Watercolor Wednesdays

A few months ago I felt the need for a change of pace in my Wednesday night drawing sessions so I shifted from creating large, detailed pencil or charcoal drawings to small watercolors. It engages different skills and brain functions--and delivers some very different results. I was in a rut and now I'm not. In the studio, we have the benefit of a large mirror behind the model stand and, if the curtains are opened, we can create compositions of some depth--including all of the artists working on the other side of the room. The image of "Debbie" at the top of the page was particularly juicy--the lavendar chair was a wonderful foil for the black and white stripes of her garments accented with red lipstick and watch.

"Susan" was painted in Joyce U's garden before we all sat down to the sumptuous annual "linguini supper."

All of these works are painted in a small (6X10") watercolor pad with my miniature Windsor & Newtown travel set. The paintbox measures only 3 X 4 inches. I spent about 1-1/2 hours on each, accounting for breaks. The works were small enough to scan -- you can see the fairly rough tooth of the paper.

Finally, here are two images of "Bernadine" painted about 1 month apart. One relied more heavily on the pencil drawing than the other. I have found it so freeing to work in an unfamiliar medium in which I have no particular skill or experience. The immediacy provides a welcome relief from the rigor of the egg tempera works that occupy the rest of my time.

Homage to Tooker

September already and still I haven't covered all I saw and felt in my little jaunt to DC--the most important part. But now the tale would be stale so I'm on to the next thing--a new painting. Another portrait of my son Tom that is also a salute to a major influence on the last 25 yeaars of my work--and to my decision to delve into a completely new medium these past few years. Here is a link to an on-line image of George Tooker's self portrait in egg tempera. It was painted very early in his career when he was probably about the same age as Tom is now - 23. In my piece, I have incorporated the young man and the nautilus shell (although a different species)but stopped short of the tondo format.

I took a series of photos of Tom in variations of the desired pose and combined the best elements. As usual, my skill as a photographer doesn't give me the level of detail I really require so I resort to memory and surreptitiously staring at him. Tom's rather severe expression is his valiant attempts not to laugh. I'm working to soften that in the painting.


Still wedded to the terra cotta Prismacolor pencils for the detail and warmth that suits my human subjects, this drawing is 14" wide by 18" high--the same as the painting.

Working at this reduced scale remains a struggle for me--both the need to spend so much time on so small a piece (even though I know art is not like real estate) and my increasing problems with eyesight. Spending long days in front of a computer and then painting for 2 - 3 hours at night is taking its toll.

As you can see from the ghostly image in this early state of the painting, the forms develop very slowly. I am using a lighter touch in this painting--as I have done with each successive piece. Each one gets closer to the result I'm seeking--but not quite. I don't really keep track but I would say I have put in about 30 hours on the painting at this stage.


I'm painting the flesh tones with a verdaccio underpainting using terra verte and ivory black. The background already has 3 successive layers of ultramarine blue and burnt sienna with a little yellow ochre. Alternating layers of complementary colors will utlimately give me a gray that resonates.

How ironic that this is exactly how I created some very luminous grays back in the 70s and 80s when I was creating large 3-dimensional wall pieces of balsa wood, handmade Japanese woodcut paper, and water color--layer upon layer upon layer of pale washes of pure color--dried with the hair dryer in between. I find this concrete evidence that no knowledge or experience is wasted comforting.

Pathways to Hidden Treasures (and One Not Taken)

So many weeks have flown by and I still haven't gotten the DC trip out of my system—or onto this blog. I spent day two of my trip at the National Portrait Gallery. On the advice of the docent at the front desk, I headed first to the well-thought out Lunder Conservation Center. Here, the labs for restoring antique picture frames, works on paper, paintings, and sculptures have glass walls so the public can watch conservators at work. As this was a weekend, I had to be satisfied to peer into the empty workshops and learn from the interactive video kiosks and displays. By the time I finished my self-directed tour, I was devastated to realize that I would have made an excellent conservator. Another path not taken.

This center was adjacent to the Luce Center—another revelation. Here the Smithsonian houses art currently not on view in the museum’s galleries. Instead of locking it in basement storage with no public access, these works are available to scholars and curious visitors in what they term "open storage" -- rows and rows of narrow "cubbies" with paintings, sculptures, and craft works crammed onto their walls. The works are all behind glass cases in dim light--so you can see them but you can't seen them. You are also very close to each piece. It was like ferreting through granny's attic and finding treasure after treasure.

I was aghast to round a corner and come face to face with George Tooker's 1959 The Waiting Room. Why was this work not on display when there are so few available to the public? Because it was not a portrait? (Note: The images are on the Smithsonian’s web site—click on them to learn more.)



There was Helen Lundeberg's Portrait of the Artist in Time that once graced the cover of a book that I lent to someone and, like most lent books, never seen again. Then I was in Paul Cadmus territory--his earlier, looser (but equally scathing) series in oil Aspects of Suburban Life including Polo and Public Dock. It wasn't long, though, before I was peering through the glass at Bar Italia an early work in egg tempera.

I passed Harvery Dinnerstein's Brownstone and found myself in a half-empty bay that contained a bold, hard-edge abstraction by Gene Davis. There was also a placard bearing the question, “What is the Art Student's League?” If you read my earlier posting about this trip, you will know that I lacked the cell phone needed to dial the number for the official answer. Fortunately for me, I had first-hand experience of the League.

On to a little bitty Ad Reinhardt juxtaposed with a small, but luscious William Baziotes whose title was too long to capture. Later I encountered its larger, younger sibling in the main galleries downstairs. At this point we began to move forward in time at a much faster pace—Jane Quick-to-See Smith’s State Names. I immediately recognized Robert Vickrey’s nuns despite the poor lighting and the painting’s uncharacteristic backdrop of grass and earth in Fear.

There was an Edward Hopper I had never seen before (in book or on wall)--People in the Sun depicting people in deck chairs drenched in sunlight. This stroll through these cubbies of stored works was en experience like none I had ever had before—like sharing a secret to which no one else was privy. I wish I lived closer.

Then, I returned to the hustle and bustle of the main galleries of the museum. These were even more boisterous by the presence of Boy Scouts in every nook and cranny—pinewood derby tracks set up in the marble halls, exhibitions and projects set up in the courtyard, and troops being led through the various exhibitions—in some cases, I’m sure, only to get their charges out of the heat of the 105-degree day and into air-conditioned halls.

As I meandered, it struck me how unusual it was to be in an art museum whose entire collection arranged by the subjects of the paintings rather than the creators. In some cases, there was an intersection of the two like the Philadelphia Peales, with their exceptionally rosy cheeks.

In my wanderings I encountered 3 works by artists I have actually met—A portrait by Jack Beal who taught at Pratt when I was there; a 1954 portrait of a financier named Walter Lippman by Stanley Meltzhoff, who was a trustee of the American Littoral Society where I work (and whose amazing fish paintings hang in our library), and Phil Schirmer’s The Secret Gardner, a finalist in the Outwin Boochever national portrait competition, the original impetus for visiting the National Portrait Gallery. I had the good fortune to receive my very first instruction in egg tempera at one of Phil’s workshops in Maine in the fall of 2008. You can see his work at www.philschirmer.com. He’s an amazing painter with an incomparable ability to capture the spare, intensity of coastal Maine.

I ended my day in the “folk art” wing where I stumbled upon one of the most incredible things I’ve ever seen. The installation by James Hampton is calledThe Throne of the Third Heaven of the Nations’ Millenium General Assembly. I had never heard of him before. He was an untrained artist who spent 14 years creating this embodiment of his religious faith in his garage, which I’m sure it would have filled. It is made from scraps of metal foil, cans, bottles and plastics that he gleaned while working as a janitor and looks like the sort of treasure of which archeologists only dream (think Indiana Jones).

This was enough for me. My senses and brain were saturated. I stopped at the book shop to pick up a copy of the portrait competition exhibition catalog and made my way back through the steamy streets to my hotel.

An Unexpected Family Reunion

As I stood on the platform at Red Bank station at 6:40 AM, I was beginning to think this DC adventure was not such a great idea after all. To start out, I had just realized that my cell phone was still in the charger on the hall table at home. Not the end of the world but it would be more difficult to get information around town and to keep in touch with folks back home--like letting them know I got there in one piece. Was also having second thoughts about spending the money--the consumer unconfidence wrought by the recession.

Later, the walk from Union Station to the hotel over on 14th street turned out to be a lot longer than anticipate--not a biggie on a normal day but it was at least 95 and humid. By the time I got to the hotel, my face was fire red and the perspiration was running in rivulets down my face. The check-in attendant gave me a free bottle of ice water--probably afraid I would die on my way up to the room.

When I got to my icy cold room on the 7th floor, I doused my head with cold water and changed into fresh clothes. It was already 3 PM--should I just chill for the rest of the day? Or check out the National Museum of Women in the Arts which was literally just around the corner? Since the museum was founded nearly 20 years ago, it had been on my list of places to visit. I am even listed in their archive of American Women Artists--not sure how that happened but I am there--under my married name.


I decided to go. Two and a half hours later, I had been through all of the permanent collection and the special exhibits. I found a bench in a private corner (not very crowded on a Friday afternoon in July) and had a little cry for here, all under one roof, was all of the by women I had "discovered" bit by bit during my formative years as an artist in a world dominated by men. These were not discovered by Google or even by Alte Vista--the internet was still a secret information highway then. I (and other women) tracked these artists down like detectives--a little review in a magazine, writing to get on the gallery's mailing list to hear about the next show--waiting for the next show--going to the library to find out about other women making art about things that were important to me and other women I knew--no matter what medium, genre, or style. Cutting images out of art magazines or paying for copies (or sneaking them in the office where I happened to be "temping" that week)and pasting them in notebooks.

Now here they were all in one beautiful space. It was like attending a family reunion after decades of being separated--with the added bonus of meeting some new relatives previously unknown to me.

Even if represented by only a single small work--they were there. My heart beat faster when I turned a corner and came face-to-face with the little Eva Hesse study for a sulpture. I nodded in recognition when confronted by a small "flower" painting by Judy Chicago. It was hard to believe that when I was 23, I was in an exhibition at the Brooklyn Museum next to the very first installation of The Dinner Party. Years later, I was introduced to her at a book signing and exhibition at a Chelsea Gallery. I was newly divorced and trying to find a way to keep making art--she wrote a personal encouragement in my book. There were works by Frida Kahlo, Remedios Varo (how frustrated was I when I learned that the musuem had mounted a restrospective of her work that was closed before I learned of it) and women of centuries past--Vigee le Brun, Mary Cassatt.

I was struck dumb by the amazing collaborative installations by Ju Yeon Kim called "The In-Between". I'm sorry, words can't do this piece justice and the museum site has no photos that can even approximate the experience so here is the link. Try to see it. http://www.nmwa.org/exhibition/detail.asp?exhibitid=208

If you are under the age of 50 or so, you may not understand what I mean. When I went to art school (73 - 77) things were different. In the fine art department at Pratt, even though more than half of the class were women, there were no women instructors--with a few notable exceptions like the gifted printmaker and teacher Clare Romano. It was still considered a compliment to be told you paint "like a man". Who was there who thought like us or had the same experiences? The women's movement was happening all around us--but it hadn't hit the art schools yet. The most telling thing is, that I never realized the disparity myself until after I had graduated and came upon Linda Nochlin's telling and provacative essay, "Why Have There Been No Great Female Artists?"

Needless to say, I was glad I braved the heat again and left the hotel that afternoon. I joined the museum on the spot. I was exhausted. When I got back to the hotel, I rifled through all of my things to find something to write down these impressions--nothing. I used those little hotel pads and pens. The next morning I stopped at a CVS and bought a little spiral bound notebook to capture my impressions of the rest of the trip. I needed this trip. I didn't miss my cell phone. And the room service was great. Kudos to the Hilton Garden Inn.

Mrs. Deeds Goes to Washington

I have just returned from a 4-day art jaunt to our nation's capitol. I took the train from Red Bank to NYC then to DC. Trains have always said "journey" more to me than planes or cars--not sure why, they just do.

While I was there, the region experienced some of the hottest weather on record. It was like being inside a giant crape myrtle terrarium populated by me and 20,000 Boy Scouts. Yes, you heard correctly--this weekend scouts from across the US converged in DC to celebrate 100 years of scouting. It was the biggest boy scout jamboree you ever could see complete with pine box derby in the marbled halls of the National Portrait Gallery and a major parade down Constitution Avenue on Sunday afternoon complete with floats, marching bands, and other costumed groups that made the weekend even more surreal than it otherwise would have been.

This was a cathartic trip in many ways and, even though there was no formal "learning" component, I learned much--or recalled things I learned once a long time ago.

I hardly thought about my job at all--except when I passed the National Aquarium, saw Copley's Watson and the Shark at the Corcoran and, on the very last afteroon, passed the offices of the EPA. Oh, and there was a series of really interesting prints in the National Museum of Women in the Arts by an artist called Andrea Zittel called Sprawl--based on site plans for surburban subdivisions. I'm sure our conservation people will find them interesting (and frightening).

I did not bring a camera (purposefully). Neither did I bring a cellphone (not on purpose). I prefer to spend my time really looking at the art than taking photos of it. So any photos that I display, I will have culled from the www after the fact.

If I had a laptop, I would have blogged these notes in the hotel in the evenings. Instead I spent the evenings reading and jotted these musings on the fly into a little notebook purchased at a local CVS. I will post these notes over several days. More to come.

My Truncated Dream

Last week I took some installation shots at the Art Aliance Gallery in Red Bank to support a grant I was writing. The early evening sun did not cooperate with my efforts to shoot the work in the window. I finally succeeded in getting at least one usable image. I couldn't use the one shown here because I caught my own reflection quite clearly superimposed over the rough-hewn wooden sculpture by Eric Von Arx called Truncated Dream. How apropos.

Composition in Primary Colors

It's been a while. I had to make a choice -- painting or blogging about not painting. Here is the fruit of my labor since February. It still needs tweaking but needed to have a little vacation from it to get some perspective.

Time Travel

Who says we can't go back in time? Artists do it all the time--we take inspiration from the work of those who have gone before us. We become retro artists. Some go back a decade while others go back centuries. Why do we look back? Because there's something missing in our own time? Because we missed something about what they did back then? Or because we miss what they did back then. There must be something to it--why else would any painter work in egg tempera? Why would photographer keep on working in film or, for that matter, use a pin-hole camera?

Sometimes, artists revisit their own work. I'm going back in time - again. My current portrait is based on a self-portrait in oil at about age 30. Why do that? For one thing, I looked a lot better then. The image was compelling--it features a really neat hat I bought in Florence--a straw boater with fruit. I've only ever worn it in paintings. This is turning out to be a composition in the primary colors--red, yellow, and blue.

The original painting depicted me sitting on our balcony in Cliffside Park, NJ. You can just make out in the background the New York City skyline--complete with Twin Towers. It was a great view. We had a clear view from the George Washington Bridge to the Verazano Bridge. Sorry for the somewhat blurry image of the early piece--its the best I can do now.


I didn't intend to revisit this painting but I had just completed Progress-Thomas and was mulling over what to do and one of the original source photos for the oil painting literally fell into my lap as I was sorting out some old files. Voila--I worked up a new head study, added in the hand and the rose by cutting and pasting images in charcoal on newsprint paper until I got the composition I wanted. After seaching through pages and pages of lace curtains in on-line catalogs, I found a challenging lace pattern for the top border and off I went. It took a few weeks to complete a finished drawing in colored pencil. While working on that, I ordered my gesso panel.


At this stage, I've put in about 45 hours in on the painting. The background is starting to fill in. I decided to lower the curtain so it slightly overlaps the hat. The head is still mostly in verdaccio--a grey-green underpainting that, when transparent layers of pinks, ochres and white are added, will approximate flesh tones. It worked in the original oil painting. It remains to be seen if I can accomplish this in egg tempera. Stay tuned.

In Between

What do painters do when they're not painting? Live. On Friday I took a day off from work and spent the day at the Morgan Library. The draw was an exhibition of an incredible illuminated manuscript--15th century Dutch--The Hours of Catherine of Cleves. More than 100 individual leaves from the unbound manuscript were on display in glass cases and in frames on the wall. The wall-mounted narrative that accompanied the miniatures and illuminations told the story of incredible contrasts--Catherine of Cleves was not a nice lady--yet she appears to have spent a lot of time praying--plus spent a lot of money on one of the most beautiful prayer aides I have ever seen.

Given my current role in the American Littoral Society, I was delighted to see the border on the suffrage to St. Ambrose illustrated with wonderfully lifelike images of mussels and crabs--a demonstration of the power of St. Ambrose's preaching to create harmony even between the worst of enemies--including the crab and the mussel upon which it preys. You can see the entire exhibit and commentary on line at the Morgan website.

An unexpected bonus was an exhibition of Renaissance drawings by Raphael, Michelangelo, and their contemporaries. How wonderful to spend time in such wonderful surroundings with no crowds. I ended the day on the 2nd floor in an exhbition about Jane Austen--her letters, handwritten manuscripts and even a brief film about her life.

The Morgan is a great place to spend a day--walking distance from Penn Station at Madison and 36th--unique and insightful changing exhibitions from its vast collections of books and drawings from all periods plus those on permanent display.


And the day was not over yet. A quick subway ride downtown and I was in MaGuire's Pub on Cliff Street. Great fish and chips, shepherds pie, and other hearty meals. Two of my sisters and my son Tom met to celebrate Tom's 23rd birthday--belatedly. Part of his present was something else I spent time working on when not painting--Back to the Future cookies--yes cookies in the shape of the famous Delorean Time Machine. I just can't seem to stop painting.

Afterward, we all took the ferry home to Atlantic Highlands and then back to Red Bank by car.

Until next time.

Going Public

You can see Progress Thomas live at the Monmouth Museum beginning Saturday, January 16. This painting has been juried into the Museum's 31st Annual Exhibition, co-sponsored by the Monmouth County Arts Council. The show runs from Jan. 16 - February 21. The opening reception is Saturday, Jan. 16 from 4 - 6 PM. All other times, there is a $7 admission fee. Check out the museum web site for times - www.monmouthmuseum.org. There are about 70 artists in the show. It was juried by Maura Lynch, Curatorial Assistant at MOMA's Department of Drawing. Hope to see you there.

Completion

So, I added the last stroke of paint to Progress Thomas just in time for the new year. The last stroke was the 9 in 09 on my signature. I haven't signed a work in a long time--just wasn't done in the 70s when I was educated.

This piece has been a struggle and a significant learning experience--not only about how to manage the egg tempera medium but about patience and faith in my ability to hang in until the end and other character building experiences. Of course, I'm totally dissatisfied with this piece. The flesh tones really annoy me and I couldn't quite get the hair to gel; however, it's time to move on.

Moving on--when to do it--has always been a big issue for me in painting. When drawing (as in a life drawing session), it's a lot easier to just get another piece of paper and start over. Any reluctance to let go of a drawing was finally cured by Mr. Graham Nickson when I attended the famed Drawing Marathon at the New York Studio School. Just erase it. Cut it up and glue another piece of paper onto it. Turn it over and start again. No problem.

A painting like this takes a bigger toll of blood, sweat, and even tears. Like the pundits have told us about health care, waiting for perfect will ensure no progress (or words to that effect). I realized that I just had to get over it and move on. I am.

You veiwers (all 2 of you) may not notice much of a difference between this final state and the last photos posted nearly a month ago. Since then I've probably put in another 60 hours--what else are weekends and vacations for? That is partly the result of the inherently slow nature of egg tempera. The other issue is that the photos aren't picking up the level of detail because I've never really mastered the digital camera. And since I chose to frame this piece with architectural elements, parallax issues still plague me. Will continue to work on that. Suggestions would be welcome.

One major change is the addition of the blind pull on the left side of the panel, something I've toyed with since very early on in the process. I even cut out a paper silhouette to see how it would look. It needed some complexity to balance the vegetation on the right side of the panel. It works.

I need to deliver this painting to an exhibition on Thursday--surprised that I made it past the juror, who was from MOMA, although she is from the drawing area so perhaps she has an affinity for this technique.

On to the next project. Happy 2010 to one and all.