John Pototschnik

Determining the Concept

2012-01-29T19:57:00.000-06:00

David Leffel, in Linda Cateura's book Oil Painting Secrets from a Master, says "The idea for a picture comes before you begin to paint. It is the artist's way of seeing things."

When someone designs and builds a house or just purchases existing blueprints...before any of that...a decision has been made, an idea has been finalized as to the style of house desired. It might be Colonial, Ranch, Country, Contemporary or Victorian; whatever the choice, that decision is the concept. It is called that because everything that follows is a result of that choice.

For example, if the concept is Victorian (tall, narrow, decorative, multistory, bay windows, cone shaped turrets), but all the design and building choices are Ranch (low profile, single story, unadorned, wide overhanging eaves, L, U or box shaped configurations)...will the result be Victorian or Ranch? Obviously, it's Ranch. What happened? The concept was not adhered to.

Similarly, for us artists, if the decision is to depict a landscape shrouded in fog, but the painting actually produced contains intense color and high value contrast, the concept and finished piece have become incompatible.

Below is the reference photo for a painting I recently completed for the upcoming 30th Anniversary Show at the Greenhouse Gallery in San Antonio, TX, 3-24 February.

Now when one considers this photo, there are lots of possible concepts. Just consider the many ways in which the scene could be cropped. In addition to that, just about everything can be moved, removed, added to, or changed in some way. The basic information is still there. For example, the road and fences could be removed creating a vast pasture with cattle...and we haven't even begun to consider the many moods of nature that could make this a very exciting piece. Anyway, I hope you get the idea. Every painting needs to begin with a clear concept.

Reference photo for Texas Hill Country

So, even before the canvas is selected, a decision must be made as to what we want to communicate. In fact, that decision will determine what size and proportion of canvas is ultimately chosen.. Once the concept is established, don't deviate from it or the likely result will be a confusing, discordant painting...or one significantly different from the original concept/idea.

For the painting, Texas Hill Country, the big simple idea was to maintain the feeling of expanse, isolation, and sheer silence. I felt a sunset with its diminishing light would add great drama, and in light of the impending darkness, increase even more the sense of utter quiet, isolation, and even apprehension. The very faint sound of the distant vehicle brings the scene to life.

With all these things in mind, everything following: drawing, composition, values, color, even the quality of the edges, must be consistent with the chosen mood.

Beginning stage: Palette choice is white, ultramarine blue, alizarin crimson, and lemon yellow. Canvas is toned with various mixtures of UB/AC. Block-in begins.

Mood is established. Block-in is sufficiently complete.

David Leffel, in the book mentioned above, believes that just as a writer's theme must precede plot and character and they in turn must express the novel's theme...composition gives substance to a painting's concept.

Leffel goes on to offer seven valuable benefits for first selecting a concept. Working with a concept will:

1 - Keep the technique under control because you're forced to work within the constraints of your concept

2 - Provide consistency throughout the canvas

3 - Help identify what to emphasize and what to downplay

4 - Help pull all elements of the painting together, thereby creating unity

5 - Help you know when the painting is completed

6 - Give you a sense of direction

7 - Give a sense of fulfillment when you have accomplished the given task

Texas Hill Country - 16"x 20" - Oil on canvas

Here are some helpful tips for determining a clear concept:

1 - Paint what you enjoy and understand. Painting is difficult enough, so begin with something that stirs your soul.

2 - Think. Fine painting is more than an emotional outburst.

3 - What is it about the subject that deeply and instinctively appeals to you?

- Composition of the subject matter elements?

- Color relationships?

- Lighting?

- Overall mood/value relationships?

- Action, activity, movement?

- What emotion does the subject activate within you? (Fear, awe, joy, peacefulness, etc.)

4 - The more clearly and specifically we can determine the items listed above, the more clearly we will be in communicating our concept.

I have found through many years of teaching that young artists, when working from photos, have a very difficult time moving beyond the reference material. The photo dictates the concept, the composition, color and detail. The mind tends to disconnect and the hands go to work.

Some of this is due to lack of ability but often it is because insufficient thought was given to establishing a concept.

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Defining the Concept

2012-01-22T18:00:00.000-06:00

When painting outdoors in Portugal some years ago, I had just put the finishing touches to a painting when, to my delight and total surprise, I heard a lot of little hands clapping. There behind me stood a large group of children. They stood in total silence as they had watched the painting develop. I couldn't speak Portuguese. They couldn't speak English, but the painting was able to easily speak both languages. It made the connection between us and we thoroughly enjoyed the moment.
We communicated through art. We connected because the concept of the painting was clear. They related to the scene, the mood, the color. It captured for them that which they experienced everyday and may even have taken for granted until someone came along and caused them to take a second look. There before us was the lighthouse, the rocks, cliff and ocean. The got it. But what if the drawing was poor, the subject unclear, the composition uncomfortable, the values confusing or the color inappropriate? Would my delighted audience have hung around?

Over the next two weeks, I will be sharing with you three of the paintings I created specifically for the upcoming 30th Anniversary Show, to be held next month at the Greenhouse Gallery of Fine Art in San Antonio, TX. I hope these blogs do an adequate job of illustrating my points.

This week I hope to explain what I mean by having a clear concept before beginning a painting...and its importance. I like to teach my students that every painting begins with an idea. Why do we wish to do this painting and what is it we really want to get across? I keep bringing these questions up to my students because I need to keep bringing them up to myself.
Photography is a great tool for the artist but it can be, at the same time, our greatest hindrance. I have to continually remind myself to slow down, look, and THINK, before beginning a painting. It's relatively easy to copy a photo, much more difficult for us to "speak for ourselves" rather than let the photo speak for us.
Below is an appealing stone house that I photographed in the Texas Hill Country. The scene has a lot to offer as is and my original plan was to create a painting of it, but as I contemplated the subject my thoughts ran to feelings of loneliness and isolation. There are a number of ways those feelings could be represented, but then the scene also gave me a profound sense of silence, of standoffish mystery. That's what I decided to exploit. However, I did not want the feeling to be threatening...just a little mysterious.

Reference photo for Mystery of the Night

Color selection

First attempt: The mood is established but I lost the sense of standoffish mystery I hoped to achieve. I redrew the house by pushing it back and narrowing it, increasing the appearance of height and distance.

Mystery of the Night - 12"x 16" - Oil on canvas

Our job as artists is to get our point of view across to the viewer of our paintings in a way they can clearly understand. The children of Portugal did not need an interpreter, they understood.

As artists then, we are communicators, and with that comes responsibility. Since we are the ones initiating the "conversation", we have the responsibility of making our communication clear. Just having a great concept is not enough however...it's also important that we have a well developed vocabulary. Now, I don't know which is worse...having something profound to say without the vocabulary to express it, or having an extensive vocabulary with nothing worthwhile to say.

Certainly, neither is preferable. The ideal, of course, would be to have a fabulous vocabulary with profound things to express, and an audience that hangs on our every "word".

The quality and extent of our vocabulary is directly proportional to the mastery of our craft...(composition, drawing, values, color, etc.), and the use of the tools of that craft...(pencils, pens, brushes, paints, etc.). The more refined our vocabulary, the more clearly and beautifully presented will be that which we have to say.

Unfortunately, many of us artists have more to say than our artistic vocabulary allows.

Let's say we all have a fairly decent artistic vocabulary, there's still this other important element of successful communication...What have we to say? The answer to that question will be the concept. It could be compared to an outline...and that's pretty important whether the communication be verbal or visual.

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Art Journey America: Landscapes

2012-01-15T03:00:00.000-06:00

FW Media's North Light Books has just released a new book, Art Journey America: Landscapes. I was one of 89 landscape painters invited to participate. Only in America was selected to be represented in this beautiful, nicely designed book.

"From the grandeur of mountains, red rock canyons, desert vistas and ocean shores to the quiet beauty of farmlands, forests and streams, Art Journey America: Landscapes is a shining celebration of the variety and vastness of it all...a love letter to America from the artists who call it home."

In preparation for the book, each artist was asked to submit their answers to a series of questions. Following are my answers.

Background info:

Living and working in Wylie, TX: My wife and I moved to Texas from California in 1972. We moved to Wylie in 1980. We first heard of the small Texas town NE of Dallas when it was only 4000 people. We had a dream of living in the country and building a house. We did both in 1980 and have been here ever since. When we first moved here, I was working as a freelance illustrator. I began my fine art career in 1982. Wylie’s population is now in excess of 54000.

Hobbies: a) Cycling: I used to race bicycles when I wasyounger…for about 13 years. Was part of the 1971 US cycling team thatparticipated in the World Road Racing Championships in Leicester, England.Still enjoy riding the bike for exercise. b) Gardening/yard work: enjoyplanting, mowing, digging in the dirt, watching things grow. Just aboutanything to do with the yard and garden, I enjoy.

Only in America - 18"x 24" - Oil on canvas

1. What is it about this particular subject thatinspired you to paint it?

All the subjects I paint are motivated by personal experience. Ipaint things I know but also things that create positive emotions and memorieswithin me. Several things appealed to me about this scene, the primary onebeing the house itself. I have always been attracted to structures and at one timeactually considered becoming an architect. There’s nothing spectacular aboutthe house but in the warm morning light and context of the neighborhood, itcreated a sense of stability and safety. A little extra push from me through theaddition of the family car and children happily playing…and “Only in America”was born.

2. Why is American landscape painting importanttoday, in the 21st century?
Painting the American landscape of our day is valuable, for it is a visual record of our time. It also leaves a record of the style of painting fashionable at the time and tells future viewers something of what the artist and culture considered important. For viewers of today, a well crafted landscape painting can be a means of escape. It can transport the viewer to another time or place and help them recall and experience happy memories. It can show them things in a new way that they may have taken for granted, and it can transport them to places they have never been.

3. In what locations do you paint? Why?

Small towns, farms, open rural spaces of America are my favoritelocations to paint. I have an emotional connection to these subjects becausethey generate happy memories and are all part of my formative years. They alsorepresent, for me, all the positive aspects of family, community, security,trust, hope, productivity, independence and freedom.

4. Do you prefer particular seasons or times ofday? Why?

I enjoy depicting every season at all times of the day. Iespecially enjoy those periods of transition…changing seasons and weather. Ilike it when nature most obviously expresses itself…early morning or lateevening, or when it’s rainy, misty, hazy, foggy, stormy or snowing.

5. How would you describe your style (realistic,abstract, minimal, impressionistic, etc.)?
My work is definitely realistic. Others have classified it as Naturalism. I like that designation, but in reality the work does not fit the true definition of the word. More accurately the style is realistic with a subtle dose of idealistic interpretation.

6. Do any historical movements, periods or artistsinspire your painting?
The period of art I am most attracted to would be just about anything from the mid-1800's through the early 1900's. The painters of Barbizon, France...particularly Corot, Millet, and Daubigny...continue to be inspirational.

7. Is your painting inspired by spirituality,and if so, how is that seen in your art?
Creativity is first and foremost a gift of God. Being created in God's image makes every creative endeavor somewhat of a spiritual event. As a child of God, and one who believes He intimately loves individuals, I believe He leads and helps me with every painting decision from start to finish.

8. How do you plan your compositions?

All painting compositions are determined by the concept. Whatone wants to say and what format and organization of the subject matterelements will best describe the concept is the issue. Rather than followprescribed “rules” of composition, the final “floor plan” is determined byaffirmatively answering two questions: a) Does it feel balanced? b) Does thecomposition effectively and clearly express all that I desire?

Within every composition, I look for diversity, diversity ofvalue, shapes, edges, size, detail, and color…and yet all working together toform a beautiful, harmonious, cohesive whole.

9. Do you paint en plein air? What practicaladvice do you have for those who would like to try it?

Yes, I do work in plein air. I view my plein air work as anopportunity to study and learn, all for the purpose of improving my studiowork. My recommendation for would be plein air painters is to keep it simple.Carry out into the field only what you need and organize it as compactly aspossible. Limit the palette to just the primaries, plus white. Work on small,light weight supports…a size that can be completed in no more than two hours.Have a sturdy, wide stance easel…and look for shade.

10. What medium(s) do you use, and what are yourmain technique(s) (e.g., layering, impasto, etc)?
I seldom use a medium but when I do, liquin is preferred. I use a number of block-in techniques but most consistently I begin with a raw umber monochromatic, fully developed block-in. Generally using a very limited palette of just the primaries, local color is developed while matching the already established values of the monochromatic. The painting is developed in layers with most details and impasto reserved for last.

11. What’s your best advice to students onpainting landscapes?

Certainly, if one desires to be a landscape painter, they mustbe a student of nature and all its subtle nuances. The best way to studynature/landscape is to paint in plein air. I don’t believe plein air paintingis the be-all, end-all but it certainly is a necessary beginning, becoming a lifelonghabit. Really, the subject is not that important, for the principles of goodpainting are not dependent on the subject. A clear concept, effectivecomposition, accurate drawing (proportion and perspective), simple value structure,and supportive, harmonious color are all necessary ingredients for producing anoteworthy landscape…or cityscape, portrait, or still life.

12. What does landscape painting teach us aboutlife and art?

Landscape painting, no matter how beautiful cannot begin tocapture the true, amazing beauty, subtlety, and variety of this planet. Only afool would say this just evolved without a wise designer, or that it came aboutby accident. At best, our efforts as landscape painters are a poor, superficialimitation, for unlike nature, they have no inherent life within them. The powerof landscape painting rests in its ability to capture a moment in time, recalla memory, transport the viewer to another time and place, stir the imaginationand evoke aesthetic emotions within us.

Landscape painting has little to say about art in general, for it ismerely a subject for the artist’s personal expression. But ART as a subject ishuge. The very ability to imagine, to create and communicate in this veryindividual and unique way is evidence of a personal Creator who has endowedeach one of us with something of God’s likeness. With that comes aresponsibility. With a heart of thankfulness, we should respect, appreciate,develop, and use the gift in a way that honors the One who gave it.

Typical of two-page spread representing each of the 89 artists in Art Journey America: Landscapes

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The Greatest Monument in America

2012-01-08T21:30:00.000-06:00

I guess one could say that I'm somewhat of a sentimentalist. I like monuments and memorials. I like some of them for their appearance, while others I like for what they represent. The best ones combine both..
What are these things anyway if not a record, a physical reminder of something important?

National Monument to the Forefathers

We artists, in a sense, are in the business of creating memorials...records of our impressions, experiences, memories and ideas. We help others to see things that they may have taken for granted, or to show them things they have never seen. By creating a visual record, we give the subject importance. We memorialize what we saw, what we remember, what we felt, and what we want others to remember or take notice of. Sometimes we take the ideas of others and transform them into a beautiful, clearly communicated physical reality. Other times the concept and its ultimate manifestation find their origins in the artist alone.

Faith (Detail)

A memorial is at its best when it is beautifully executed and expresses a great truth. The key word here being Truth. I think the National Monument to the Forefathers in Plymouth, MA is one such memorial. I went to Plymouth several years ago for the sole purpose of seeing this monument. It brought me to tears. It powerfully represents core beliefs of our nation's founders and is also beautifully executed.

Education, Liberty, Morality

As we enter this new year of 2012, I admit I am somewhat sentimental when it comes to thoughts of our nation. This amazing monument does not help dispel those sentiments. When one compares the core values of our nation at the time this monument was created with those of today, it makes me sad. To be honest, if this same memorial were proposed today the outcry raised against it would be so great and venomous, it would never see the light of day. What has changed? Why are memorials around the country, representing our Christian roots, being removed or defaced? Why are they hated so? Because they represent and remind us of things we want to forget, things we want completely erased from our true history.

Education (Detail)

The idea for this monument was first proposed in 1794 in memory of the Pilgrims. For many reasons the actual completion and dedication did not take place until 1889, but on that day-long celebration, William C.P. Breckinridge, Congressman from Kentucky, offered this impassioned prayer:

"In the name of God, Amen. In the name of the Fathers we dedicate this monument and ourselves. For ages it will stand the enduring witness to grave and resolute conduct; to privations and sacrifices; to thrift and frugality; to domestic love and unaffected piety; to rectitude in thought as well as in life; to earnest principles and true beliefs; to Christian fidelity and faith...here and now we rededicate ourselves to a more fervent love for man as man; to a braver allegiance to truth for truth's sake, and this 'in the name of God'; and Amen and Amen!"

Thanks to the brilliant work of artist Hammett Billings, architect, sculpture, painter, and illustrator, he gave form and substance to a belief, a truth which I believe America has carelessly abandoned. For those that care, this memorial convicts us daily of our forsaking of the truth.

Hammett Billings

Faith, the central figure is pointing upwards toward heaven while holding an open Bible and with one foot standing on Plymouth Rock. She is facing the harbor towards the east, the direction from which the Pilgrims came to America. It was faith that brought them to Plymouth Rock and faith in the God of the Bible that sustains us.The star on her forehead seems to indicate an intellectual faith...a faith reasoned from the Bible.

Seated on thrones, surrounding the base of the monument are four figures, established on the foundation of faith in God.

Liberty and Morality

Morality, is holding the Ten Commandments in one hand and the scroll of Revelation in the other. She is wearing a collar similar to the breastplate of the the High Priest in Old Testament times. The Pilgrims believed that the Commandments were God's standard for right and wrong, and that the New Testament directed their personal lives as well.
Law, has a very powerful looking facial expression with piercing eyes. One hand is extended and the other is holding the civil statutes and ordinances for a town or commonwealth. Beneath his throne are small statuettes of Justice and Mercy. All men are equal before the Law, and no one should be given special privileges because of birth or wealth. Law convicts of wrong, yet extends its hand of mercy.
Education, is the most youthful of all the seated statues. She is wearing a wreath on her head and pointing to truth in a book of knowledge. Below the figure on either side are statuettes of Wisdom and Youth, led by Experience. Children were expected to absolutely respect and obey their parents; as a result great wisdom was expected of them.
Liberty, is the strongest looking of all the statues. Wearing a helmet, breastplate and sandals, together with a sword resting on his knee, he is dressed in typical Roman armor. Broken chains tell the story that he is free. A slain lion over his back indicates that he has won a great victory. Maintaining liberty requires vigilance.

There is much more that can be said about this great monument. Let's learn from history and return to the truths this monument proclaims and its creators believed. Let's return to the God of our fathers and pray daily for our nation.

May today be all you need it to be. May the peace of God and the freshness of the Holy Spirit rest in your thoughts, rule your dreams, and conquer all your fears. May God manifest Himself to you each day in special ways and may your joys be fulfilled and your prayers be answered. May faith rise to new heights as you experience peace, healing, health, happiness, prosperity, joy, and a true and undying love for God. Amen

I hope you will watch actor Kirk Cameron's excellent talk given at the monument site in 2010. He gets it... and says it much better than I.

View it here

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Hark! The angels are singing

2011-12-18T17:30:00.000-06:00

Hark the herald angels sing

"Glory to the newborn King!

Peace on earth and mercy mild

God and sinners reconciled"

Joyful, all ye nations rise

Join the triumph of the skies

With the angelic host proclaim:

"Christ is born in Bethlehem"

Hark! The herald angels sing

"Glory to the newborn King!"

Christ by highest heav'n adored

Christ the everlasting Lord!

Late in time behold Him come

Offspring of a Virgin's womb

Veiled in flesh the Godhead see

Hail the incarnate Deity

Pleased as man with man to dwell

Jesus, our Emmanuel

Hark! The herald angels sing

"Glory to the newborn King!"

Hail the heav'n-born Prince of Peace!

Hail the Son of Righteousness!

Light and life to all He brings

Ris'n with healing in His wings

Mild He lays His glory by

Born that man no more may die

Born to raise the sons of earth

Born to give them second birth

Hark! The herald angels sing

"Glory to the newborn King!"

That pretty much says it

May you have a blessed Christ -mas

R.H. Ives Gammell

2011-12-11T22:00:00.000-06:00

R.H. Ives Gammell

I want to briefly introduce you to Robert Hale Ives Gammell. You will be hearing much more of him in future blogs as I intend to share with you insights from his book, "Twilight of Painting", a painter's book about painting.
Gammell was one of the last American artists to receive a classical training in art. That's important because in his 35 years of active teaching, he imparted that knowledge to more than 80 students. From that group several have gone on to teach others, notably Richard Lack, Alan Banks and Stapleton Kearns. I think Gammell is indirectly responsible for the current explosion of the atelier system and the return to a serious, methodical course of study for would be artists. The art produced under the reestablished atelier system created a new art movement termed Classical Realism.

Paintings done from plaster casts at Atelier Stockholm

An atelier is basically an artist's workshop. Richard Lack created the model used by all present day ateliers when he established Atelier Lack in 1969. The Lyme Academy College of Fine Arts, where I attended briefly in 1993, is based on the same model. The goal of these schools is to revitalize art education by reintroducing rigorous training in traditional drawing and painting techniques, employing teaching methodologies that were used in the famous French academies. Under the atelier model, art students study in the studio of an established master to learn how to draw and paint with realistic accuracy and an emphasis on rendering form convincingly. The foundation of these programs rests on an intensive study of the human figure, renderings of plaster casts of classical sculpture and the emulation of their instructors. The goal is to make students adept at observation, theory, and craft while absorbing classical ideals of beauty.

R.H. Ives Gammell - "The Seamstress"

So, back to Ives Gammell (1893-1981). He was trained primarily by William Paxton, and Paxton was trained in Paris under the incredible Jean-Leon Gerome. You may remember that I mentioned him in last week's blog..."The Clark Museum".

Leon-Jean Gerome - "The Grey Cardinal"

William McGregor Paxton - "The String of Pearls"

Born in Providence, Rhode Island, Gammell grew up in a privileged environment. By the age of 10 he knew he wanted to be a painter. His training was in sharp contrast to what he later called, "the quagmire of modern art".
He was totally out of step with his times and became increasingly isolated from the existing critical and artistic establishment. He was ridiculed and told his work was of no consequence. In 1939, due to the stress of the impending war in Europe, and the realization that there was little acceptance for his type of work, he suffered a nervous breakdown. It was during those war years, while slowly recovering from those dark days, that he wrote the insightful "Twilight of Painting"...which I intend to share with you over time.

Acknowledgments:

Art Renewal Center

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The Clark Museum

2011-12-04T23:01:00.000-06:00

The Clark Art Institute - Williamstown, MA

I first became acquainted with the Sterling and Francine Clark Art Institute (now just The Clark) in 1993 while a student at the Lyme Academy of Fine Art in Old Lyme, Connecticut.
It was in March of that year that I drove to Williamstown to see this amazing museum. Nestled in the Berkshire Hills of far northwestern Massachusetts on 140 acres of woodlands, meadows, and hiking trails, the museum features some of the greatest names in 19th and early 20th century European and American art...Monet, Renoir, Turner, Homer, Sargent, Inness, Degas, Cassatt, Corot, Pissarro, Millet, Remington, Bouguereau, Gerome, Sir Lawrence Alma-Tadema...and on-and-on.

John Singer Sargent - "Fumee d'Ambre Gris (Smoke of Ambergris)" - 55"x 36" - Oil - 1880
This is one of the first paintings purchased by the Clark's

Winslow Homer - "Undertow" - 30"x 48" - Oil - 1886
This is one of Homer's largest paintings and for many reasons considered one of the pivotal paintings of his career . Homer was a master of strong, dramatic design and for that reason one of my favorite painters. The painting is undoubtedly masterful and was recognized as such by the critics of his day. The painting does however bring a smile to my face for a number of reasons...two "damsels" in distress being rescued by two heroic, virile men. One of them actually seems to be striking a contemporary manly pose. According to experts, he is in reality shielding his eyes from the bright reflective light off the water, but I think it is still very humorous. Also, this painting has a sculptural , posed quality to it. The heroic figures really don't seem to be straining nearly enough to actually be hauling two lifeless bodies to shore...and the beautiful woman doesn't at all appear near death but is actually having a sweet dream. Just saying.

William Adolphe Bouguereau - "Nymphes et Satyre" - 102"x 71" - Oil - 1873

Jean-Leon Gerome - "The Serpent Charmer" - 33"x 48" - Oil - 1880

Sterling Clark was a wealthy New Yorker, being heir to the Singer Sewing Machine fortune. He married Francine, a French actress, and together they quietly and often anonymously assembled their brilliant collection. They collected to please themselves and to bring beauty into their lives. They were not guided by experts or advisors, nor did they devote their attention to a single artist or period. "I like all kinds of art, if it is good of its kind", Sterling once said.
The Clark's were private people, so when the museum opened in 1955, the art world was shocked to discover the quality and breadth of their collection. Sterling did not like or seek publicity and wrote to a friend shortly before the Institute's opening: "Do not mention the opening of the Institute to anyone as you will treat me to a cloud of newspapermen to the detriment of my health."

Charles Francois Daubigny - "The Bridge Between Persan and Beaumont-sur-Oise" - 15"x 26" - Oil - 1867

Sir Lawrence Alma-Tadema - "The Women of Amphissa" - 48"x 72" - Oil - 1887
This is one stunning, amazing, unbelievable painting

George Inness - "The Wood Gatherers: An Autumn Afternoon" - 30"x 45" - Oil - 1891

The Clark's had developed excellent taste. I'm sure Francine's French background greatly influenced their choice to collect so many works of the French Impressionists. Sterling was his own advisor and followed the advice he gave to others. "Look, look, and look again, and don't be influenced by anyone in...likes and dislikes", he said.
Since the museum's opening, the collection has grown to more than 8000 objects. It has become only one of a few institutions in the country that is both a public art museum and a research and academic center supporting a library of over 200,000 volumes.

The 140 acres surrounding The Clark offer spectacular views. Here you can see the extensive expansion of the museum currently underway.

Clark considered John Singer Sargent and Winslow Homer as America's best artists...and they are both well represented in the museum. The most prized artist, however, seems to be the French Impressionist, Pierre Auguste Renoir, with more than 30 representative works.
The Clark has so many phenomenal works, stunning works of genius. It all makes one stand back in awe and amazement that God endowed humans with the ability to conceive and execute such beautiful and meaningful works.
If you have not experienced this great museum in northwest Massachusetts, you surely know by now that I strongly recommend it.

Acknowledgments:

The Clark

Brian T. Allen - "Sterling & Francine Clark Art Institute" - American Art Review Vol. XVI No. 3 2004

Margaret C. Conrads - "American Paintings and Sculpture" - Hudson Hills Press

Art Renewal Center

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You may e-mail me at: john@pototschnik.com

Celebrating One Year

2011-11-27T19:13:00.000-06:00

One year ago this new adventure of writing a weekly blog began. I have come to greatly admire those who are able to write and post something sensible and worthwhile every day.
The process, as they say, is much like eating an elephant. It can be done, but only one bite at a time...and, it's not too bad...but a bite a week is like a Thanksgiving Day meal for me.
So, 54 postings later, I want to share with you some things I classify as favorites... posted over the past year...not in any particular order, except for the first one.
Just click on the date and title below each picture and it will take you to the appropriate blog.

The First and the Last, The Son of God , Lamb of God, Jesus the Christ, Creator of the universe, only Redeemer of mankind, Bread of Life, the Way, Truth, and Life, King of Kings, Lord of Lords
23 April '11 - "Humiliation, Sacrifice, Resurrection"

Favorite president
20 Nov '11 - "Thanksgiving 2011"

Favorite workshop hosts
18 Apr '11 - "Workshop: Value and Color"

Favorite deceased landscape painter
23 Jan '11 - "Corot: Later Landscapes"

Favorite plein air painting group
9 Oct '11 - "Plein Air Painting in the Flint Hills"

Favorite patriotic painting I've done
15 Nov '10 - "My Country, 'Tis of Thee"

Favorite special friend who passed on to glory this year
7 Jan '11 - "Don Adair"

Favorite sport
26 Sep '11 - "Outdoor Painting"

Favorite automotive designers
17 Jul '11 - "The Amazing Italians"

Favorite food
25 Mar '11 - "Cornish Pasties"

Favorite award won in past year
5 Nov '10 - "A March School Day"

Favorite magazine ad of 2011
5 Feb '11 - "Art Show"

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Thanksgiving 2011

2011-11-20T21:45:00.000-06:00

Whereas it is the duty of all nations toacknowledge the providence of Almighty God, to obey His will, to be gratefulfor His benefits, and humbly to implore His protection and favor; and Whereasboth Houses of Congress have, by their joint committee, requested me to "recommendto the people of the United States a day of public thanksgiving and prayer, tobe observed by acknowledging with grateful hearts the many and signal favors ofAlmighty God, especially by affording them an opportunity peaceably to establisha form of government for their safety and happiness:"

Now, therefore, I dorecommend and assign Thursday, the 26th day of November next, to be devoted bythe people of these States to the service of that great and glorious Being whois the beneficent author of all the good that was, that is, or that will be;that we may then all unite in rendering unto Him our sincere and humble thanksfor His kind care and protection of the people of this country previous totheir becoming a nation; for the signal and manifold mercies and the favorableinterpositions of His providence in the course and conclusion of the late war;for the great degree of tranquility, union, and plenty which we have sinceenjoyed; for the peaceable and rational manner in which we have been enable toestablish constitutions of government for our safety and happiness, andparticularly the national one now lately instituted for the civil and religiousliberty with which we are blessed, and the means we have of acquiring anddiffusing useful knowledge; and, in general, for all the great and variousfavors which He has been pleased to confer upon us.

And also that we maythen unite in most humbly offering our prayers and supplications to the greatLord and Ruler of Nations and beseech Him to pardon our national and othertransgressions; to enable us all, whether in public or private stations, toperform our several and relative duties properly and punctually; to render ourNational Government a blessing to all the people by constantly being aGovernment of wise, just, and constitutional laws, discreetly and faithfullyexecuted and obeyed; to protect and guide all sovereigns and nations(especially such as have shown kindness to us), and to bless them with goodgovernments, peace, and concord; to promote the knowledge and practice of truereligion and virtue, and the increase of science among them and us; and,generally to grant unto all mankind such a degree of temporal prosperity as Healone knows to be best.

Given under my hand, atthe city of New York, the 3d day of October, A.D. 1789.

AMEN

New Painting: "Afternoon Luncheon"

2011-11-13T19:30:00.000-06:00

Finally, 'That Painting", is finished...signed, varnished, framed, and now boldly displayed at the G. Stanton Gallery in Dallas. HERE it is on my website. Click on the image to supersize.
I say, 'That Painting' , because that's what it became. It has pretty much been the focus of my thoughts and energy, when it came to painting, since the day I began it. Not that I worked on it for all these months...but awareness of it was always there. You may remember when this project began back in July. I spoke of it in this blog. You can read about it HERE.

Afternoon Luncheon - 32"x 46" - Oil on canvas

"Afternoon Luncheon" was a challenge from start to finish. If you want proof that not all my paintings go smoothly, this is it.

The idea for this work really began two years ago when I did a series of small color studies as preliminaries to a possible commission. The color study shown here was selected, but it was agreed that, for the room in which it would be displayed, it would be best to invert the image.

Color study

The study was done using white, ultramarine blue, alizarin crimson, and cadmium yellow pale. Before beginning the studio painting, I experimented with other color choices. The switch was made to Prussian blue and lemon yellow. I also added yellow ochre and cadmium yellow medium.

Testing the selected palette

Prussian blue is a greenish blue. The thinking at the time was, it would be a more suitable color for capturing the tree covered hills descending toward Lake Como. By adding additional yellows it would also be possible to mix a greater variety of greens. I had only used Prussian blue one other time. It worked well for the color charts but, on this larger painting with so much green, it was difficult to control. If you haven't used Prussian blue, it is similar in color and strength to phalo blue.

I regretted selecting that color by the time the block-in was completed (shown below).Not sure I will ever use this color again.

Partial block-in showing some of the preliminary drawing

As the painting proceeded, it was necessary to redesign some of the architecture, as well as parts of the retaining wall. Since the original design was inverted, I felt the water needed additional consideration. With no suitable reference for what I wanted to achieve, the water was painted from imagination.

Completed block-in with some areas now fully developed

Nothing about this painting was easy, even the framing created a whole set of issues...but hey, it's done. The response to the work has been amazing...and that, dear friends, makes the challenge and anxious moments all worthwhile.

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Haven't yet purchased your 2012 calendar? This beautiful 12"x 12" inspirational calendar, on heavy glossy paper, features 13 of my paintings, encouraging verses from Holy Scripture and important quotes from America's founding fathers. Brighten up your home or office...$22.00 each, or $18.00 each for three or more. Price includes shipping and handling and all taxes.

john@pototschnik.com for further details.

Norman Rockwell and the Museum

2011-11-06T22:30:00.000-06:00

When I was in college pursuing a commercial art degree in advertising design, Norman Rockwell was not a name you would mention among the fine art students. His name was often spoken of with disgust and disdain. "He's a sell out, just an illustrator," they would say.

His work was considered overly sweet, sentimental, and idealistic. "He's not a real painter."

Rockwell in his studio with Stockbridge Main Street at Christmas on the easel

Part of Main Street in Stockbridge, MA as seen today. Every year at Christmas they recreate Main Street to look as it did when Rockwell created his famous painting

Rockwell himself was the first to admit he was an illustrator and he wasn't ashamed of it. "Some people have been kind enough to call me a fine artist. I've always called myself an illustrator. I'm not sure what the difference is. All I know is that whatever type of work I do, I try to give it my very best. Art has been my life."

Norman Rockwell Visits a County Editor - 1946

Rockwell created over 4000 works in his lifetime and was commissioned to illustrate over 40 books. Born in 1894, he had a long and extremely successful career as America's favorite artist. I read somewhere that his work has been reproduced more than any other artist in history...by far. No other artist is even close. It's possible no one will ever match his numbers.

Saying Grace - 1951

I'm no better than my job," he said, "and I put everything I've got into it. I don't want to paint for the few who can see a canvas in a museum, for I believe that in a democracy art belongs to the people. I want my pictures to be published."

This is Rockwell's studio at the time of his death in 1978. "The best studio I ever had," he said. It was moved in two pieces from the village of Stockbridge to this location, on the grounds of the Rockwell Museum

The early masters were Rockwell's greatest source of inspiration. Rembrandt and Pieter Brueghel were his favorites. While in his studio, I carefully examined his collection of books...a wide assortment of Dutch, Spanish, French and Italian painters. Even some American's were in there. His appreciation of art was vast.

A portion of Rockwell's studio. On the easel is...Do unto others as you would have them do unto you - 1961

Breaking Home Ties - 1954

Rockwell was sort of a pictorial Mark Twain. He painted an America as he wished it to be...and as it was if you looked for it. It was an America of patriotism, respect of authority, wholesomeness, thankfulness, kindness, goodness, and childhood innocence.
In the 1960's America was convulsing. Everything was changing. Modern art had taken root and the "intellectuals" did not care for Rockwell's America. That was not the America they wanted and their teaching filtered into every college art department. I imagine Rockwell struggled with that. After a life of painting the positive side of America, his work changed. The world of desegregation, riots, demonstrations, politics and space exploration seemed out of character for a man who had always portrayed America's best attributes.

The Runaway - 1958

I first visited the Norman Rockwell Museum in 1993, just after it opened. This was my first return visit...and highly anticipated to say the least. The museum has become extremely popular. There was a constant stream of visitors paying $14.00 a person to view the magnificent collection of some 574 works. During tourist season, more than 1000 visitors per day stop in.
Well, what can I say? I stood among his work with a mixture of awe, amazement, and at the same time a deep sense of dejection as I was made brutally aware of my own inadequacies as an artist...and those know it all's I encountered in school didn't have a clue as to Rockwell's greatness.
Standing before his work, one senses perfection...perfection in concept, composition, drawing, values and color. Reproductions of his work do not capture the sensitivity of the subtle changes in color temperature, brilliant color, texture, and brushwork. There are thickly and thinly painted passages. Sometimes he worked on very course canvas. He worked from photos during much of his career, but his masterful knowledge of anatomy took him way beyond the photograph. His concepts, the ideas expressed, are simply and convincingly presented with each and every supporting cast member and prop carefully chosen and precisely rendered.
He was an absolute master of contrasts...dark/light, broad/fine, sharp/soft, large/small, young/old, homely/pretty, fat/thin, strong/weak, delicate/course, on-and-on.

This painting, using just black and white, shows Rockwell's masterful control of a paintings value structure

Doctor and Doll is one of Rockwell's best-loved Saturday Evening Post covers - 1929

Shadow Artist - 1920

Filmmakers George Lucas and Steven Spielberg are major collectors of Rockwell's work. They view Rockwell as a master storyteller, able to capture masterfully in a single frame stories about the adventures of growing up, and of individuals rising up to face personal challenges. According to these filmmakers, Rockwell created pictures with strategies similar to those they use. It is reported that Spielberg alone owns 50 original Rockwell paintings.
Since Rockwell is now in vogue with many art critics...they've finally seen the light...prices for original paintings have skyrocketed. The museum would like to own many more originals but with prices now consistently in the millions of dollars, it limits their acquisitions. In 2008, Verizon donated the two-million dollar Lineman to the museum. It's possible that such iconic images as The Runaway could fetch up to 15 million in today's market.

The Lineman - 1949

Norman Rockwell was a work-a-holic...seven days a week, plus holidays. The time spent certainly shows in the work. I would strongly recommend that you go out of your way to visit the museum in Stockbridge, Massachusetts. You will not be disappointed.

The Norman Rockwell Museum

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The Vermont Experience

2011-10-29T11:50:00.000-05:00

Just arrived home after spending 10 days in New England, mainly Vermont. My wife and I were first there in 1986 and still cherish fond memories of that trip. It's just hard to believe its been 25 years.

The foliage was not near as beautiful this time around with a confluence of less than ideal weather and our slightly late arrival being contributing factors.

My intention and hope on trips such as this is always to come home with several plein air studies...disappointment prevails once again. Didn't do nearly as many as I had hoped and I'm not especially satisfied with them. The partly sunny and rainy days presented their own set of problems, so I finally gave up trying to capture the brilliant sunlight and settled for the more prevalent cloudiness

This is the view from the entrance of the Deerhill Inn. It was cloudy and rainy. All studies were done on gessoed paper using a palette of titanium white, ultramarine blue, cadmium red, yellow ochre, cadmium yellow light, and oxide of chromium

Our first layover was in Lenox, MA located in the western part of the state. The Village Inn, in which we stayed, was built in 1767 and is the oldest surviving house in Lenox. The houses in this little town are magnificent and create a noteworthy contrast amid the trees. It was from Lenox that we drove just a few miles south to the Norman Rockwell Museum. In far northwest Massachusetts we also went to The Clark Museum...more about these museums in future blogs. After three-days in Massachusetts, it was on to West Dover, VT and the Deerhill Inn. West Dover is just north of Wilmington at the base of the Green Mountain National Forest in southern Vermont.

This is a portion of the Deerhill Inn in West Dover, VT. This was painted from inside the car. In a one hour period there was rain, heavy clouds, rain, and sun. Here I made an attempt to capture the shadows created by a very brief appearance of the sun

The Inn was built in 1954 as a ski lodge and was called the Deerhill Lodge. Over the years additional rooms were added which transformed the lodge into a farmhouse. The vertical board and batten siding was replaced with horizontal clapboard...and wa-la...it is now a beautiful Inn.

There were pleasant vistas from the Inn so I took advantage and created three studies (shown here). Our room at the Deerhill was basically an attic cubbyhole, maybe 25' long and 7' wide at its narrowest. Bend over the bathroom sink and you'd rub your butt against the opposite wall. There was no TV, only a small radio/CD player with a selection of four CD's...only one of which we enjoyed...Frank Sinatra's "Nice 'n' Easy"...and enjoy it we did, over and over and over. Hey, it wasn't the Inn's fault. It was our choice...only $168.00 per night!! I better get some salable paintings out of this trip.

An enticing view from Inn Victoria in Chester, Vermont

We drove through many of the small villages in southern Vermont. The Vermonters have wasted no time in dealing with the recent devastating storm and flood damage. We were really impressed with how much they have accomplished in such a short time.
Two villages that I found especially attractive were Weston and Chester. There is an old grist mill in Weston, that for this artist, made the whole trip worthwhile. You will be seeing a few variations of that mill showing up on some of my canvases before too long. Oh, be sure to visit the famous Vermont Country Store. They sell anything and everything and offered a delectable assortment of enticing foods to sample. We wouldn't have needed to go next door for lunch.
It was Chester, VT however, a place I haven't heard of before, that was the highlight of our trip. Not only is the small town beautiful but our three-day stay at Inn Victoria was the icing on the cake, the creme de la creme of our visit to Vermont. Innkeepers and owners, Dan and Penelope (Penny) Cote (Coat-e), are a delightful Christian couple and are perfectly suited for their line of work. You would do well to stay in Chester at Inn Victoria whenever you are in Southern Vermont.

Another appealing view from the Deerhill Inn in West Dover, Vermont

Breakfast is a three-course gourmet treat that will last you most of the day. Additionally a typically British high tea was offered on the day we arrived...umm.
Stimulating conversation, interesting guests, excellent food, and plenty of photos capturing the beautiful landscape have all made this another trip to remember.

Next week: The Norman Rockwell Museum

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Plein Air Painting in the Flint Hills 2

2011-10-15T12:00:00.001-05:00

As I mentioned in last week's blog, I had the distinct privilege of enjoying three days of plein air painting in the Flint Hills of Kansas with a great group of talented artists. You may read the account of my experience HERE.

The participating artists came from Minnesota, Arizona, Nebraska, Kansas, Missouri, and Texas.

As promised, I would like to share with you the work of these talented folks. I asked each of them to select that one painting, produced during our time together, for which they were most proud. Also they were asked to explain what inspired them to paint their chosen motif and what were the challenges they experienced.

I believe you'll enjoy their responses.

Michael Albrechtsen - Olathe, KS

Reflecting Blues - 10"x 8" - Oil

"I chose this spot because of the blue reflecting on the spot of the tree where the bark had fallen off. It was interesting to try and figure out where it was receiving such a blue cast since the water in front was green. I am sure that it received some reflected light from the water but even more accurate is that the only place it received color was from the sky to my back. It was hard to keep this as the one thing that interested me since I was tempted to paint the back light that came through the trees as the painting session went on."

Michael was encouraged by his Mother and Grandmother to pursue art, rather than the family occupation of mechanical engineering. Graduating from Utah State University with a Master of Fine Arts degree, Albrechtsen was snatched up by Hallmark in Kansas City. He worked there for many years using his experience as a landscape and figure painter in the creation of speciality cards.

To view more of Albrechtsen's work, please click HERE.

Kim Casebeer - Topeka, KS

Timber Hill - 9"x 12" - Oil

"After painting here during our group sunset paint out, Cally and I decided to try it again but from a different angle. During the sunset paint out the back hills seemed to have more of a gray tone and we noticed that the next night they were more violet which is what I like to see. Interesting how the temperature can change from day to day. The biggest challenge this time of day is to capture the values and temperature you see in a short time frame and avoid chasing the light."

Kim was born and raised on a Kansas farm. She received a BFA from Kansas State University and has worked as a graphic designer and art director. She spent her evenings and weekends developing her fine art. Now she is a Master Signature member of American Women Artists and a Signature member of the Oil Painters of America and the Pastel Society of America.

To view more of Casebeer's work, please click HERE.

Debra Groesser - Ralston, NE

Back in the Old Days - 11"x 14" - Oil

"I love painting old farm implements and old cars/trucks. More often than not, it's not so much the subject matter that attracts me but the way the light and shadows play upon the subject and in the scene. That was the case with this old "wagon". I was attracted to the rim lighting on the top edges of the wagon, the negative shapes of the wheels, and the glow of the light patterns on the grass beneath it. The light was beautiful in the background as well. My "challenge" on this piece was after it was finished actually...I found out that what I thought was some kind of wagon used to disc fields was actually an old manure spreader! I think I would have painted it anyway in spite of what it was. Just goes to show, through the eyes of an artist very ordinary things can be made beautiful."

I didn't realize it until now, but Debra and I were both born in England. After Deb completed college, she worked as a graphic designer. As a fine artist she has attained Signature membership in the American Impressionist Society, Plein Air Artists of Colorado and the American Plains Artists. She's the mother of five children and has seven grandchildren.

To view more of Groesser's work, please click HERE.

Marc Hanson - Taylor Falls, MN

Road to Bazaar, KS - 14"x 18" - Oil

"The most impressive visual idea that I was left with from our trip to the Flint Hills was that of the amazingly huge expanses of empty landscape, with rolling, grass covered ground occasionally broken by a few trees. It seemed like a land still lost in the throws of times past when bison and native peoples lived and survived on it. About the only clue that you're not standing in a land lost in time are the ever present flint covered roads that bisect the land and connect remote regions to the little towns that sprinkle the area. The painting is of that idea. I had to paint it fast as the sun was setting behind me. Because of that I painted this quite thinly and almost as if I were sketching quickly with the brush, writing down the information as much as rendering the actual subject. By the time I had the surface covered, the sun had dropped below the horizon to my back and I was done."

One of the reasons Marc is a visual artist is that it has always been more effective for him to share his excitement about the natural world through visual means, painting and drawing, than through writing or speaking of it. Hey, I think he did a great job of explaining his painting. He is a Signature member of the Oil Painters of American and earned the bronze medal for his work in the most recent national show.

To view more of Hanson's work, please click HERE.

Cally Krallman - Topeka, KS

Subtle Changes - 11"x 14" - Acrylic

"This was painted on Saturday morning. The most challenging thing was painting plein air in acrylic. I have to paint "swiftly" in order for the paint not to dry before I have a chance to blend it, unlike oils you can blend all days long. I was happy with my results! It is difficult to capture the vastness and depth of the area and truly represent the atmospheric perspective...always a challenge."

Cally earned a BFA from Washburn University. She is also a very talented lyricist and songwriter. In just five years she has written over 200 songs. She has also produced four CD's, her latest being "Some Kind of Magic". You can check out her music here.

To view more of Krallman's work, please click HERE.

Joseph Loganbill - Newton, KS

Morning on Silver Creek Road - 8"x 10" - Oil

"We all have experienced the exciting feeling of being up early, hunting for a scene and not wanting to waste the early daylight. There were plenty of country road possibilities and the temptation to feel that around the next corner was going to be the best scene. I drove past this spot initially and then came back after getting a rear-view mirror glimpse. Here I found a combination of, interpolating light and cast shadow, taller trees in the mid-ground, and a view of the rolling pasture expanse that is iconic for the Flint Hills area. I thoroughly enjoyed the beautiful quiet morning - trying to capture the serene feeling of cool shade and emerging warm sun."

Joseph majored in art at Bethel College and has served as Director of Carriage Factory Art Gallery in Newton, KS. He is now devoting his time to creating fine art. He believes art can serve many valid purposes. He feels when he paints that it is a healing experience as he is enveloped in that world of concentration, away from other concerns.

Susan Lynn - Kansas City, MO

View from Sharpes Creek Road - 8"x 10" - Acrylic

"What originally caught my eye was the pair of misshapen trees, and the way they formed a kind of gateway to the disappearing road. The longer I stood there looking at them, however, the more enthralled I was with all the beautiful and very subtle color changes happening in the hills beyond. I think I repainted that background about three times on the spot trying to capture those colors, so I'd have to say that was both the challenge and joy of painting this piece."

Susan earned a BFA from Kansas State University. She is a Signature member of the Missouri Watercolor Society, and Painters of the American West and Midwestern Prairie. When painting she considers her compositions as interpretations of the landscape rather than strict depictions.

To view more of Lynn's work, please click HERE.

Judith Mackey - Cottonwood Falls, KS

Judith is a native Kansan who resides in the Flint Hills. She probably knows this area better than any of us. She's been a professional artist for more than 40 years. She is mostly self taught. In approaching her work, Judy first abstracts her subjects mass and form while on site. The piece is then refined in the studio by adjusting the composition and values, and selecting significant details. When painting the Flint Hills, Judith principally depends on her intimate knowledge of the area...the place she lives and loves.

To view Mackey's work, please click HERE.

Dick Sneary - Kansas City, MO

Tack House - 10"x 14" - Watercolor

"These two buildings were just outside of the cabin (Calaboose) that my wife, Susan Lynn, and I stayed in. The one on the left is the tack house...the one on the right was our bathroom, without unfortunately any hot water. I like subjects with character (usually means something man made in them) and I thought these had lots...really reflected the Flying W Ranch. That along with the striking contrast of the two structures in the late afternoon sun against the dark background of trees caught my interest immediately. The challenge was pulling all the complexities together."

Dick is a registered architect and has been an architectural illustrator for 30 years. His beautiful work has won many awards. He is President Emeritus of the American Society of Architectural Illustrators (ASAI).

To view more of Sneary's work, please click HERE.

Phil Starke - Tucson, AZ

Farm Near Cottonwood Falls, KS - 10"x 12" - Oil

"This was painted early in the morning. I was looking for anything but the rolling flatness of the Flint Hills, so I came upon this small farm and liked the variety of shapes in the barns and the dappled light. The hard part was the time aspect, trying to get an accurate drawing of the structures before the light changed and deciding what's important and what's not."

Phil's original plan was to enter the field of advertising as an artist but decided to switch to the fine arts. He studied at the American Academy of Art in Chicago.

To view more of Starke's work, please click HERE.

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Plein Air Painting in the Flint Hills

2011-10-09T19:43:00.004-05:00

I just returned from three days of plein air painting in the Flint Hills of Kansas. I remember, as a young boy, passing through the area several times a year with my folks on the way to visit my grandparents in Pittsburg, Kansas.

The Flint Hills were first given the name in 1806 when explorer, Zebulon Pike, referred to the soil as being "flinty". Early European settlers found plowing pretty much impossible because of a thick layer of underlying bedrock made up of flinty limestone. As a result, the region is sparsely developed and represents the last expanse of intact tallgrass prairie in the nation...and the best opportunity for the sustained preservation of this unique habitat once covering the great plains.

Millions of American Bison once grazed the area. Today one sees mainly cattle, but bison are also being reintroduced to the area.

Flint Hill Painters

Back row L>R: Kim Cassbeer, Cally Krallman, Judy Mackey, Debra Groesser

Front row L>R: Marc Hanson, John Pototschnik, Joseph Loganbill, Susan Lynn, Dick Sneary, Michael Albrechtsen, (Not shown: Phil Starke)

Painting in the Flint Hills is not easy. It's not the kind of place in which you can just show up and discover incredible motifs over every rise and around every corner. Trees, structures, even vistas can be difficult to find. Horizontal is the word that comes to mind when in the Flint Hills...layer upon layer of rolling horizontal lines. I think all of us artists sought verticals and diagonals to add balance to our compositions.

Although this is the third time I've painted the region, getting to the essence is not an easy task.

Shown here are my attempts.

Kim Casebeer organized this paint out and she wisely knew we would all like to experience a Flint Hills sunset. So, late one afternoon our Flying W Ranch hosts had us all pile into a 1956 Ford grain truck and they drove us to a high point. All of us painted this amazing vista as the light rapidly changed. The challenge was sticking with the original motivation and not "chasing the light", as artists often say. I was guilty of this amateur mistake as I continually warmed up the landscape in order to keep up with the descending sun.
Mike Albrechtsen and I found this view. It was also one that Marc Hanson painted. Appealing textures, color variations, and rise and fall of the land were sufficient motivations for attempting this painting.
I enjoy painting farm scenes that include silos. While Marc and Michael painted a large pond just off to the right, I decided on this view.

Black and white ladies with large udders enjoyed dancing in the nearby pond but they gradually worked their way toward me. Ever so curious, nudging ever closer, they pressed in until I almost couldn't move. They checked out everything. I felt my whole set up was in danger of going down. My loud warning to, "Go away", fell on large, deaf ears. However, somehow I knew they must have approved of my work as they flipped their tails and nodded their heads. I hung in there and they eventually grew bored with my efforts to capture their home turf.
This is the view from the bunkhouse area of the Flying W Ranch. Painted early one morning, I was attracted by the long shadows and the winding road inviting one to see what's around the corner.
On our last evening together, many of us painted on Coyne Creek Road. I found this location extremely appealing and sought to create an unusual composition. I was painting while standing in deep shadow so was totally shocked when I saw the painting in natural light. It was way too light and did not capture the observed mood at all. Back in the studio, I darkened values in an attempt to get closer to reality.
One of the difficulties of painting during midday is the flatness of the light. This painting gave me fits. I had to take significant artistic liberties just to get to this point.
This was a very quick study done just prior to leaving on our sunset excursion. It's a view from a distance of the bunkhouse area. I liked the simple composition.

Next week I hope to show the favorite paintings produced by each of the plein air participants.

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Outdoor Painting

2011-09-26T00:30:00.002-05:00

Mutt and Jeff

Spent a wonderful day with my friend Gary Klingemann this week. We've been talking about getting together for about a year in order to paint. During that time we discovered we have many things in common, including similar spiritual and political beliefs. But, we also have a similar English heritage...military Dad's meeting and marrying English women. I was born in England. Gary was born in Albuquerque, but at three months he was back in England because of his Dad's reassignment. He spent the next 14 years in England except for a short stint in Spain.

During those 14 years he became a very good soccer player, eventually playing at the semi-pro level in the United States. He earned two coaching licenses, one from England's Football Association and the other from the United States Soccer Federation. He met his wife, Shelly, while coaching a soccer camp in the states.

Just after returning from a 225 mile bike ride

(Well, OK...25 miles)

Another commonality we both share is a love for cycling. I raced for 12 years and was in the 1971 World Championships in Leicester, England.

Gary came to cycling out of necessity, during college, when he couldn't afford a car. The salesman who sold him the bike offered him a job as bike mechanic and salesman. With several competitive cyclists working at the shop, he got involved with racing for a brief time. He also toured in England by bike and went to the Tour de France. Now he enjoys participating in century rides.

This is the scene we painted...

a view across my side yard to the barn.

Klingemann beginning his small oil study.

After our 225 mile bike ride, we set up to paint. Gary is now in a position to set more time aside from his busy life to once again take up painting. He currently is a graphic designer and owns his own business, Klingemann Design. It is a brand-focused design and communication studio specializing in branding/identity, print and website development.

Plein air painting, or as they say, "in the open air" is a real challenge. I guess you would say we enjoyed it... after we expelled a few moans and groans because of disappointing performance.

I've been doing more plein air painting than usual these last two weeks as a tune up for for two painting trips in the near future. The process got me to thinking about just what I take out into the field when I paint. Besides a Soltek easel, I carry a soft, Samsonite bag...12"x 14"x 13".

Plein air study of yard and barn

This is what's in the bag: Painting supports (gessoed paper), hard board backing, assorted bristle brushes, oil paint, mineral spirits, palette cups, palette knives, masking tape, burnisher, expandable mahl stick, level, paper towels, rubber gloves, camera, compass, Garmin GPS unit, Phillips head screwdriver, pliers, 34" umbrella with adjustable extension, easel clamp, cord and metal clip (extra security to prevent umbrella from disappearing into the stratosphere)....and a lawn chair and 24" television...just kidding.

Plein air study of Taylor Lane

Plein air study of Monroe's Pond

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Kicking the Can Down the Road

2011-09-18T23:50:00.004-05:00

Is this the sun setting on the US economy?

You may have seen this. It's a real eye opener and puts some really big numbers into perspective.

Our United States Congress sets a federal budget each year in the trillions of dollars. Few of us know just how much money that is.

This will bring some perspective to the brilliant use of our money by those we elected to represent us.

Federal Budget: $3,820,000,000,000

US Income: $2,170,000,000,000

New Debt Incurred: $1,650,000,000,000

Our National Debt: $14,271,000,000,000

Recent Budget Cut: $38,500,000,000

Putting that in more understandable terms, let's consider a family in financial crisis and see what they've decided to do to get the mess under control. By just removing eight zeros, we can put these numbers in more reasonable terms.

Family Expenditures: $38,200

Family Income: $21,700

New Debt: $16,500

Existing Credit Card Debt: $142,710

Budget Cut: $385

Reducing that even further, down to the level of an artist who sells a painting now and then, think of it this way.

Recent Art studio expenses (Canvas, stretcher bars, turp, frame,

and paint brushes): $382

Painting sales: $217

Art Studio Debt: $165

Existing Credit Card Debt: $1,427

Budget Cut ( 1 - Robert Simmons White Sable Long Handle Brush - Series 760 Bright - Size 1): $3.48...with tax $3.85

Makes sense to me.

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Finding Your Artistic Voice

2011-09-11T19:00:00.024-05:00

How to discover your uniqueness as an artist

David Leffel

Is this the most copied artist in America?

David Leffel

I began my professional art career as a freelance commercial illustrator in the early 70's. I shared office space with an already well established artist who had excellent credentials, was confident in what he was doing, and had a very tight, realistic style.

Scott Christensen

Being new to the field and not as well trained as he, I lacked confidence and individuality of style. Over time I began projecting photo reference and adopting a more photo realistic style. Upon entering the fine art field 10 years later, and seriously evaluating my abilities, I realized I had become dependent on the projector and really had little confidence in my drawing ability. In fact, now looking back, I understood very little about creating a quality painting.

John Asaro

As an illustrator I was told that in order to be successful one needed to develop a unique style. That may be true in the illustration field but as a fine artist that just seems so phony and artificial because the whole motivation for creating art is different. Yet, the reality is, galleries and collectors alike generally don't like surprises. Collectors expect something similar to what we have done before. Galleries want a product they can sell, and they expect consistency in quality and subject matter.

Jeremy Mann

So how does one find their niche in the marketplace and uniqueness of creative expression?

Dan Gerhartz often speaks of honesty in painting...honesty in depiction of the subject and honesty to one's self. My friend Ed Pointer says, "I never gave it much thought. I just liked to paint and painted my own way." Frustration has kept Pointer searching. "I've never being satisfied with what I'm doing, or I could say, rarely being satisfied with my technique. I seem always to be searching for something that I haven't quite found. Glenn Miller spent a tremendous amount of time in searching for his particular musical sound, most of his musical life in fact--he did finally find it but the quest occupied much of his conscious life."

I included Pointer in this group of great artists because he, along with them, has a very distinctive way of expressing himself. He doesn't realize it but it's obvious to everyone else.

Richard Schmid

Pointer highlights one of the important points of finding your artistic voice...experimentation...trying a lot of different things...to me that includes everything from design to media.

Dean Mitchell

Here are some other valuable points:

* Don't make uniqueness the object of your affection.

* First, learn to "speak". Develop your painting vocabulary: composition, drawing, values, edges, color, etc., etc. What good is uniqueness if when you have something to say you have not the skill nor ability to communicate it convincingly?

* Be a serious student. Take your work seriously. A hobby artist attitude will not get the job done. Continually increase your understanding and apply what you've learned.

* Improve your taste through the study of the great masters.

* Paint what you understand, love, and are passionate about. Do not get into the rut of painting a certain subject because it sells.

* Learn and apply the valuable stuff you have learned from others, but don't mimic. Remember, it's all about you gaining knowledge and understanding of how to create a great painting. It's about seeing through your eyes, not the eyes of another. The artists represented here interpret through their eyes, intellect and emotions and their individuality is crystal clear. Everyone after them can only copy their "voice", and that to me is artificial.

* Give yourself time. No one matures overnight.

Clyde Aspevig

* Subject matter alone cannot be the distinguishing feature of finding one's "voice". Almost all of the artists shown here paint a variety of subjects and yet their work is still easily recognized. Why? I believe it goes to the emotional content, design, drawing, color choices, and paint application. All are very personal, and when developed, can lead to a very personal style.

Daniel Gerhartz

Other opinions on this subject voiced by others, which I don't necessarily agree with are:

* Don't judge your choices.

* Decide what type of artist you wish to be and develop your style accordingly.

* Detach yourself from your visual library...all of the art you have seen and experienced in the past.

Ed Pointer

Finally, painting is like learning to write. After learning the alphabet, being introduced to writing tools and how to use and hold them, one learns how to form each letter...and eventually how to write one's name in cursive. Over time, having written one's name hundreds, thousands of times, your signature is uniquely yours. There's not one other like it in the world. How did it all begin...taking that pencil in hand and awkwardly forming those first letters.

Peter Poskas

If you have further insight into this subject or would like to share with others how you discovered your artistic voice, please feel free to contribute.

Here are links to the websites of each of the artists featured in this article:

David Leffel

Scott Christensen

John Asaro

Jeremy Mann

Richard Schmid

Dean Mitchell

Clyde Aspevig

Daniel Gerhartz

Ed Pointer

Peter Poskas

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Is OPA Judging Rigged?

2011-09-03T12:00:00.026-05:00

An Inside Look at the Oil Painters of America Selection Process

If you want to be juried into an art show, or win an award in a show, it's important that you have "connections". Knowing the judge or jurors doesn't hurt, maybe even being involved in the host organization will further your changes of winning something, anything...Right?

Accusations of award winners being preselected or friends being shown favoritism are occasionally leveled against art organizations by disappointed applicants. Oil Painters of America is not immune from such criticism. The question is, is there justification for such accusations?

Dan Beck - A Warm Breeze

2011 Gold Medal Winner / Associate Signature Division

Recently, within the last three weeks, I was bestowed the honor of seeing how an OPA Selection Committee works...from the inside out. I was one of five judges chosen to select the paintings that will be in the OPA Western Regional Exhibition this October at the Lee Youngman Galleries in Calistoga, CA.

Now that all the selections have been made, I am able to tell you how it works.

Mary Qian - Model on Break

2010 Gold Medal Winner / Associate Signature Division

First off, you need to know, I still do not know who the other four jurors were...and will probably never know. I asked out of curiosity, after the judging was completed, but received no response. Another thing, only two people knew the identity of the five jurors, the OPA President and the Jury Chairman.

David Riedel - Wooden Bowl

2009 Gold Medal Winner / Associate Signature Division

We had four days to rate the 924 entries, grading them on a scale from one to seven. The entries were viewed using the internet and we had no way of knowing how other jurors voted. After all the grades for each painting were compiled we were given an additional three days to reevaluate the top 190 entries scoring them in the same way...one to seven. Those receiving the highest cumulative scores were selected for the show.

I did not enter the competition this year, but if I had, I was instructed to vote for my painting in order to avoid any possible computer processing issues. However, it was the average score of the other jurors that would have been substituted for my vote. So, even in that, the temptation to show favoritism toward one's own work was eliminated.

Howard Friedland - Morning in Giverny

2008 Gold Medal Winner / Associate Signature Division

Paintings were evaluated based on design and execution. The best works had one dominant value, a dominant color harmony, a clear center of interest, balance, accurate drawing, convincing value relationships, consistent and believable color temperature relationships, appropriate variety of hard and soft edges, and varied and interesting paint application.

Get all those elements right and you ended up with a seven...in the top 1-3 percent of entries.

Johanna Harmon - Vintage Dreams

2007 Gold Medal Winner / Associate Signature Division

I have judged many art shows and only once did I sense a little urging to vote a certain way...and that was for an Elementary School art competition.

Oh, you may be wondering if the artist's signature on a painting has an influence. Well, to be very honest, I make it a matter of personal integrity to avoid looking at the signature. If the focal point of the painting is located in the area of the signature, there's no need to be concerned about awards.

I'm sure if an advantage can be gained in any art competition, there will be those who will try to get that advantage. But, as for the Oil Painters of America Exhibitions, I was most impressed to see just how unbiased the jury process actually is. This should be an encouragement to many of you. Hey, it all comes down to the quality of the work, not to who you are or whom you know.

Robert Coombs - Almost Sundown

2006 Gold Medal Winner / Associate Signature Division

Below are website links to those featured in this article:

Oil Painters of America

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Jeff Legg

2011-08-24T20:53:00.019-05:00

If you don't know the work of Jeff Legg, you need to.

I've known Jeff for at least 20 years. We met at the Midwest Gathering of the Artists Art Show in Carthage, Mo. I was a participant when Jeff, a visitor, introduced himself and showed me photos of his work. I think, at the time, he owned a bicycle shop in Joplin, MO.

Jeff Legg in his studio in Estes Park, CO

From that first meeting, after seeing his work and considering his talent, I encouraged him to pursue still life painting

And pursue, he has. Today he is recognized as one of the best in the business. Considered a living master by the Oil Painters of America, he's the recipient of many national awards.

Tatanka Fire - 36"x 36" - Oil/Canvas

Currently, he is having a solo exhibition at the Astoria Fine Art Gallery in Jackson Hole, WY. The paintings featured here are some of the works from that show.

Red Eucalyptus & Apricot - 16"x 20" - Oil/Canvas

Jeff was born in Joplin, MO but now resides in Estes Park, CO.

At age 13 he began a four year mentoring program with Darrel Dishman. Later he studied at Atelier Lack and the Minneapolis College of Art and Design.

Eucalyptus & Melon - 12"x 16" - Oil/Canvas

In the August 2011 issue of American Art Collector, Jeff states, "I want to communicate a sense of wonder and mystery about our material world while simultaneously evoking a sense of something that goes beyond the material realm...something...that might resonate deep within a person's spirit."

Brass and Mandarin - 12"x 9" - Oil/Canvas

Among his artistic influences are the great masters, Chardin, Rembrandt, and the Wyeth's. With a nod to these great artists, fellow artists and collectors worldwide are attracted to Legg's paintings because of his subject matter and inspired use of chiaroscuro.

Clementine and Brass - 12"x 9" - Oil/Canvas

Luminous Progression - 12"x 16" - Oil/Canvas

Verdigris and Red - 11"x 14" - Oil/Canvas

"For those who have never had an appreciation for still life, I hope this new body of work will change that. Still life can be so many different things; throw away your preconceived ideas. It's wide open. It taught me how to paint," says Legg.

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Lake Como Villas

2011-08-21T16:54:00.022-05:00

I've written previously of my affection for Italy's magnificent beauty, its architecture, and the amazing contribution they have made to the world as artists and as designers of beautiful, useful products. (To read that article, click HERE).

I think it's impossible to go to Italy and not be impressed with the architecture. What you see in Italy today has been learned and passed down from the ancients.

The Greeks perfected the column and established a formal, idealized standard/order of beauty. They considered their buildings, the significant ones, as sculpture...intensely geometric and structural. Site planning and movement of light, over, around, and through structures received uppermost consideration.

The amazing self supporting arch

Following the Greeks, the conquering Romans absorbed some of the Greeks art and culture. The Romans were the first to fully realize the potential of arches for bridge construction. The arch became an ingenious way of spanning a void by making stones support one another through their mutual compression. The arch lead to the vault and cross vault, making it possible to create expansive interiors unencumbered by columns.

St. Peter's Basilica (1506-1621)

The Renaissance (1400-1600's) was a rebirth, a revival of the classical vocabulary and style of these ancient cultures. Symmetry, proportion, geometry, order, the use of semicircular arches, and hemispherical domes became the norm.

All of these influences contribute to the architectural beauty of Lake Como. So, it's with a tip of my Italian made hat that I once again display my latest painting, "Coastline Dwellings" (now shown with its beautiful frame).

John Pototschnik - "Coastline Dwellings" - 20"x 20" - Oil/Canvas

(Click HERE for availability)

With the Alpine mountains as a backdrop. the lower regions covered in dense foliage descending toward Lake Como, the deepest lake in Europe...all this provides an idyllic setting for some of the most incredibly stunning villas in all Italy.

Lake Como is only 25 miles north of Milan and just a few minutes from the Swiss border. Many of the amazing villas on the lake were built in the 17-19th centuries. My particular favorite is the Villa del Balbianello in Lenno. It was created by Cardinal Durini in the 18th century. (Hmm, I wonder where he got the money? Sorry, I couldn't help myself). Today it is considered one of the most beautiful and romantic villas on the lake.

Many of these larger, spectacular villas are now owned by the State or an International Organization.

Not far from Lenno is Azzano. It is in the area called Giulino that Benito Mussolini and his mistress Claretta Petacci were shot to death in 1945.

Howard Friedland - "Lake Como Villa" - 12"x 16" - Oil/Canvas

I would like to introduce you to an incredibly talented artist, Howard Friedland. I first saw the painting, shown above, at this year's Salon International, hosted by the Greenhouse Gallery of Fine Art in San Antonio, TX. It was selected as one of the Jury's Top 50 paintings. In 2008, Howard won "Best of Show" at the Oil Painters of America National Juried Show...a difficult achievement to say the least. His credentials are pretty impressive.

He was born in the Bronx, New York and currently lives with his artist wife, Susan Blackwood, in Bozeman, MT.

"Some painters prefer to render a picture tightly to a literal level of finish. However, I prefer to paint only enough for the viewer to get a clear vision of what the subject is and suggest the rest. When the painting is viewed close up you can see the many colorful brush strokes. As you step further away the brush strokes disappear and your eye pulls the whole painting together. That is what the magic of painting is about for me. This allows the viewer to use their own imagination and participate in the painting."

To view Howard's work, click HERE

John Pototschnik - "Italian Estate" - 18"x 24" - Oil/Canvas

For the past two weeks I have posted blogs stressing the importance of determining your painting concept before beginning to paint. Howard and I painted the same villa and yet with totally different concepts. He was interested in the relationship of the villa to its environs, I was interested in the architecture. Exciting isn't it?

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Painting Concepts 2

2011-08-14T19:11:00.021-05:00

Paul Strisik, the featured artist of last week's blog, was a master artist and teacher. If you haven't yet read the post, I think you will find his views about painting helpful. Foremost, before beginning a painting, he stressed having a clear "conception of the subject". I call it "your painting concept".

What is meant by a "painting concept" and how is it determined? Let me explain.

When someone designs and builds a house or just purchases existing blueprints...before any of that...a decision has been made, an idea is finalized as to the style of house desired. It might be a colonial, ranch, country, contemporary, or Victorian; whatever the choice, that decision is the concept. It is called that because everything that follows is a result of that choice.

For example, if the concept is Victorian but all the design and building choices are ranch, will the result be Victorian or ranch? Obviously, it will be ranch. What happened? The original concept was not adhered to.

Similarly, for us artists, if the decision is to depict a landscape shrouded in fog but the painting actually produced contains intense color and high value contrast, the concept and finished piece have become incompatible.

So, even before the canvas is selected, a decision must be made as to what we want to communicate. Once the concept is established, don't deviate from it or the likely result will be a confusing, discordant painting or one significantly different from the original concept/idea.

Below are a few of my paintings illustrating the point. Each achieved painting is preceded by the photo used to inspire the final work. The camera merely records the subject. Paul Strisik says, the real measure of an artist is what we do with it.

Photo concept

Rain's on the Way - 16"x 20" - Oil/canvas

Photo concept

Lifting Fog - 9"x 15" - Oil/board

Photo concept

Another Snow Coming - 9"x 15" - Oil/board

Photo concept

Places in the Heart - 16"x 30" - Oil/canvas

Photo concept

Call of Dawn - 14"x 28" - Oil/canvas

Land of Plenty - 7.5"x 14.5" - Oil/canvas

Photo concept

Tuscan Village - 12"x 30" - Oil/board

Here are some helpful tips for determining a clear concept.

Paint what you enjoy and understand. Painting is difficult enough, so begin with something that stirs your soul.
Think. What do you want to say? What made you stop to paint, sketch, or photograph this scene in the first place? Fine painting is more than an emotional outburst.
What is it about the subject that deeply and instinctively appeals to you? Some possibilities are: composition, color, lighting (overall mood/value relationships), and the emotion activated within you.

As you can see from all of the above images, my motivation was inspired by the composition. From that point, I brought my concept of the subject to the final work.

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Painting Concepts

2011-08-07T14:50:00.021-05:00

"I feel that God's Sunlight on a single blade of grass is such a miracle and so difficult to capture in paint, it is worth a lifetime of trying" - Paul Strisik

Paul Strisik (1918-1998)

www.paulstrisik.com

After writing about the passing of Paul Calle in last weeks blog, it caused me to reflect on that 1984 painting trip to Spain/Portugal, and the exceptional group of talented artists that participated. One of these was Paul Strisik.

North Light Books

Cherished memories of him and our conversations prompted me to reread, this week, his book "Capturing Light in Oils". It is basically a rewrite of his first book, "The Art of Landscape Painting", both of which are packed with helpful advice for the artist. All this from a fabulous artist and noted teacher.

The chapter that captured my attention is titled, "Conception and Composition".

Motif 1, Rockport

If you have been reading my blogs at all, you know that a running theme has been "painting concept". Paul Strisik identifies it as "your conception of the subject". He considers that a most important consideration...and the real measure of a painter.

Chimayo Garden

The question then that must be asked is, "What do I want to communicate?" The answer to that one will most likely be found in answering this question, "What made me stop and look?"

Whenever something grabs you and you feel you must take a photo, or capture it with paint, Strisik believes it is not the details of the scene you're responding to but instead your emotional reaction to it.

You're responding to the mood...an affect of light falling upon the subject, thereby creating an irresistible combination of light, halftone, and shadow.

Eastern Light, Gloucester

The job of the artist is not to create a blueprint of the subject but rather to capture your reaction to it. If facts alone are enough, just take a photo. The camera does that pretty well, with a lot less effort.

Autumn Mantle

"Your eyes don't tell you what to paint, your mind and feelings do", says Strisik. He believes it is beneficial to create smaller paintings en plein air because it forces the artist to capture the very essence of the scene without all that "additional entertainment"...detail.

So if you're an artist about to create a painting, or for you non-artists who are just looking and enjoying...ask yourself this question, "What is there in this scene that interests me?" You'll both be the better for it.

Docks, Cape Ann

Next week, I'll present some of my painting concepts.

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Paul Calle

2011-07-31T13:33:00.024-05:00

"I'm not heavy, deep, or profound, but I have something to say, and I say it through my art."

Paul Calle

I learned just this past week that Paul Calle died of cancer on December 30th of last year, at the age of eighty-two.

I had the good fortune of meeting Paul and his wife, Olga, in 1984. I had been invited to accompany a group of artists to Spain and Portugal for two weeks of painting. There were 19 of us. Along with Paul, the group included: Ken Riley, Paul Strisik, Glenna Goodacre, James Boren, Ray Swanson, John Asaro, Nancy Boren, Dalhart Windberg, Dave Halbach, Dwayne Bryers, Roy Grinnell, Mimi Jungbluth, Mike Desatnick, Lowell Ellsworth Smith, Tom Hill, Gerald Fitzler, and Joe Bohler...a very talented group to say the least.

Some have since passed on...and now, Paul Calle.
When I was a young illustrator, I had a huge file containing many of Paul's illustrations, clipped from magazines.

His accomplishments are enormous.

Born in New York in 1928, he studied art at the Pratt Institute and served in the Korean War as an illustrator. he created 40 US Postage Stamps, the most famous being, "First Man on the Moon", of which 150 billion stamps were produced. We could say that Calle might be the most reproduced artist in history. Surely, more folks have purchased his work than that of any other artist.
In 1962, Calle was one of eight artists selected by NASA to "record for history, space exploration through the eyes of artists". He was later given exclusive access to the astronauts as they made their final preparations for the historic Apollo 11 mission to the moon and when Russia and the United States worked together on the Apollo/Soyuz program, it was Calle who accompanied the US astronauts to Russia in order to document their training with the Soyuz cosmonauts. Later, he was named Chairman of the Department of Interior's "Artist in the Parks" program.

The Great Moment

His works have appeared in Time, National Geographic, Saturday Evening Post, Boy's Life, McCalls and many other national publications.

Douglas MacArthur

He's the author of two books: "The Pencil", which has been translated into French, Chinese and Russian, and, "Paul Calle: An Artist's Journey", winner of the Benjamin Franklin Award for Fine Arts in 1993. Another fabulous book in which his work is well represented is, "Eyewitness to Space".

Hunting the Bighorn

He entered the fine art field in the mid-70's. Although his work remained somewhat illustrative, he rapidly rose to the top of Western Art through his highly detailed depictions of fur traders and mountain men of the American West.

Edge of the Mountain

"I have always likened the image of the mountain man John Colter, his moccasin clad foot first stepping on the newly fallen snow of Yellowstone Valley, to the Moon boot of Neil Armstrong, stepping in the dust of the moon's surface at the Sea of Tranquility...two worlds apart yet each at the edge of a new frontier."

Grizzly Claw Necklace

Calle's western paintings are in the permanent collections of the Gilcrease Museum and the Booth Western Art Museum. Other works may be found in the Aeronautics and Space Administration, The National Portrait Gallery, The Smithsonian National Air and Space Museum, and the US Department of the Interior.

Where Eagles Fly

"If I had to state a goal, a hope pertaining to my work, my aim would be to help keep alive that huge reservoir of our past, to draw strength and sustenance from it, and build upon it in ways that are new and different, but not to reject it."

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Color Concept

2011-07-23T00:57:00.013-05:00

Color is an important part of painting. Some artists believe it is the most important part. I don't agree. The reason for my position is that masterful paintings have been achieved using just one color.

Having instructed many students over the years in the basics of creating a solid painting, I have stressed the importance of having a clear concept, a well organized composition, accurate drawing, a simple value structure, harmonious color, technical excellence...and even appropriate framing. All these elements are important, but concept needs to reign supreme. What do I mean by concept? It is what the artist chooses to communicate through the painting...and every one of the basic building blocks mentioned above, need to support that concept.

Color is no different.

This is the painting I've been working on this past week. It shows the very beginnings of the block-in stage, after having established the drawing. The canvas is 32"x 46". Normally, on large canvases, I begin with a full monochromatic value block-in. This time I decided to jump right in with color on the white canvas.

Before beginning the color stage, a set of colors {the palette) must to be chosen, and the selected palette needs to support the concept. The subject of the painting is a sunlit Italian coastal scene set in the month of May. Summer has not arrived, the foliage is still rich and lush.
Being able to create a wide variety of interesting greens was the starting point for palette selection. After experimenting with a variety of blues and yellows, I settled on Prussian blue and lemon yellow.

I have used a limited palette of just the primary colors since the mid-eighties, so that is always the starting point. You may notice from the color wheel, shown above, that the center of the wheel contains three values of gray. The darkest ring contains the three primaries mixed together, and the other two values have white added. I discovered this palette yields an almost pure neutral.

Additionally, for this painting, some extra yellows were added: yellow ochre, and cadmium yellow medium. As you can see, all of the yellows have been mixed with Prussian blue. Cadmium yellow light was also tried but was rejected because of its closeness to lemon yellow.
This is only the second time I've used Prussian blue. The color was first discovered in 1704 and widely used, but there has also been considerable controversy as to its permanence.

Winsor and Newton gives it an "A" rating (Permanent), equal to most of their cadmium colors...and more permanent than the popular alizarin crimson...so I am comfortable with that.

Phthalocyanine blue would be a suitable replacement.

Beware however, Prussian blue and phalo blue are very powerful. Both are greenish blues and have tremendous tinting strength. Just a dab goes a long way.

Before finalizing the palette choice, I like to create a chart, like the one above, in order to make sure I have selected the colors needed to achieve the desired concept.

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The Amazing Italians

2011-07-17T21:57:00.014-05:00

What is it with the Italians, anyway?

How is it that this tiny country has given us Leonardo, Michelangelo, Gian Lorenzo Bernini, Bramante, Gianni Versace, Enzo Ferrari, Sophia Loren, Bugatti, Lamborghini, Giorgio Armani...and pizza...and on and on? Art must run through their veins.
I've been to a number of European countries but it is Italy that has captured my imagination and affection, not for its politics or religion, mind you, but for its sheer physical beauty. I think the Italians are unsurpassed as sculptors, architects, and designers of products, including automobiles and clothing.

The French remain my favorite painters (not of houses but of canvases).
The Italian landscape is breathtaking. From the countryside to the mountains, from the coast to the towns...my desire to paint scenes of this amazing country will never fade.

John Pototschnik - Italian Estate - 18"x 24" - Oil

My wife and I have been to Italy twice. The highlight of the second trip for me was the time spent on Lake Como. It had rained for several days prior to the cruise, so to have perfect weather for the day on the lake was exhilarating...so much so, I didn't even want to eat for fear of missing something.
The town of Como, where our cruise of the lake began, has a population of around 100,000 people. It is an important industrial center of textiles, metallurgy, food and chemicals. Most famous of all is what the Italians call the "industria serica", or silk industry. Today, Italy is the largest producer of finished silk cloth in the world. Como's closeness to the prestigious fashion capital of Milan favors the city's continued recognition world-wide.

Lake Como is 30 miles long and is the deepest of Italy's lakes at 1345 feet. Narrow and winding, it is divided into three branches: Como, Lecco, and the upper lake area. Already loved by wealthy Romans for their summer villas, Lake Como became an important part of the 18th and 19th century Grand Tour and the prime choice for the luxurious villas and gardens of nobility and potentates. Against a backdrop of steep mountains and coastline dwellings, the whole cruise was spectacular.

John Pototschnik - Coastline Dwellings - 20"x 20" - Oil

A few weeks ago, I revealed that I was beginning a new painting of Italy. The monochromatic block-in was shown along with a few progressive step photos. The painting shown above is the completed piece. It will be available through Greenhouse Gallery, but it first will receive a custom frame.

My desire was to capture the beauty of the Lake Como coastline along with its wonderful architecture. The Italians choice of color for the buildings harmonizes perfectly with the landscape, creating an almost idyllic environment.

Gian Lorenzo Bernini - Damned Soul - White marble - 1619

Italian Pizza - Natural ingredients -18" in diameter - 2011

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Still Life Painting

2011-07-09T23:03:00.019-05:00

I have created a number of still life paintings during my fine art career. They were not only painted for my personal enjoyment, but also as a change of pace from landscape painting...and as something unexpected for my collectors. I have since come to realize their valued importance in the development of an artist.

Pieter van Anraadt - Still Life With Earthenware Jug - 26.5"x 23.25" - 1658

Still life painting has a long and valued position in the history of art. As I've stated before, I had virtually no exposure to fine art growing up, and even as a professional illustrator, I had little interest in the fine arts. But, my attitude eventually changed and I do regret my disinterest and insensitivity to the finer things.

When I converted to fine art from illustration in 1982, the first exhibit I attended was "Dutch Painting of the Golden Age", at the Kimbell Museum in Ft. Worth, TX. The exhibit featured many great artists of 1600's Holland, the age of Rembrandt and Vermeer. The whole exhibit was an eye opener.

John Pototschnik - Things English - 11.25"x 9"

I still clearly remember the amazingly sensitive self portrait Rembrandt painted when he was just twenty-three. There were several still life paintings in the exhibit, all exquisite and typical of the period.

Two that really captivated me were paintings by Jan Baptist Weenix and Pieter van Anraadt. The still life tradition has also been evident in American Art and probably its most famous practitioner is William Harnett.

Jan Baptist Weenix - Dead Partridge - 20"x 17" - 1650-52

Why is still life painting such a great way to grow rapidly in one's ability as an artist, and why is it a valuable practice one should adopt throughout their career?

There are a number of reasons, but the number one, numero uno reason is found in the title...still life. The objects don't move or change...unless of course you're working with perishables like flowers, fruit and vegetables. But basically, under controlled light, nothing changes.

John Pototschnik - Knitted Friends - 11.25"x 9"

John Pototschnik - Fruits - 9"x 12"

William Michael Harnett - My Gems - 18"x 14" - 1888

Here are some reasons for valuing still life painting:

Light and composition can be easily orchestrated
You choose the objects
Set up can be as simple or complex as you desire
There are no time restraints
Objects are set and immobile, so drawing and accurate placement of objects in space, relative to one another, can be thoroughly studied and drawn.
Objects can be selected to communicate a narrative, a theme, and to aid in color harmony.
Still life provides a great opportunity for study of light, halftone, shadow, reflected light, and how light moves across objects to delineate form
There's more opportunity to explore various points of view (eye levels)
A thorough study of how light reacts to a variety of textures can be observed...and one can learn to paint those affects

These are some of the benefits. I'm sure there are more I haven't thought of.

John Pototschnik - Remembrances - 10"x 10"

There's nothing new about the benefits of still life painting. The same principles were taught for generations before the so called "modern age".

John Pototschnik - Fresh Fruit - 8"x 10"

I would make a few suggestions for those starting out. Simplify things by working with the most basic of shapes: cube, cylinder, cone and sphere. From there, when you have attained a good grasp of drawing, begin to add values (shading)...and from there begin adding color, more complexity, and so on.

You might even consider setting up a still life outside and learn to paint under rapidly changing light. Guaranteed, all this will help you as a painter, regardless of your subject of choice.

John Pototschnik - Plum and Strawberries - 9.75"x 10"

Finally, and this is huge, never work from photos when painting a still life. Why in the world would you want to do that? Also, there is a big difference in drawing from life and working from a 2-dimensional photo....no comparison.

Google was the source of images for Weenix, Anraadt, and Harnett.

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Jean-Francois Millet

2011-07-03T21:27:00.027-05:00

Just one month separated the deaths of two of my favorite artists. One died wealthy and highly esteemed in the eyes of the public, art critics and fellow artists...the other died relatively poor, having been misunderstood by the public, ridiculed by art critics, and pretty much ignored by fellow artists. Both were French, possessing a reverence for God and His word, the Bible. Each had been closely associated with a group of artists painting in Barbizon, France during the third quarter of the 1800's.

Planting Potatoes - 32.5"x 39.87" - 1861-62

Jean Baptiste Camille Corot (1797-1885) and Jean-Francois Millet (1814-1885) were contemporaries with some of the greatest artists in history.

Corot was greatly admired by artists of his day. Monet accorded him high praise when he said, "There is only one master here - Corot. We are nothing compared to him, nothing". While Corot's landscapes were praised as being poetic, it was said that Millet's painting had a "brutish dourness" and that they "irked the smooth shaven bourgeois".

Man Grafting a Tree - 31.87"x 39.37" - 1855

Late in life Millet did finally receive some awards and recognition, but generally during his career he was largely ignored by writers and unappreciated by fellow artists. His one, unabashed supporter was Vincent Van Gogh and his closest friend was Theodore Rousseau, a fellow painter of Barbizon.

Shepherdess With Her Flock - 32"x 39.75" - 1864

Jean-Francois Millet was born on October 4,1814 in the seaside village of Gruchy, France. He was apparently very intelligent but because of his shyness, lack of glibness, aversion to the fashionable and sophisticated, and his strongly held beliefs...he was perceived as being a simple man. His stocky appearance and obsessive desire to paint the "common people" probably didn't help matters any either.

Millet may have been one of the first to truthfully capture the life of the peasant. Artists typically tended to sanitize and glamorize the life of these folks, but Millet showed them as people of the soil...toiling, sweaty, exhausted and dirty.

Peasant Woman Baking Bread - 21.67"x 18.12" - 1853-54

Everything about Millet's style contributes perfectly to the subject...the earth toned palette, the rather rough paint handling, and the dark, moody, melancholy atmosphere. His figures are very solid, possessing a strong, three-dimensional sculptural quality, reminiscent of his greatest influence, Michelangelo. Millet's peasants are people of the soil.

His work is also distinguished by its simplicity of value (light/dark), and color. He eliminated the unnecessary and grouped the subject into as few value shapes as possible. This gives his work the sculptural quality that is so distinctive, while also adding to the grandeur of the subject.

The very thing that makes Millet's work so appealing to me was a huge irritant to the critics of his day...they were wanting more detail and Millet wouldn't give it to them.

The Angelus - 21.75"x 26" - 1857-59

He also favored a subdued palette. One cannot find harsh color notes in his paintings. Andre Fermigier, author of the book, Millet, states that Millet had a keen eye for color. His studio contained "a collection of rags and bits of cloth, of different colors, faded and weather-stained, fragments of head-handkerchiefs, blouses, petticoats, etc., affording shades of color more exquisite than any dyer could produce. Millet made great use of these in his painting, taking from them suggestions of color which he said he could have got in no other way. The almost innumerable shades of blue, from the dark indigo of the new blouse or apron that had never been washed to the delicate tints of time-worn garments that had been bleached almost to whiteness, were his special delight".

Harvesters Resting - 27.25"x 49.25" - 1853

It was only after his death that J.F.M. became incredibly popular, and it was mainly because of just one painting, The Angelus. It may be the first indication of mass marketing, for images of the painting were just about everywhere. It was reproduced as prints, etchings, and embroidery, It also showed up on packaging, plates, even store signage.

Haystacks: Autumn - 33.5"x 43" - 1874

Summing up the life work of Millet, his close friend Philippe Burty wrote: "He painted the country and agricultural life as he knew it. With scrupulous accuracy he recorded the old peasantry still attached to the traditional implements and clothing, still the victim of manual labor, who will very soon be made unrecognizable by town-bought clothes and farm machinery. Combining as he did a deep knowledge of the human heart with a broad grasp of facts, Millet will number among the true painters of history, in the deepest and most literal sense of the term.

Sources for this article: "Millet" by Andre Fermigier, Rizzoli International, Inc., 1977; Art Renewal Center, www.artrenewal.org

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The Field Study

2011-06-24T23:49:00.013-05:00

How does one become an accomplished landscape painter without direct study of nature? The simple answer...you don't. Painting and sketching directly from nature is probably the most important tool of the landscape painter.

The tradition of actually painting en plein air (in the open air) began in the mid 1800's as paint became more transportable and less susceptible to drying out. It was an American portrait artist, John Goffe Rand, who invented the collapsible metal tube in 1841.
Constable, Corot and Daubigny were all at the forefront of painting on site as preparation for the larger, more resolved studio works.
Corot, in fact, never considered his plein air work as finished work and therefore never exhibited them publicly until late in life...and I think then...only because others who saw the work were so impressed that they encouraged and insisted that they be shown. Times and tastes were changing also, as evidenced by the rise of Impressionism. The quick sketch, directly from the motif, somehow captured the immediate, the essence, in a way studio paintings could not.
Early in my fine art career, it was Tony Eubanks who exhorted me to make plein air painting a regular practice. My very first time out, I was amazed how gray nature was compared to the bright palette I normally used as an illustrator. I couldn't believe it. Everything about my work changed from that first day.
I actually stumbled upon my current way of working in the open air when I wanted to capture something very quickly. I had some paper which I taped to a board, and began painting. Upon completion, I painted a rough border around it to finalize the composition and came to realize this was a great way for me to work. Also, painting on paper took up little space and they were easy to file. I soon found 3-ring binders that held sheets 5.5"x 8.5". So now almost all my outdoor work is done on these sheets, covered with one coat of gesso, and filed in notebooks. I'm currently working on my tenth notebook. Each book contains 100 paintings. There are exceptions of course when I do paint larger works on location, but these small works on paper are the norm.
I basically view all the plein air work as an opportunity to learn and thereby improve the studio work. The most important thing for me is to accurately capture the correct color and value relationship between the sky and land mass. It seems a correct balance here makes a painting look natural, true to nature. It's a huge goal for all my studio work...to make each painting look and feel very natural...as if it was painted on location.

The studies are filed in the notebooks by date. Each painting will have pertinent information noted: location of the painting site, time painting was done, weather conditions and direction I was facing, palette of colors used and with what color the paper was toned if applicable. Finally, I also include where a photo of the scene may be located in my files: photo (P), slide (S), or digital (D).

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Plein Air Painting

2011-06-19T12:52:00.016-05:00

Has plein air painting become the new impressionism?

When I began my fine art career in the early 80's, Impressionism was all the rage. Galleries began identifying their artists as Impressionists and artists did the same, whether they were impressionists or not didn't matter. Just about everything became impressionism.

Are we seeing the same today regarding Plein Air?

Jean Stern, Executive Director of the Irvine Museum in Irvine, CA says just about as much. In an excellent article titled "Plein Air Painting: A Vehicle, Not a Destination", published in the Summer 2011 edition of Plein Air Magazine, Stern writes..."Quite often, as seen in countless art magazine advertisements, the legitimacy of plein air painting has been subverted to accommodate those who seek to appropriate the popularity and commercial success now attendant to that designation. Today, there are many who describe themselves as 'plein air painters' who, in fact, are not."

We've all seen photos of artists, standing before the motif, with a highly detailed painting on a large canvas...clearly suggesting that the work was done en plein air.

Plein air painting has become a badge of honor, a status symbol.
As Mr. Stern points out, "Plein Air is not a philosophy and it is not the artist's Nirvana. It is not the end product. It is, in fact, the beginning."
I believe, of course, it can be the end product but as Stern further points out, "It is tempting to keep painting the small, carefully observed, brilliant little jewels that tend to sell well, and unfortunately, many artists do just that. The plein air sketch confirms its reason for being when it leads to a refined, studio-painted final work."
Plein air work is an absolute necessity for any landscape painter, but as I have seen many times, it can be a crutch that the artist leans on, giving them a sense of security and accomplishment, when in reality there exists an inability to go beyond the sketch toward the creation of a highly refined studio painting based on that outdoor work.
I have always viewed my outdoor work as a way to learn...a way to improve the studio painting. It seems Jean Stern and I are on the same page.
"Once an artist has achieved a practical proficiency in painting outdoors, after meeting the artistic challenges as well as the natural inconveniences, it is time to use those sketches to fulfill the promise of plein air and paint the large, final work in the studio."

And the learning goes on, and on, and on...

(Excerpts from Mr. Stern's article are granted by permission of Plein Air Magazine)

For subscription information, please contact: www.outdoorpainter.com

Interested in outdoor painting: Outdoor Painters Society

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Workshop: Value and Color

2011-06-12T22:12:00.011-05:00

Just completed teaching my third workshop of the year...3-days of instruction in Wichita, KS.

One of the nicest compliments I received from this workshop was from one of the students who said she had attended the workshops of several "big name" artists...and my workshop put them all to shame.

Attending the workshop: L>R—Jan Butler, Jim Cruse, David Cass, Mary Binford Miller, Dena Griswold, Carole Ranney, Chuck Roach, Shari Bevan, Virginia Grass Simmons, Nancy Whitaker, Marty Ferguson, Sam Criss, Carol Davis, Jessica Vega, Becky Price, John Pototschnik. (Not pictured: Georgia Abbott)

What a wonderful class of fifteen students and credit goes to Mary Binford Miller for her hard organizational work.

The workshop began with a lecture in which I presented the six foundational principles necessary for the creation of a quality painting...clear concept, well designed composition, sound/accurate drawing, simple value structure, beautiful color harmony, and technical mastery.

Kissed by the Sun - 12"x 16"

Following the opening lecture, I created a monochromatic painting of Summer's End, using raw umber. It was similar in technique to the painting above, Kissed by the Sun.. It is important to realize that it is value that establishes the painting's mood. In the afternoon, the students followed my lead and produced their own value paintings.

Day 2 began with an intensive lecture on color. This was followed by application of color to the monochromatic painting done the day previous. Using titanium white, ultramarine blue, alizarin crimson, cadmium yellow medium, and lemon yellow, I produced the demonstration piece below.

Summer's End - 9"x 12"

Day 3 was all about the students applying the principles taught and creating their own inspired works. I am proud of what they were able to accomplish.

Mary Binford Miller's beautiful little painting is shown below.

Gypsum Hills Morning - 9"x 12"

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What's on the easel? ...cont.

2011-05-21T00:00:00.013-05:00

So, what do you do when a painting is not going well?

I thought I had a good handle on this painting after completing the monochromatic block-in. I expected this past week's work to go smoothly. Well, not quite so fast Speedy. This has turned out to be one of those times when dissatisfaction followed dissatisfaction.

Almost from the beginning I felt that a palette of chromatic black, cadmium red, yellow ochre, cadmium yellow medium and lemon yellow would be sufficient to achieve the desired mood. Color swatches were made to test the theory. Chromatic black is a bluish black. I thought it would work well to gray color, but also mix well with the yellows in order to achieve a nice variety of greens.

As I began to apply color, serious doubts arose as to the appropriateness of the palette so ultramarine blue was added. Well, things proceeded downhill from there.

When problems arise such as these, what is one to do? The answer...always go back to basics...concept, composition, drawing, value and color.

Originally, the problem appeared to be wrong color choice, but in reality it was an unresolved concept.

Yes, the values were set, establishing the mood, but what was the painting about...and where was the point of focus to be...on the train, on the tunnel and beyond, or somewhere else? These questions should really have been answered from the very beginning.

When the ultramarine blue was added, it immediately became evident it was a wrong choice. It was removed and I continued on with the original palette choice.

A natural focal point of the painting is the view through the small tunnel. A truck was added for interest. I never felt completely comfortable with that choice, so it was removed. The house added nothing to the portrayal of a small rural town scene, so that soon was changed to a filling station. The storyline and focus of the painting was moved from background to foreground with the addition of three young friends.

With the focus changed, the decision was made to change the KCS locomotive colors from the colorful new color scheme to the older grey model. More work yet to do before I can sign this.

The next time this painting is posted, it will have been professionally photographed and on its way to Kansas City for the "Kansas at 150 Years" show.

Here's where you come in.

Submit your title suggestion for this painting one of two ways...through the "Comment" box below or to john@pototschnik.com

If I select your title, you will be awarded a free Pototschnik print from my print collection.

Deadline for entry: 5:00 PM, Friday, 27 May.

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Below the list of previous posts, seen on the right, are the words "Subscribe to posts Atom". Click on the word Atom and follow directions.

Thanks

Spring Festival 2011

2011-05-11T05:00:00.007-05:00

Greenhouse Gallery of Fine Art

San Antonio, TX

13 May - 3 June

The Greenhouse Gallery of Fine Art in San Antonio, TX is hosting their first Spring Festival of fine art. The show features almost 100 new paintings created by many of their gallery artists.

I have created four special works just for this show.

Brisk Evening - 14"x 14" - Oil

It's been a bitterly cold day but now as evening comes the sun pops through...turning all those snowflakes into dancing, sparkling crystals. It causes my heart to sing.

Evening Stroll - 14"x 18" - Oil

The sun is rapidly descending. The last of its glow kisses the stately tree in the front yard. There is a feeling of coolness replacing the warmer air of the afternoon. The dinner plates have been washed and returned to the cupboards...and now...what a nice time for a stroll with my beloved.

Off the Beaten Path - 14"x 18" - Oil

There is nothing that quite grabs me emotionally as being in the country alone...alone with God, with nature and with all the special sounds that one hears when away from human activity. My goal for this painting was to capture that quiet, contemplative serenity.

Cherished Memories - 12"x 24" - Oil

It has been a beautiful day. The temperature is in the low 60's, and the colors of autumn all about are enhanced by the orange glow of a descending sun. What a great day it has been playing with friends...and they get to spend the night. It's a cherished memory for sure.

To purchase one or all of these works, please contact:

Greenhouse Gallery of Fine Art

800-453-8991

What's on the easel? ...cont.

2011-05-08T20:47:00.020-05:00

Last week I showed you these two paintings that are currently on my easel. I also revealed the procedure I followed to get them to this point.

The painting on top remains as it is. I have been concentrating on the development of the Italian scene. As you can see, it is beginning to take shape.

Early in my career I did a few paintings using this monochromatic under painting technique, but eventually cast it aside in favor of a more direct method of painting...mixing the correct color and value at the same time.

A few years ago, Warren Chang wrote a wonderful 8-part series for International Artist titled, "Pursuing an artist's life behind the easel". In the series he demonstrated his use of this technique as a precursor to the application of color. I guess I had arrived at a point in my career that I was ready for a change...and also had come to realize the great importance of achieving an organized, clear value structure for each painting.

I am often asked just how often I employ this technique. I would say on most studio paintings this is the way I work, particularly if the painting is very complex. Periodically, I even use this raw umber block-in technique for plein air work. One thing for certain, I believe it has strengthened my paintings. It is also a useful tool in manipulating the compositional design because the values can be adjusted so easily with no concern for color.
Once the values are set in the monochromatic block-in, I try to adhere pretty closely to them as I begin to apply color. The palette selected for this painting is: titanium white, cobalt blue, cadmium red, cadmium yellow pale, and lemon yellow. The colors I considered most important for this painting were the reds, oranges, and greens. By choosing a warm red and two yellows, it allowed for a nice variety of warm hues. Cobalt blue, which I call a neutral blue, mixed with the yellows, oranges and red provide a beautiful variation of greens.
I began applying color to the white building in the center, and proceeded outward from that point. There's a considerable amount of work to be done before this painting is ready to be signed. I have just begun working on the water and have hardly touched the background.
This is the stage of the painting as of today. I will put it aside for now and work on the train piece this week. I desaturated the painting above in photoshop, just to make sure it still reads well. So far, I think I'm still on track.

I'll keep you posted.

What's on the easel?

2011-05-01T20:46:00.025-05:00

I began two new paintings in the studio this past week. I am asked from time to time what the motivation is behind the paintings I choose to create. The motivation varies from painting to painting, but first and foremost I must be interested and enthused about the subject.

Neither of the paintings shown here have a title at this point. The naming of a painting often evolves for me during the painting process. I don't care for cute titles. I like to choose titles that are real, down to earth, and express experiences from everyday life.

????? - 18"x 24" - Oil on canvas

American Legacy Gallery in Kansas City has represented me for a number of years. This coming June they will be hosting a show with the theme, "Kansas at 150 Years".

I found this neat bridge in, I think, Cottonwood Falls, KS. I am privileged to have had Kansas City Southern Railroad purchase several of my paintings over the years, so this scene lent itself perfectly to incorporate a KCS locomotive as an added dimension to the story.

Since no trains passed by at the time, I had to set up a scale model of a locomotive in the correct lighting and perspective in order to accurately add it to the scene.

The time of day is early afternoon. As I teach my students, value establishes the mood. If the values are correctly set, the mood will be obvious. Raw umber was used for this monochromatic block-in.

????? - 20"x 20" - Oil on canvas

Accurate drawing is just critical in the execution of a quality realistic painting. I spent considerable time in making sure the drawing for each of these paintings was accurate in proportion and perspective. This is no time to be lazy.

I do a lot of square format paintings. I like the shape, they fit well in a number of decorating situations...and I enjoy the compositional challenge. Actually, I find this early stage of creating the most exciting and stimulating. I am not afraid to rub out and move things around if need be.

The initial stage here is very rough in appearance. I have visualized how the scene will be placed on the canvas and have helped this process along by lifting out the lightest areas of the monochromatic block-in with a paper towel.

In this case, once I was assured all the elements were properly placed, I began to carefully draw the scene from the focal point outward.

Italy is one of the most beautiful countries I have visited, that in itself was motivation enough for me. I have done a number of Italian scenes and they always seem to delight the viewer. There's another reason for you.
I have just begun adding color. The lighting for this scene is bright overcast. A large portion of my paintings contain a warm light, that is, warm light/cool shadows. This painting will be the opposite, cool light/warm shadows. Palette selection is: titanium white, raw umber, cobalt blue deep, cadmium red, cadmium yellow medium, lemon yellow and chromium oxide green.

I'll keep you posted on the progress of these paintings.

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Humiliation, Sacrifice, Resurrection

2011-04-23T00:41:00.017-05:00

Though Jesus was in the form of God, he did not regard equality with God something to be possessed by force. On the contrary, he emptied himself, in that he took the form of a slave by becoming like human beings are.

And when he appeared as a human being, he humbled himself still more by becoming obedient even to death - death on a stake as a criminal!

Therefore God raised him to the highest place and gave him the name above every name; that in honor of the name given Jesus, every knee will bow - in heaven, on earth and under the earth -

and every tongue will acknowledge that Jesus the Messiah is the Lord, Jehovah - to the glory of God the Father.

Jesus said, "I AM the Resurrection and the Life! Whoever puts his trust in me will live, even if he dies; and everyone living and trusting in me will never die.

Workshop: Value and Color

2011-04-18T22:21:00.018-05:00

Dot Courson Workshops - Pontotoc, MS

13-16 April 2011

Just returned from teaching a 4-day workshop in Pontotoc, MS. The well organized event, hosted by Dot and Jackie Courson, was a big success.

Jackie and Dot Courson

Here's the class. All names are listed L>R: Bottom Row: John Pototschnik, Marty Fath, Deborah Brasfield, Lisa Busby, Kay Watts. Second Row: Joan Weaver, Susan Patton, Judith Proctor, Linda Hall, Grace Buchanan. Third Row: Dru Jolly, Karen Gipson, Dot Courson, Alycia Stegall, Daphne Works. Top Row: Susan McNamara, Beth Dean, Judy Nocifora, Marilyn Dzielak, Jacque' Sligh, Linda Dees. Not pictured: Todd Wade, Sharon Works.
The focus of this workshop was Value and Color. There are many elements that go into the creation of a fine painting and I discussed each of these in the opening lecture...Concept, composition, drawing, values, color, technique, and even presentation. But, for this workshop, we spent considerable time on value and color. I wanted to show each participant that it is value (light to shadow) that actually establishes the mood of a painting.

To demonstrate this truth, I showed examples and created the painting (shown above) using just raw umber.

Later on in the workshop, color is applied to the raw umber monochromatic to complete the demo. For this painting I chose to use ultramarine blue, cadmium red, and cadmium yellow pale. These three primaries were used to mix the palette for this painting...a square quadratic consisting of orange, yellow green, blue, and red violet.

Beth Dean's plein air monochromatic using raw umber

After first working in the classroom creating a monochromatic, on the second day we spent the afternoon outdoors creating another one from life. This whole process was a big eye opener for many of the class members.

Back in the classroom, Kay Watts has just begun applying color to her monochromatic painting

After an afternoon of painting outdoors, we all enjoyed an evening meal at Dot and Jackie's lovely home...on their deck by the pool

After a thorough dose of value, we next moved to color. Illustrating my lecture with many examples of what can be achieved with a very limited palette, the class was eager to apply the principles taught. They did a great job. I was so proud to see them take the lessons taught seriously, and wholeheartedly attempt things they had never tried before.

Grace Buchanan"s completed painting

It was an honor teaching this wonderful group of enthusiastic folks. Thanks to Dot and Jackie Courson for organizing such a wonderful workshop.

If you would like to enjoy a similar workshop experience, I have only one more workshop scheduled for this year. It is 2-4 June in Wichita, KS

This link will provide all the information:

Kansas Academy of Oil Painters

Hope to see you there

Salon International 2011

2011-04-05T22:29:00.011-05:00

I'm sorry for the late Blog post. I just returned from the Salon International sponsored by the Greenhouse Gallery in San Antonio, Texas. There were over 400 paintings selected for this show from a total of more than 1200 submissions. The work was incredible. My thought was, I need to get with it. I love being associated with such quality. I find it really pushes me to absolutely strive for the very best I can do.

Best of Show

Don Williams - "Guard Rail" - 28"x 21" - Oil

Mark Smith, Jim Janes - Co-owners of the Greenhouse Gallery of Fine Art

Daniel Greene - Show Juror, critiques paintings for some of the artists on Saturday morning following the Friday night awards ceremony.

I was fortunate to be seated right beside Daniel Greene at the Friday night banquet. He is an artist of amazing credentials. Undoubtedly a teacher, one only needs to listen to a couple of his painting critiques to learn this truth. During his teaching career he has taught over 10000 students...incredible! I also found it interesting that he and his wife, Wende Caporale, also a very accomplished artist, have totally separate studios. "Do you ever critique each others work?", I asked. "I critique her work", he said. "I never have her critique mine because I don't take criticism too well." Now, that's an honest answer.

A full house of banquet guests enjoyed a nice meal on Friday night during the Awards Banquet held in the gallery.

Here I am with one of two paintings I had in the show.

This one is called, "Cornish Promontory".

On Saturday morning, Daniel Greene went through the show, and for a fee, offered a personal painting critique to any artist brave enough to have the flaws in their painting exposed to all those in attendance.

Mr. Greene is an absolute stickler for sound, solid drawing. He does not tolerate anything less. He also continually stressed the importance of a nicely designed value structure and thoughtfully executed edges. These four points were constantly emphasized: concept, drawing, value, and edges. Choosing a frame consistent with the artist's concept was also stressed. There were several paintings mentioned during the critique that had a lot of stuff going on in them...very busy. That was not the problem, but in each case the artist had chosen a frame that was also very busy, so it gave the viewer no rest.

Finally, I was surprised how many times Greene critiqued the size and placement of the artist's signature...just further evidence of how he considered every single part of a painting, from start to finish, as very important and worth the artist's uppermost attention.

Jack Richeson $ Co., Inc. Award

Gavin Glakas - "Dusk" - 21"x 21" - Oil

Merit Award (Landscape)

Cecy Turner - "Palo Duro Overlook" - 20"x 30" - Oil

I was pleased to see my friend, Cecy Turner, win such a prestigious award.

Here's my new friend, Cuong Nguyen, with his painting. He is from Vietnam, now living in California. He absolutely loves being in America. He came here with nothing and is now an award winning artist.

Southwest Art Magazine Award

Cuong Nguyen - "Michael" - 30"x 24" - Oil

Merit Award (Figurative/Narrative)

Clement Kwan - "Square Dancing" - 24"x 20" - Oil

There were so many paintings in the show worthy of awards. It was just incredible to see the quality of the work. When I learned Daniel Greene made all this selections in just a few hours, I couldn't believe it. I would have found this job almost impossible...selecting a handful of paintings from a total of 415 works in such a short time...Wow!

Several times during the announcement of awards on Friday night, Mr. Greene said he would have been happy to have painted this or that painting. I do think a lot of his selections were compatible with subjects he would personally paint...but hey, he was the judge...and deservedly so.

Cornish Pasties

2011-03-25T22:10:00.013-05:00

I'm sitting here on death row for some unjust reason. I told them I didn't steal that old lady's purse but that rigged jury found me guilty anyway. I'm sure that the prosecuting attorney paid off that lousy no good lying witness...just to finger me...and now they're asking me what I want to eat for my last meal.

Cornish pasties, I whisper without any hesitation. "What?", they ask. I again tell them, in a slightly irritated tone, that I want Cornish pasties...that's pass-tees, not paste-tees. I want them just like my mother used to make them.

You need to start with a good pastry recipe. Then roll that out to the size of a plate. Any size plate will do, but I tell them to use a very large plate since this is my last meal and I intend on taking my time eating it.

Once the pastry is prepared, on one half section of it, you are to place cubes of good tender meat, onions, carrots, and turnips. Go ahead and add some diced potatoes while your at it. After all that's done, salt and pepper everything and add a dab of margarine. Fold the pastry over the ingredients and crimp the edges. Prick the pastry with a fork before baking and brush a little milk on top before you put it in the oven. You'll need to bake it for a little more than an hour. Oh yes, be sure to bring me plenty of catsup. I remember, my Mom was always appalled that I would ruin such a wonderful meal with that red stuff. She said the proper sauce was, Lea & Perrins Worchestershire Sauce.

As they head off to the kitchen to prepare my meal, my mind wanders. I think of all those old tin miners back in merry old England that used to carry this very meal with them into the mines (without sauce), there in SW England...Cornwall County, to be precise.

It was the perfect meal, a complete meal in a small package. It could be eaten without cutlery and the thick, crimped edges allowed the miners to hold their food without polluting it with toxins.

That Cornish pasty became so popular over the centuries that it has now been awarded Protected Geographical Indication status. In other words, there are specific standards by which the recipe and methods of production must adhere. Only Cornish pasties prepared in Cornwall can actually be called a Cornish pasty.

Wait till the guys in the kitchen discover that one.

Yep! I'm going to live to see another day.

Oh, I'm sure going to miss painting! That last painting I did, I was really happy with the composition. That little corner market in St. Austell, right there by Mevagissey on the eastern coast of Cornwall, just said England...and right there on the wall was a large painting advertising Cornish pasties. Ahhhh!

"John, wake up. How long are you going to stay in bed? Don't you need to get a painting done for that show so you can get it shipped off this week?" Awakened and dazed by the muffled sounds of my wife, I stumble out of bed and wash my face.

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The Naturalists

2011-03-15T23:02:00.017-05:00

The Naturalism movement swept through Europe and lasted for only a brief 20 years. It began in France in the late 1870's and by the early 1890's was already in decline. The godfather of the movement was the brilliant Jules Bastien-Lapage who died at the age of 36 and yet he fathered a very amazing group of devotees throughout Europe.

Jules Bastien-Lepage, The Ripened Wheat - 20"x 41" - 1880

Another group of young artists dubbed, Impressionists, were also on the move at this same time. Growing restless and tired of the same-old, same-old traditions of the French Academy and the resultant "predictable" works, a tension was created between the old way and a new way.

Spurred on by a rising middle class anxious to purchase art they could relate to, and by increased scientific discoveries, a group of influential writers and critics were calling for the "modern"...for change...for an art that reflected the times. Arising out of this came two major responses, Naturalism and Impressionism. Today we hear little or nothing of Naturalism while Impressionism and plein air painting is the rage.

Pascal-Adolphe-Jean Dagnan-Bouveret, Bretons Praying - 123" x 84" - 1888

The negativity toward Naturalism, as recorded in Gabriel Weisberg's book, Beyond Impressionism, the Naturalist Impulse, was in part due to the working methods of its artists.

Taking advantage of technological advancements in photography, the Naturalists may be considered the first photo realists. Using photos and sketches of their subjects done from life, they constructed very detailed, highly refined, sometimes life-size paintings from this material...a new type of painting never before seen was the result.

Charles Sprague Pearce, Woman in the Fields - 31" x 26"

These artists were academically trained. They possessed a mastery of drawing, human anatomy, and composition. Photography became a source of note taking and enabled them to achieve a level of detail and refinement that stunned the art world.

Peder Kroyer, Fishermen on the Beach - 1883

The Naturalist's goal was to capture a "slice of life" through images that were linked to country or urban life. They selected themes of daily life often featureing working people, depicted in a non-sentimental way...warts and all. Because of their stated goals, landscape was only viewed as a stage for the depiction of the human figure.

To achieve this phenomenal realism, many of the artists built outdoor glass studios (much like a greenhouse) in which they posed their models and produced detailed studies of them in a controlled rustic setting. In many cases these studies were then taken into the studio where the large paintings were created.

Well, all this photographic realism eventually led to their demise. Art critics began to criticize their work as being too factual, too scientific...just too photographic.

Jules-Alexis Muenier, Tramps - 58"x 56" - 1896

Some modernists, those that primarily supported the Impressionist and Post-Impressionist movements attacked them as being too literal and out of step with the new direction.

Emile Claus, A Meeting on the Bridge - 28"x 38"

They were condemned for lacking courage and initiative. Some even called their work regressive..."obstacles to innovation".

As a result of all this criticism, some of the painters began to disguise their working methods, wanting to leave the impression that their work was in fact created without photographic aids. Things just never change do they?

Gari Melchers, The Sermon - 63"x 87" - 1886

Well, the move toward more and more "modern" won out. Sound training eventually became a hinderance if one wanted to be free to express themselves. This led to almost a century of various "isms", many of them worthless.

Anders Zorn, The Mora Fair - 52"x 66" - 1892

Well today, things are changing. Many ateliers are springing up that are returning to the academic training of the French academies. Young students are hungry to learn long established methods of the masters. Realism is finally on the upswing. The young generation coming up is already producing some incredible work.

Two artists that seem to be influenced by the Naturalists are: Jeremy Lipking and Joseph Todorovitch. Four art academies doing a fine job training future artists are: Angel Academy of Art, Studio Incamminati, The Florence Academy, and The Water Street Atelier.

Source for article: Beyond Impressionism, the Naturalist Impulse, Gabriel Weisberg - Harry N. Abrams, Inc. 1992; Photos: Google Images, Art Renewal Center

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Naturalism

2011-03-12T21:55:00.007-06:00

I first heard the term "Naturalism" in 1987 when Southwest Art did an article about my work. There was an association made between my work and what was called naturalism. I really liked the term and thought it affectively defined my work. I continue to use the term when defining my painting. My explanation has always gone something like this: "I want my work to feel very natural, with minimal embellishment of the scene, depicting it as it is...paintings that feel very natural and real."

To achieve this affect, I use color studies done on location, photography and imagination. My most creative work incorporates all three resulting in a painting quite different from all the reference material.

I have since come to realize that what I do is not really "Naturalism". In reality the movement has its similarities to what I do, but it also has notable differences, one of them being a degree of finish that I have yet to attain. But, hey, I still like the designation. I'll just use it with a small 'n' as in naturalism.

Jules Bastien-Lepage, Potato Gatherers - 71"x 77" - 1879

One of my absolute favorite art books is called, "Beyond Impressionism, The Naturalist Impulse", by Gabriel Weisberg. In fact, I liked the book so much I later went back and purchased a second one, just in case the first one wore out.

Naturalism was short-lived. Beginning in the late 1870's, it was pretty much over twenty years later. It began in France, "Duh", and rapidly spread throughout Europe.

Jules Bastien-Lepage (1848-1884) was the undisputed leader of the new movement. His achievements were furthered by his dear friend, Pascal-Adolphe-Jean Dagnan-Bouveret (1852-1929), after Bastien died at the early age of thirty-six.

Dagnan-Bouveret, Breton Women at a Pardon - 49"x 55" - 1887

Due to a rising middle class in France, writers and critics were calling for a less idealized view of life...a modern, more scientific, factual reality. The Impressionists responded one way while another group of young academically trained artists responded in their way. This group became known as the Naturalists...setting the stage for conflict.

Next time: The Naturalists: Their techniques and their eventual demise.

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ACA Demonstraton

2011-03-05T15:14:00.032-06:00

On March 1st, I had the privilege of giving an oil painting demonstration before the Associated Creative Artists group in Dallas.

A small group of Dallas artists, led by Bill Hummelbaugh and Ramon Froman, chartered the organization in 1954 under the name Artists and Craftsmen Associated. I was Newsletter Chairman of ACA for several years, then Vice-President, and finally was honored to serve as President for a couple of years in the late 80's. So, we have a long history and I have fond memories of almost a decade of participation.

In preparation for the demo I did a considerable amount of preliminary work. Since I am not a super fast painter, and normally a demonstrating artist has just about an hour and a half to perform a feat of magic, I arrived with the monochromatic block-in seen above. Even before this stage, a concept for the piece was decided upon. My starting point was the picture below, taken several years ago on a painting trip to Ohio.

Before the first brush stroke, decisions were made concerning composition, mood, and selection of colors to be used.

Here's the starting point of the concept.

Above is the preliminary color study done on gessoed paper. The 4.5"x 7.5" study is typical of the approach I use in working out color before beginning the final work. Colors used in this piece are: Chromatic black, cadmium red, yellow ochre, lemon yellow and white. The monochromatic value block-in was done using a mixture of chromatic black and yellow ochre.

This is as far as I was able to get with the painting during my demonstration.

Hillside Overlook - 9.5"x 16" - Oil on canvas

This is what I am calling the final painting, completed in the studio yesterday.

Life and Death

2011-02-27T12:59:00.013-06:00

I just finished reading a book the other day titled "Healing Grace" by David A. Seamands. The book ends with a story that sort of dramatically puts the whole premise of the book into crystal clear perspective.

Life Goes On - 24"x 36" - Oil

Franz-Josef I, Emperor of Austria died in November of 1916. The House of the Hapsburgs had been the ruling power of the Austro-Hungarian Empire since 1273, and its family was a major political force in Europe until the Great War of 1914-1918. The funeral of Franz-Josef I is significant because it was the last of the grandiose imperial funerals.

The Hapsburgs are buried in the family crypt located in the basement of the Capucin Monastery of Vienna. On the day of the funeral, the entire court assembled in full white dress, their hats covered with ostrich plumes. A military band played somber dirges and an anthem by Haydn. The cortege wound its way down stairs illuminated with flaming torches, bearing the coffin draped in the imperial colors, black and gold. Finally it reached the great iron doors of the crypt, behind which stood the Cardinal-Archbishop of Vienna, along with his entourage of high church officials.

The officer in charge of the procession was the Court Marshall. As he approached the closed door and pounded on it with the hilt of his ceremonial sword, he was following a ceremony prescribed from time immemorial. "Open!" he commanded.

"Who goes there?" intoned the Cardinal.

"We bear the remains of His Imperial and Apostolic Majesty, Franz-Josef I, by the Grace of God Emperor of Austria, King of Hungary, Defender of the Faith, Prince of Bohemia-Moravia, Grand Duke of Lombardy, Venezia, Styrgia..." And so on, through the thirty-seven titles of the Emperor.

"We know him not," replied the Cardinal, from beyond the door. "Who goes there?"

"We bear the remains of His Majesty, Franz-Josef I, Emperor of Austria and King of Hungary" - this very abbreviated form was allowed only in dire emergencies.

"We know him not," came the Cardinal's reply again.

"Who goes there?"

"We bear the body of Franz-Josef, our brother, a sinner like us all!"

Whereupon, the massive doors swung slowly open and Franz-Josef was borne within.

My comments here are not to be critical of the emperor, the Hapsburgs or the unholy alliance of religion and power. My sole intention is to enjoy the profound truth this story illustrates...the truth that... titles, accomplishments, intellect, sincerity of motives, justification of our behavior, generosity, fame, power, popularity, wealth, and a host of other things that we consider qualifies us to enter the gates...none of them amount to a thimble full of worthiness.

Lying Down in Green Pastures - 30"x 40" - Oil

Only receiving the healing grace of God, extended to us through the sacrifice of Jesus on our behalf, will open those gates of pearl.

The funeral story led me to a couple of paintings I have done. The first, Life Goes On is about life and death...the pursuit of living and at the same time the inevitable reality of death. What about those in the cemetery? How many entered the heavenly gates because they received the grace of God through faith, and how many died in their worldly pursuits, bringing an armload of self achievement but not allowed entry? The second, Lying Down in Green Pastures is a painting of peace and contentment.

The Lord is my shepherd, I shall not want. He makes me lie down in green pastures; He leads me beside quiet waters. He restores my soul.

It's by grace that anyone is saved...and that through faith. Salvation does not come of yourselves, it is the gift of God; not as a result of works, that no one should be able to boast.

"Healing Grace", David A. Seamands - Victor Books, Wheaton, IL 1988

Snow and the Artist

2011-02-20T20:50:00.009-06:00

Winter Freeze - John Pototschnik

I don't often have the opportunity to paint snow scenes from the actual subject. Snow, in this part of Texas is not too common, however this year has been different. We had three separate snow falls including some ice.

Winter Blast - John Pototschnik

I am not a fan of cold weather but I do know that nothing is impossible with God, so I would like to some day be able to set up my easel in the snow while wearing shorts and a T-shirt...and enjoying glorious 70 degree temperatures. In my younger days, I did paint outside in the snow but now I paint in a more comfortable setting.

The two paintings above were painted from my north facing studio window.

(All the images below are snow scenes painted by some truly magnificent artists)

A Farm at Montfoucault - Camille Pissarro

The whole country has experienced quite a winter. Do you know snow is not really white? It's actually clear/transparent, glass like. When water freezes inside clouds, ice crystals form. The ice crystals form around tiny bits of dirt that have been carried up into the atmosophere by the wind. The ice crystals join together creating snowflakes. Once the flakes are heavy enough, they float to the ground at 3.1 mph.

New England Winter Landscape - Aldro Hibbard

Each snowflake is made up of from 2 to 200 individual crystals, and each of these crystals come in one of six basic shapes. As snowflakes pile up, all these little ice crystals act as tiny prisims reflecting the light and scattering the color, thereby creating the appearance of white. Snow is not always white however, because the color of the soil carried up into the atmosophere can affect the color.

Cornish Hills - Willard Metcalf

Most snowflakes are less than one-half inch across, but amazingly, the largest recorded snowflake was 15" in diameter. The colder it is outside, the smaller snowflakes tend to be and the most beautiful, fluffiest snow occurs around 15 degrees.

Argenteuil - Claude Monet

A few other interesting facts about snow...averaging 94" of snow annually, New York City receives more snow than any of the other largest US cities. Practically every location in the US has received snow at some point, even south Florida and Hawaii. A record breaking snowfall for Phoenix occurred in 1933...one inch. Finally, if there is a blizzard in the forecast, run out and load up on cakes, cookies and candy, a lot of other people do.

Home at Montclair - George Inness

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29th Anniversary Celebration

2011-02-14T11:09:00.013-06:00

Greenhouse Gallery of Fine Art

San Antonio, TX

L>R: Jim Janes, Ron Rencher, Kathryn Stats, Mark Smith, John Pototschnik, Rod Chase

My wife and I arrived home Sunday afternoon to a house where only a few of the electrical circuits were actually working. No heat, no hot water, no computer, no stove, no TV and just a handful of lights would come on. So, there you go, no Blog for you Sunday night.

We had attended the 29th Anniversary Show at the Greenhouse Gallery of Fine Art in San Antonio. There were a nice amount of people in attendance for the Friday night opening reception. Jim Janes and Mark Smith, gallery owners, felt the show was the best yet, "Spectacular", they said.

I was one of four artists in attendance. The others were Rod Chase, Ron Rencher, and Kathryn Stats. Kathryn was not only in town for the show but is also teaching a workshop in San Antonio all this week.

Each of these artists are extremely popular and yet could not be more diverse. Rod is an incredible photo realist, I mean incredible. Every inch of his canvas is highly refined. Examining his paintings up close...well, I just don't know how he does it. His painting of the Alamo sold for $45000 and is an excellent example of what I'm talking about.

Ron's work is very refined and well designed. Like the others, his work is easily recognized from across the room. His paintings are high-keyed, his palette is subdued and he is a master of atmospheric perspective. His painting, Spring in the High Desert is an excellent example of his quality work.

Kathryn is undoubtedly the gallery's most popular artist. Her work is brilliant. Her color and confident execution are the envy of many artists, including me. Pastoral is one of her beautiful paintings on display at the gallery.

This is one of my paintings in the show, Twin Owl Guardians. I sold one painting opening night and there is interest in a few others. I hope those sales come to pass. You can view the entire show right here. Jim Janes, Mark Smith and their incredible staff have once again hosted a show that confirms them as one of the best galleries in the country. The show will hang through the end of February.

Click on the names of the artists to view more of their work. To see the highlighted paintings, click on the title.

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Art Show

2011-02-05T21:17:00.009-06:00

Greenhouse Gallery of Fine Art

29th Anniversary Show

11-25 February 2011

Full page ad in the February issue of

American Art Collector

I prepared these nine paintings for this special show.

For an enlarged view of each image and a detailed explanation of each painting, please click here.

Also, to receive my Newsletter automatically, click here.

I hope you'll plan on attending the show. It would be nice to meet you and also a great honor for me to have you select one of these paintings for your personal enjoyment.

Thank you.

Opening reception is Friday, 11 February, 5-8 PM

Open house all day Saturday, 12 February

To purchase, or for further information, please call:

Greenhouse Gallery of Fine Art

1-800-453-8991