“Lupine, Poppies, and Rocks”, pastel, 12×16
Despite the stormy January weather, flowers have the power to brighten the dark days of winter. My painting, “Lupine, Poppies, and Rocks” caught the eye of juror, Peggi Kroll-Roberts at the Delicato Winery Show in Manteca, California. It received an honorable mention in the show which is on exhibit January 11 – February 4, 2017. The artist reception will be held on February 4th. What is not to like about art, wine, and appetizers?
Technical notes: Rembrandt, Unison, Terry Ludwig, NuPastels, and Conte pastel pencils on U Art 400 sanded pastel board. A few photo references were taken while on a hike at nearby Brushy Peak in Livermore, CA last spring.
Posted by lindabeachstudio on January 8, 2017
Livermore Fountain, ink and watercolor sketch
Early stage -Photo on location
There has been a drought in California. There has been a shortage of posts on this blog in addition to the severe lack of precipitation. Despite the drought, this fountain in the heart of downtown Livermore, California continues to put forth cascades of water. It once seemed like an excess when the average resident was going to great lengths to conserve the precious water. My worries were put at ease when I learned that the fountain used recycled water. The symbol of abundance in the Livermore Valley was a challenge to capture in this sketch. I see several errors in the structure of the trellis, but I tell myself that this is a sketch. The goal is not to make a completely accurate rendering, but rather capture the essence of the scene. I hope that was achieved.
Posted by lindabeachstudio on November 15, 2016
Easel at Cape Cod Nat’l Seashore Highland Links, Truro, MA
Wildflowers in the windswept meadow in the rough of the links course by the Highland Light in Truro caught my eye. The Highland Links dates to 1892. Several artists were painting Cape Cod’s oldest lighthouse which dates to 1857 for the Light on Truro painting event. I chose to focus my attention on the natural beauty of the Cape Cod National Seashore, rather than the architecture of the lighthouse. A sliver of the blue ocean beyond the trees balanced the blue of wild chickory and Queen Anne’s Lace in the foreground. This scene beside the Highland Historical Museum is a reminder of a bygone era when the building was a turn of the century resort hotel on the Outer Cape.
I had a clear vision of the image that I wanted to capture in my painting. Soon I felt I had enough information to sign and frame the piece for an exhibit that afternoon at the Truro Library by the Addison Art Gallery called “Light On Truro”. The exhibit celebrates the Centennial of the National Parks and “Found Our Park!” which features art inspired by the Cape Cod National Seashore. “Queen Anne’s View” is available through the Addison Art Gallery.
Queen Anne’s View, pastel, 12×16
Technical Notes: Sennelier LaCarte pastel card with a variety of pastels by Rembrandt, Unison, Terry Ludwig, Girault, Sennelier, and Conte pastel pencil.
Posted by lindabeachstudio on August 5, 2016
Iris Garden Entry, pastel, 11 x 16
The Japanese Iris at the entryway of the Cape Cod Art Association caught my eye on a June afternoon for plein air painting. I loved the deep blues and purples against the many greens. The garden scene was fairly complex with bouganvillea, lilac, and azalea combined with the light and shadow patterns of the weathered shingled wall. There were areas of bright sunlight and deep shadow by the entrance. I am focusing on painting stronger light and shadow and this was a good opportunity for this. I omitted the sculptures on the right and cropped the trellis at the top for emphasis and composition.
Painting notes: Uart #400 Pastel Paper; Pastels – NuPastels, Rembrandt, Terry Ludwig, Unison, and Conte and Carbotello Pastel Pencils. Underpainting of 91% Isopropyl Alcohol. (See underpainting below:)
Photo of Iris Garden Entry
Posted by lindabeachstudio on July 11, 2016
Easel at Mayo Beach for After Hopper in Wellfleet, MA
The Paint Out for Addison Art Gallery’s “After Hopper” in Wellfleet, MA was last Saturday. The event celebrates the artist Edward Hopper and continues the tradition of plein air painting iconic images of Cape Cod. I chose Mayo Beach and the oil house behind what was once the Mayo’s Beach Lighthouse on Kendrick Avenue. The pink and white beach roses which surround the simple painted brick outbuilding were in full bloom. Artists had the morning to paint and then deliver the finished work to the Wellfleet Public Library for an afternoon reception. This is often called a Quick Draw at other plein air paint outs.
Thumbnail sketch for “By the Sea”
I planned my composition with a quick thumbnail sketch. With only a few hours to work from concept to completion, I thought the simple building that originally held the oil for the lighthouse would make for good painting that could feature the simple beauty of the Cape scene. The race against the clock is helpful to push me to capture the essence of the view and not get caught up in overworking a painting. I used the broken split rail fence that was surrounded by the roses as a directional element to draw the viewer into the focal point.
I finished the pastel, framed it, and delivered it to the Wellfleet library to be hung for the reception to be held from 4 to 6 pm. Soon I was rewarded for my morning’s work, when a new collector chose “By the Sea” for a gift for his wife. I have memories of a beautiful day by the sea.
“By the Sea”, pastel, 11×14, private collection
Posted by lindabeachstudio on June 17, 2016
“Sea Thrift”, pastel, 8,5×11
I spent a week on the Oregon Coast at Depoe Bay watching the surf, eating seafood, and exploring the area with the Beach family. I began this pastel on the coast, but I finished this at home since I didn’t have many of sticks that I needed for the rocks. The motion of the surf on the cliff below was a constant source of entertainment. I also was attracted to the profusion of Sea Thrift which was in bloom. There were many other pastels used in this piece, but I have shown some of the assorted pastels and pastel pencils used. To get the fine mist of the sea spray, I used a paste of pastel mixed with alcohol and applied it by flicking the bristles of the toothbrush. The sanded paper was Wallis, 9×12 with a assortment of pastels by Terry Ludwig, Unison , Rembrandt, Sennelier, and pastel pencils by Conte and Stabil0.
Pastels for Sea Thrift
Posted by lindabeachstudio on May 6, 2016
Marshfield Hills General Store, 5×7, pen and wash
Recently I visited family in Massachusetts and we stopped by the Marshfield Hills General Store which is now owned by actor and comedian, Steve Carrell. In a Boston Globe interview Steve, a native of Massachusetts, explained that he saw this as an opportunity to preserve a little piece of history. He felt that the gathering places of general stores give people a sense of community. The Carrells have owned the store since 2009.
I remember going to this store in the early 60’s with my friend who lived nearby. She and I rode horses, stopped and tied them outside on a post, and entered the store for a snack. When I visited the store with my parents last week, it was a snowy afternoon filled with memories of the town where my father was once a high school science teacher. How wonderful that Steve Carrell appreciates the importance of preserving this general store! The Marshfield Hills General Store and Post Office is located at 165 Prospect Street in the Marshfield Hills Historic District.
Technical notes: Studio sketch from a photo of the Georgian Colonial General Store in a Stillman & Birn Beta Sketchbook, Micron pen and Watercolors by Winsor Newton and Daniel Smith.
Posted by lindabeachstudio on April 10, 2016
The roof line on the right of the house in my painting, “Yellow House in the Vineyard” got a repair. In my last post the house appeared to be falling into the ground. I raised the roof line on the sun porch and tweaked the area of the vineyard that overlapped that house. This is the beauty of working in pastel which is a very forgiving medium. It was a simple fix that involved removing the initial marks with a soft bristle brush before applying strokes of pastel. Here is the original that needed to be adjusted. I think the painting above is an improvement.
“Yellow House in Vineyard”, pastel 11×14 Version 1
“Yellow House in the Vineyard”, pastel, 12×16
Posted by lindabeachstudio on February 28, 2016
“Yellow House in Vineyard”, pastel 11×14
The yellow house in the vineyard caught me eye one day when I was out on my usual walking route. I returned with my painting gear of pastels and set up my easel at the edge of the vineyard last week. Soon, the growth on the grapevines will be pruned to stimulate the growth for the next season. I wanted to catch the vines at their wilder state despite the challenge of depicting the tangled vines. Of course, there is always room for artistic license.
On location in the vineyard
Painting Notes: Some of the background was simplified, so the focus was on the main elements of the scene, the barn, house, and rows of vines. To avoid a tangent of the barn roof and distant hills which, I added some height to the hills. Otherwise, the plein air painting is an accurate interpretation of the scene.
Technical Notes: Pastels by Terry Ludwig, Rembrandt, Sennelier, Nu Pastel, and Conte Pastel Pencils on La Carte Sanded Paper.
Posted by lindabeachstudio on February 20, 2016
Afterglow, Lake Tahoe, pastel, 12×18
Last month I posted about my planning for a sunset painting of Lake Tahoe which I have titled, “Afterglow, Lake Tahoe”. As I look at the image on my computer, I think the subtle colors don’t always translate from what I see in the actual painting. The challenge for me was depicting the lake with its gentle waves as they approached the shore. Also, the nuances of color needed to interpret the scene were another issue.
With a critical eye, I think that the painting interprets the feeling and glow that attracted me to the scene. I do think that there might be more visual interest in the foreground. My resident art critic husband always questions the lack of wildlife in my work. But, I often think that the meditative or Zen quality doesn’t require this addition. If I had to critique the composition, I might have preferred to paint in a more elongated landscape ratio, rather than the standard 12×18 that I used.
Posted by lindabeachstudio on January 16, 2016