Raise The Roof

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

"Yellow House in Vineyard", pastel 11x14

“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

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.

Afterglow

Afterglow Lake Tahoe 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.

Lake Tahoe Test

Lake Tahoe Test

Test Strip and Reference Photo for” Lake Tahoe Afterglow”

To plan my color palette for a new pastel painting,  I began testing colors of various pastel sticks on a strip of  Uart 400 sanded pastel paper. It seemed like a natural approach to interpret a narrow strip from the reference photo. Later, I realized that testing the exposure in a narrow strip was a method that I used in black and white darkroom photography many years ago. It also seemed to translate into planning a pastel painting.

The reference photo was captured on the north shore of Lake Tahoe one October evening just after the sun had slipped  behind the mountains. My challenge in this painting will be to capture the afterglow in the sky and the reflected color on the lake.  I plan to emphasize the landscape format using  non standard dimensions.  I will post more on the painting when it is complete.

 Technical Notes: Pastel brands – NuPastel, Rembrandt, Sennelier, Schminke, Terri Ludwig. Uart 400 Pastel Paper.

 

Harvest Moon Vineyard

Reference Photo Harvest Moon Vineyard

Reference Photo Harvest Moon Vineyard


It was this reference photo of a beautiful moon rising over a vineyard near my home in Livermore, California that inspired my painting. The soft pastel color of the sky contrasted with the strength of the vertical tree and vines.
Mid Stage Harvest Moon Vineyard

Mid Stage Harvest Moon Vineyard


I adjusted some of the color of the vines for visual interest. Also some of the color in the sky and outline of the distant hills were tweaked due to composition and value. This painting is included in a group pastel show at the Orinda Public Library.

“Harvest Moon Vineyard”, pastel, 12×18


Technical Notes: Wallis Sanded Paper (Belgian Mist), Various pastel brands, NuPastel, Rembrandt, Unison, Sennelier, Terry Ludwig, and Conte Pastel Pencils.

Corn Hill Beach

“Corn Hill Beach”,11×14, plein air pastel


The days of summer on the Cape are just memories now, but I finally have a moment to post some of my paintings done on locations where artist, Edward Hopper painted in the 1930’s. He spent half of his summers in a home studio in Truro, MA on the outer Cape. He painted Corn Hill which is a long, narrow sand beach which borders grass covered sand dunes that is north of Pamet Harbor. Corn Hill is named for the location where the Pilgrims found a cache of Indian corn which sustained them through the first winter.
On location at Corn Hill Beach

On location at Corn Hill Beach


Often the experience of plein air painting is more than the created image. When I look at this piece it brings back the warmth of the summer day at the beach, the sounds of music from the group of beachgoers, and the scent of sunscreen covered bodies. These are sweet memories to sustain me until the next summer season.
Painting notes: Ampersand pastel board (11×14) with a variety of pastels from NuPastels, Conte Pastel pencils, Rembrandt, Unison, and Terri Ludwig brand pastels.

Cape Cod Lavender

“Lavender and Daisies”, pastel, 12×18


The Cape Cod Lavender Farm in Harwich, MA comprises 12 acres of woodland and lavender fields that border a pond. After visiting the farm last year, I began a studio painting based on impressions of the site.
Photo of Cape Cod Lavender Farm

Photo of Cape Cod Lavender Farm


The lavender farm is a place of quiet beauty and wonderful scents of lavender, but it can’t compare to the dense rows of lavender that can be found in Oregon or Provence, France. As an artist, I used my license to add more plants to create a more lush garden. It is worth a visit if you are on Cape Cod.

After Hopper

 Mayo Beach, Wellfleet, MA

Mayo Beach, Wellfleet, MA


Addison Art Gallery is celebrating the artist Edward Hopper (1887-1967) and his legacy on Cape Cod. I am pleased to be an invited artist to create new work inspired by Hopper and the places he painted. In 1933 he painted the front of the Capron House which is known as the Mayo Beach Lightkeeper’s Cottage.
Instead, I chose the more relaxed back door view which overlooks the beach and bay of Wellfleet Harbor.
Mayo Beach House, pastel, 12x16

Mayo Beach House, pastel, 12×16


The painting will be displayed at Truro Vineyards, Truro, MA on July 16, 2015 in an “After Hopper” event of the Addison Art Gallery.
Technical notes: Ampersand pastel board with various pastels including Nu Pastel, Rembrandt, Unison, Terry Ludwing, and pastel pencils.

Waiting to Sail

“Waiting to Sail”, 12×18, pastel

 
“Waiting to Sail” is one of my recent pastels that just returned from the frame shop. It is a studio painting that I did this spring from a reference photo that was taken on Cape Cod a few summers ago. The scene was simplified since I thought there were more boats than were needed. I generally paint from top to bottom and left to right. However, this time I worked in more of a circular pattern. For some reason, the painting called for me to change my usual procedure. Here are a couple of process images:

Early Stage of “Waiting to Sail”


Mid Stage of “Waiting to Sail”

Technical notes: Painted on Uart #400 sanded paper mounted on archival board. The underpainting was done in a peach Rembrandt pastel which was then brushed down with water to give it some warmth. A variety of pastel brands was used in addition to Nu Pastel, Rembrandt, Unison, Terry Ludwig, Sennelier, and Conte pastel pencils. I have eliminated elements in a marine painting before. It presents some challenges when depicting the reflections. I think the vertical masts and post on the dock help the composition which also has a few horizontal elements. Also, the water has many bright reflections which challenge the common idea that water is always blue.

Last Caper

“Last Caper”, pastel, 18×12

My pastel, “Last Caper” has be accepted for the “For Pastels Only 2015” exhibit of the Pastel Painters Society of Cape Cod. The show will be at the Cultural Center of Cape Cod in South Yarmouth, MA from June 17 to July 12. I was drawn to the lone sailboat marooned at low tide on the bayside of Cape Cod. The reflections of the mast were reflected in the shallow tidepools. To me the image coveys the quiet and peaceful places that are found on the Cape. I am thrilled that this is included in this prestigious pastel show. Artist, Marla Baggetta was the Juror of Seclection. Technical notes: I did an underpainting of watercolor on Uart #400 sanded paper that was mounted on archival board. Various brands of pastels used included NuPastel, Rembrandt, Girault, Unison, and Terry Ludwig. Fine details were added with pastel pencils.