art” by the “artistic community;”  it was “craft.”  To show how this worked, we can look at the output from and the reception of the works by very skilled and productive artist, Faith Ringgold.

An African-American woman, Ms Ringgold grew up with family members who had been held in slavery in their youth.  As an adjunct to keeping oral histories, the women of the family had created what they called “Story Quilts.”  The squares in each quilt depicted incidents in the family history.  Ms Ringgold, a painter, took these images and incorporated them into her work, retaining the form and content of the original in the new medium.

It was, to me, such an exciting concept, a sort of “unbroken chain,” connecting people and generations.

To be honest, male artisans of the Renaissance struggled under much the same ghetto-izaton.  Leonardo Da Vinci did more to create the concept of artist-genius that anyone else.  When he began his campaign, the artist was considered a menial craftsman.  By continually stressing the intellectual aspects of art and creativity, Leonardo transformed the artist’s public status into, as he put it “Lord and God”.

Eventually, the men of the era were able to break through the “snob ceiling;” unfortunately, they weren’t accompanied by their female contemporaries when the history was told.   Until the appearance of revisionist art histories in the 1960’s most information about women artist’s was buried.

This brought about a personal revelation.  I had been thinking that I had begun my quest to be an artist a short time ago, but viewing my life through the new facet of a cognitive prism, I realized that I’ve really been on this road for much of my life.  I had been convinced that the quilts, paint-by-number, macramé and all the crafts I had experimented with weren’t really “creative.”  In fact I used to go out plein air drawing when I did not even know it was considered a genre.  When in Boston, I used to go to Walden Pond to soak in the natural beauty of the place and to draw flowers.

However, with this epiphany, I could see that it had been a real outlet for my creativity.  Such an exciting unearthing!

Just recently, my nephew uncovered evidence that I had had an artistic background early in life.  He had been going through some family photos, and he found a picture of me, with my first-grade class, taking part in a group painting exercise in a storefront.  Seeing the picture triggered a wealth of memories.  It had been great fun.  They actually let me use all the paper I wanted.  Midas at his height could not have felt more privileged.

Floodgates open, I remembered that in the seventh grade I had been the team captain for the winning group of youngsters who painted the Halloween decorations for the town storefronts.  It was amusing to think that this was a foretaste for two of my careers: project manager and artist.

It hadn’t seemed worth of consideration back there, but I was the one that drew all the pictures with the members of my team painting them as I directed afterwards.  Shades of a Renaissance studio.

Now, I’m coming to understand there were a lot of road marks, potential premonitions about which I simply hadn’t taken cognizance.

As another example, when I took electives in college, where my cord studies were hard science, I took art courses.

Studying these women artists has been fascinating, both for the factual information and how it has helped me in personal growth.  I’ve put a lot of addition information about what I’ve found on my FaceBook page for anyone who might be interested.

It has been such an interesting experience.

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For the last month or so, I’ve been participating in outdoor exhibitions run by The Delray Artist’s League that are called “Artists in the Park.” Usually, it’s a fun and interesting, although particularly unprofitable, experience.  However, on my birthday, February 20th, it got a lot less fun.

Here is where I hit the street to sell my art

I was moving things from the car to my assigned display-spot when my toe was caught by the concrete stop the city had put in place to prevent cars from touching their precious sidewalk.  Because I had my hands full, the first part of my anatomy to reach the ground was my face.  Fortunately, beyond a cut lip, an enormous bruise on my cheek and a broken rib, I was relatively unharmed.

Back in my consulting days, we had the phrase “hit the street running,” this was NOT what we meant; however, it did point out with painful clarity the difference between what I was fearing, “falling flat on my face as an artist” and what had happened, simply “falling flat on my face.”  Obviously, I wasn’t able to vend that weekend, but the next weekend, I was back in my old spot, fired by a new determination.    Up to this,  it had been Sidewalk -1,  No Sales -1,  Donna -0.  It was time for me to get on the scoreboard.

It worked.  I sold a print.  A total stranger walked up, loved my work, and bought it.  The print was of one of my favorite paintings, an underwater view of a coral reef with all the delightful wildlife that is so much a part of it.  What a head trip to be recognized as an artist!

Of course, I haven’t been wasting my time.  While I sat outside of my tent painting, I have been taking careful note what people seemed to like about my work, what things were appealing to them and what my colleagues were selling.

Another thing that takes place quite a bit when I’ve vending is because my sign announces my orientation as a Remodernist Painter.  While I do have a short explanation of what this means as part of my personal display, many people come by and ask me to expand on it.  This has led me to consider creating “an elevator speech,” something that is short, compelling and memorable.

When I asked the assistance of my friends on the artists’ website RedBubble, it spawned what is called “a challenge,” wherein the contributor on a particular board engage in the cooperative effort of refining a statement to its essence.  (You can view all the responses at http://www.redbubble.com/groups/remodernist-painters/challenges )     My personal response is Remodernism is an alternative to the established High Art hegemony, known as Post-Modernism.   The movement  is a response to the distance from meaning, beauty, and emotion that Post-Modernism has traveled and favors instead the intent of the artist communicated through the spirituality or emotional impact of their work.

The other big news is that I’ve been accepted for Vermont Artists Week at the Vermont Studio Center in Johnson, Vermont, and I will be going up there the last week in April through the first week of May for an intensive week of studio work.  All of the participants live at the Studio Center and share time, space and meals.  I will have a private studio and have a chance to meet with other artists.  I’m really excited about the opportunity.

Oh, and another thing, I’ve discovered that Dunkin Donuts and I are celebrating the same number to years, not sure if that is good or not.

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Something interesting happened today as I was leaving my art class.  I was riding the elevator in the parking garage when someone said to me “are you an artist?”

Perhaps they had a hint from the portfolio that I was carrying and the charcoal smudges on my jeans, but it was kinda cool to have someone walk up to me and say that.  I said “yes,” and we started talking … as long as one can on an elevator.

Nice ego boost.

I’m still trying to hone my skills, the class I just mentioned being part of this, and, but I’m increasingly thinking more and more, “What am I trying to say?” and that brings me back to the physical world verse the spiritual world.  It’s still a struggle.

Even if I can’t find a resolution there, I’m gaining more skills.  I love the figure drawing.  There’s something very visceral and very real about it, and I’m learning so much about the human ability to recognize.  We are evolved to recognize other human beings through form, structure and expression so when you are drawing another person you are communing with that person in a way but you are also sharing with the viewer of your drawing.  They are able to recognize the form and the beauty in the form.  This gives me a kind of metaphysical feeling to be painting another.   Here is the latest sketch from the figure class.

Steve

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It’s time for another blog.  It’s not that I haven’t been inspired but I’ve been taking a number of classes that have been enjoyable, but they have taken time.  One is a figure drawing class in The Fort Lauderdale Figure Drawing School, which is part of Nova Southeastern University.  The instructor is a wonderful, classically-trained artist.  I’m learning a tremendous amount in each class each week the figure looks better and I can see places where improvement is needed.

I’m also taking a water color class from another wonderful instruction at the local high school as part of Palm Beach Community Educator Program.  The class is in an open style so each student can take maximum advantage of the teacher regardless of their skill level.

Another thing I’ve done is applied to the Delray Art League.  I had to bring in three paintings to be evaluated and was accepted as a member.   About the same time, I also joined the Palm Beach watercolor society.   That’s another great group.

Today, I’m spending part of the day at The Green Cay Nature Center in Delray Beach.  Now that the Florida weather has broken, it’s a beautiful clear day.

 

t was a lovely five mile bicycle trip from my home, and now I’m standing in a recreated hut used by the Miccosukee and Seminole tribes.  The roof is covered with cabbage palm fronds.  This kind of building was in use when the Spanish conquistadors arrived in the 1500.  The style was popular because it could be taken down and moved when invaders moved through the area.  It’s also a particularly sturdy construction since this particular hut has survived not one, but two, hurricanes in the past few years.

As anyone who has seen my body of work knows, I’m inspired by nature, and this is the perfect place for me to sit, paints in hand.  Right now, now I’m watching a flock of ducks fighting over some food and mulling how I can capture the incredible dynamics of the conflict in with is essentially a static medium.   I just wish I had the eye of Charles Thévenin in his La prise de la Bastille or George Bellows, who did the classic A Stag at Sharkey’.

Sadly, the recent mini-drought has reduced what is normally an impressive expanse of water to a number of smaller ponds and I suspect the conflict I’m observing will soon be the rule rather than the exception.    Still, it’s a wonderfully active ecosystem, turtles and frogs sunning themselves on logs and a number of alligators arrayed on the shore, mouths wide open, to allow the commensal animals to clean his teeth.   After the fray with the ducks, it’s nice that my last image is cooperation.

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Blue and Purple Hibiscus

Blue and Purple Hibiscus

I have created this watercolor painting of a blue and purple hibiscus measuring 10″ x 14″ to benefit the Arthritis Foundation.. Limited signed prints are being produced for $125. All net proceeds are going to the Arthritis Foundation.

I will be walking in the Let’s Move Together Walk on 11-14-09 in Lake Worth in support of the Arthritis Foundation, hopefully the 3 mile walk, but at least the 1 mile walk and I’ll be wearing a blue hat indicating that I am a walker with arthritis. I’d love to have you walk with me! Please purchase a print of the blue-purple hibiscus, all net proceeds of which go to the Arthritis foundation. Or, if you’d like to donate directly, please visit my personal donation support web page or make your check out to the Arthritis Foundation and mail it to me at 4823 S Lee Rd, Delray Beach, FL 33445

Thank you in advance for your support!

 

Donna Walsh

www.donnawalshwarren.com

561-948-1542

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Today’s blog is going to be on design.  When I first approached doing art seriously, my impression was that painting was simply spontaneous.  If one had good drawing techniques, a work would simply “evolve.”

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As I, myself, evolve, I find that this isn’t sufficient.

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When I’d look at a completed painting, I’d come to recognize that what I had in my hands was not what was “in my head” when I began.  Obviously, something was missing.

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As I noted before, I’d concentrated on technique under the assumption that if I had a good set of tools that, in itself, would be enough to execute my vision.

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The epiphany came through an anonymous quote, titled Road to Mastery.

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“Unconscious incompetence

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Conscious incompetence

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Conscious competence

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Unconscious competence.”

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I realized I was on a cusp between conscious incompetence and conscious competence.  A feeling that was both comforting and disquieting, but now I have a goal, “Unconscious competence.”

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Another quote that real resonated with me is from James Whistler, “Talent is the ability to do hard work in a consistently constructive direction over a long period of time.  Many people have told me I have “talent,” but I feel that anything that has turned out good is the result of working hard on it.  Whistler puts it in a perspective that is more comfortable.

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Whistler, himself has been styled as an “art for art’s sake person;” however, for him, it seems the subject was secondary and subordinate to the design.  This is important to me because sometimes, I feel overwhelmed when by  all the myriad issues and techniques: design, competition, color, technique.  Reading, Whistler’s work convinced me to focus on design but I thought it best to begin by focus on one aspect, “Designing with value masses.”

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I love color and am attracted to artists who use color with an intelligent flair.  I was lead to Delacroix considered one of the first artists to study and use color in something of a pre-impressionistic way.  One of his quotes that particularly touched me is “If, to the composition that is already interesting by virtue of the choice of subject, you add an arrangement of lines that reinforces the impression, a chiaroscuro that arrests the imagination, and color that fits the character of the work, you have solved a far more difficult problem and rise superior.  Harmony, with all its combinations, adapted to a single song: it is a musical tendency. ”

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It seems intuitive to me that music is, at its heart, mathematical, but I’m struggling with applying it to art.  Looking at it as pure design helps.

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I’m including in this blog one picture with in which I’ve been able apply this was inspired by a boat trip John and I did in Boston Harbor.   I tried I to compose the view of the skyline by dividing it in thirds and using an “L shaped” armature to add to interest.

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I’m not sure it was completely successful but I was reasonably pleased with the value masses.  It is interested that when I “applied the rules” the picture was improved.    I still think this needs a little drawing help but I’m using this study from my travel journal as a stepping stone for a future painting.  I hope to be able to show the progress.

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Boston from our boat in the harbor
Boston from our boat in the harbor

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