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After Midnight, A Fairytale View of the Munich Rathous

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After Midnight, Watercolor of Munich Townhall by Jenny Armitage

After Midnight (17 x 23 watercolor) $700

After Midnight began with a lecture and demonstration I did for the The Watercolor Society of Oregon’s Fall 2016 Convention.  For the demo, I painted the Munich Rathaus Tower six time in various stages of completeness.  Below is the one painting of the six I  completed:

Munich Townhall Tower, Original Watercolor Painting by Jenny Armitage

Munich Rathaus (8 x 13 watercolor) $200

I liked the this little painting so much, I felt compelled to do it again in a larger format.  But I didn’t want to just repeat the painting on a larger scale.  The tower, like many in Germany, reminds me of fairy tale illustrations.  So I ran with that notion tweaking the scene just a little to add a rather unreal illustrative moon and an impossible sky.

 

The Rathaus Tower Paintings

Or purchase a fine art print of either painting.

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February and March Show at Studio Beatrice

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Studio Beatrice, Beatrice Rubenfeld's Gallery

Studio Beatrice, 230 NW 6th, Corvallis, Oregon

I spent Friday morning setting up for a show at Beatrice Rubenfeld’s new gallery in downtown Corvallis, Oregon. Her gallery is set in a 1910 home which still has the original molding and picture rails. It’s a charming setting, and hanging the show was like playing with a giant doll house. My paintings fill the former the dining room and parlor. My polymer clay dragons have found a home in the built-in china cabinet. Beatrice Rubenfeld and other local artists’ work occupy the two bedrooms.

Beatrice’s gallery is open Fridays from 11:00 am to 2:00 pm and by appointment. My show runs from February 12th through March 11th. There will be an reception Thursday, February 18th, from 4:00-8:00 pm during the Corvallis Art Walk. Marshall Adams will entertain us with musical surprises. And of course there will be wine and food.

Google Map with Directions

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Painters Academics Exhibition – For The Love of Art

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See my work in Painters Academics’ For the Love of Art,
sponsored by Solo Exhibition

Spinning Tales, by Jenny Armitage

Spinning Tales (13 x 19 watercolor) SOLD

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Artisan Village

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Paint Tube Hills, Original Painting by Jenny Armitage

Paint Tube Mesa (16 x 22 watercolor) $600

Once again it’s August and time for the Oregon Sate Fair.  It runs Friday August 23rd through Monday September 2nd in the State Fair Grounds, north Salem, Oregon. Free admission for Veterans Tuesday, August 27th. Foster parents with their foster children get free admission and half price rides Monday, August 26th. There no long is a Senior’s Day, but seniors pay just $3.00 in advance or $6.00 at the gate every day.   Discount tickets are available on-line through tomorrow, Thursday, August 22nd.

I’ll be in the Artisan Village demonstrating both watercolors and polymer clay.  The Artisan Village is a sort of art fair within the fair.  Besides painters, we have glassblowers, jewelers, wood carvers, potters, silk painters, spinners and more– all of them demonstrating between 10 a.m.  and 8 p.m.  I look forward to this show every year because it’s fun to get to do art in public.

For those of you who come regularly, I should warn you that the Village has moved.  We used to be just north of the demonstration gardens and just west of the 4H building.  We have moved to the park-like area to the east of the 4H building right next to the North (Yellow) Gate, known as The Grove.  The new location is shadier and we’ll have grass under our feet. It’s also much easier to get to.

From the Yellow (North) Gate

Finding us from the North Gate  (Yellow) is simple.  Enter and you are there.

From the Main and Pink Gates

From the Main Gate on the south side or the Pink Gate on the lower east side,  head north through the rides and carnival til you reach the Central Canopy.  Continue north from the Canopy.   Just follow the chair lift.  It’ll be a slightly shorter walk than it was to find us before. Or better yet, take the chair lift from the carnival area. It stops just south of us.

From the Grey Gate

From the Gray or Upper East Gate, head west past the barns.  We are just on the other side of the FAA Pavilion and the Willamette Arts Center.

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Salem Art Fair and Festival Opens Friday

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Brass Candy Trio, Painting of Brass by Jenny Armitage

Brass Candy Trio (13 x 22 watercolor) $600


The Salem Art Fair and Festival
opens tomorrow.  I’ll be there with both my instrument paintings and my Europe trip paintings.  I’m in booth 141 at the south end of the park on outside corner on the west (High Street) side of the fair.

The fair opens at at 10 a.m. Friday the 19th and runs 10 a.m. to 7 p.m. Friday and  Saturday.  Sunday the fair runs 10 a.m. to 5 p.m.   Admission is $5.00 per day or $10.00 for the weekend.  Children under 12 are free.  Admission is free for all ages on Sunday from 2 p.m. on.

"Pilgrims at the Gate" a watercolor of Canterbury by Jenny Armitage

Pilgrims and the Gate (watercolor 15 x 20) SOLD

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Summer in the Old World

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"Pilgrims at the Gate" a watercolor of Canterbury by Jenny Armitage

Pilgrims and the Gate (watercolor 15 x 20) $600

I am the March  featured artist at Art in the Valley, Corvallis, Oregon.  The show will be of my Europe paintings.  Reception March 9th, from four to six.

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Arch of Titus

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Arch of Titus, Painting by Jenny Armitage

Arch of Titus II (watercolor 16 x 21) For Sale at Western Federation of Watercolor Society Show in June 2013

I knew I wanted to paint the Arch of Titus before we ever got to Rome this summer.   I remember being struck by it on our honeymoon, eighteen years ago and when I remember an object that long, it simply must be painted.  But eighteen years ago, things were simpler.  Eighteen years ago in September my husband and I felt as if we were alone in the forum.  We walked under the arch and touched the carved stone.  This summer in July the forum was mobbed and the arch was surrounded by a wrought iron fence.

The painting I had in mind, featured tourists walking through the arch.  Obviously, that painting, no longer reflects reality.  So instead, I shot the arch looking up from below, avoiding the ugly iron fence.  This turned out to be a challenge.  I like the striking steep upward angle, but perspective is difficult to pull off.  The fact that that exterior of the arch is a light blue marble and the interior a warm yellow orange didn’t help as it made the shadowed underside warmer in color than the cool exterior.  But more difficult yet, the upward angle exposes intricately carvings covering the  interior ceiling of the arch.

I began painting the arch and quit four times, each time simplifying the arch a little more.  The second to last attempt I used to demonstrate painting at the fair.   The result is good, but it didn’t have quite the oomph I was looking for.

Arch of Titus, Painting by Jenny armitage

Arch of Titus I (watercolor 15 x 20) $350

So I simplified even further and poured the painting. (For a description of pouring click here). The result is more richly colored and much more graphic.

 

Painting
 

Or purchase a fine art print.

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37th Annual Western Federation of Watercolor Societies Exhibition

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New Orleans Reeds, painting by Jenny Armitage

New Orleans Reeds, (12 x 15 watercolor on paper) SOLD

Each year The Western Federation of  Watercolor Societies hosts a  juried show open to its member associations. The Western Federation of Watercolor Societies’ members association include:  the Arizona Watercolor Association, The Colorado Watercolor Society, The Idaho Watercolor Society, The New Mexico Watercolor Society, The Nevada Watercolor Society, The Southern Arizona Watercolor Guild, the San Diego Watercolor Society, The Southwestern Watercolor Society, The Utah Watercolor Society, The Watercolor Society of Oregon, and the West Texas Watercolor Society.

I am pleased to announce that New Orleans Reeds has been chosen as one of the 100 paintings to be exhibited in the 37th Annual Western Federation of Watercolor Societies Exhibition.  The exhibit will take place at the Marjorie Barrick Museum on The University of Nevada Las Vegas campus, from April 13th to May 19th, 2012.  This year the show was juried by Gerald Brommer, who will pick the award winners in April.

This painting has sold, but you may still purchase a giclee print from my print-on-demand-outlet.

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“The Sound of Paint” Featured Artist at Art in the Valley

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Jazz Buddies (watercolor on Aquabord) $300

My instrument show, “The Sound of Paint” opened Today at Art in the Valley, and continues through the end of November.  Reception Thursday, November 3rd at 5:00 pm.

I hung the paintings Sunday and I’m very pleased with the way they look.  In addition to the instrument paintings,  there will be a selection of matted original watercolors and a selection of my animal sculpture.

 

"Three Horns" (watercolor on canvas 16 x 16 inches) $400

"Three Horns" (watercolor on canvas 16 x 16 inches) SOLD

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The One That Sold Before I Could Post It

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Reeds Between Sets, Painting of a Sax and Clarinet

Reeds Between Sets (6 x 6 watercolor on clayboard) SOLD

I painted this little watercolor just after we got back from vacation and promptly sold it at the Silverton Fine Art Fair a couple days later.  I love the composition and I’m tempted to do it again a little larger.

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Three Horns For Art Squared

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"Three Horns" (watercolor on canvas 16 x 16 inches) $400

"Three Horns" (watercolor on canvas 16 x 16 inches) SOLD

I painted  this one specially for Salem Art Association’s Salon: Art2 exhibit. All of the artwork in the exhibit must be 16 x 16 inches inclusive of frame.  I had to think carefully how to meet the size requirement.  I didn’t want to fit a watercolor on paper into a 16 x 16 inch frame since the artwork would end up being 12 x 12 at most. I didn’t have any 16 x 16 inch aquabord either.  So I stretched watercolor canvas over a 16 x 16 inch frame and gallery wrapped the edges.

It has been quite some time since I tried painting on watercolor canvas.  Paint lifts from watercolor canvas even more easily than it does from clayboard.  The surface feels like a cross between clayboard an yupo (a plastic paper) to work on except that the unlike board or paper the canvas gives a little to the brush.  I like the canvas’ linen texture, but I’m not sure I like the painting experience as much as the board, though that may be just a matter of getting use to the new surface.

This painting has sold, but prints are available through my gallery at Fine Art America.

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OSU Moms Weekend

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Mothers' Day Daffodils (watercolor 5 x 7) $25.00

[This painting is currently on display at Art in the Valley, Corvallis, Oregon.]

I’ve spent my gallery shifts this month making postcard sized paintings for the OSU Mom’s Day Weekend Craft Fair.  It’s a fun fair to do.  Where else do you get to see a crowd of college boys with their moms?

As part of the Mom’s weekend celebration I’ll be at the gallery demonstrating  polymer clay cane-making on Friday from 1:00 to 2:30 at Art in the Valley, 209 2nd Street, downtown Corvallis.  The craft fair will be on campus in the Memorial Union Quad.   The fair runs from 10:00 a.m. to 5:00 p.m. Saturday.

Three Tulips (watercolor 5 x 7) $25.00


 


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Two Postcard Paintings For the Show at Art in the Valley

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Little Green Mister (5 x 7 watercolor)

Here are the last  two watercolors for my one woman mini-show at Art in the Valley, Corvallis Oregon.   Both are much smaller versions of recent paintings.  Both paintings were painted at Art in the Valley in late March.

I hang the show this Monday.  It will hang until Tuesday, May 4th.  During the show, I will be painting in the gallery on Wednesday April 14th, Wednesday, April 21, and Wednesday, April 28th.

Single Lily (5 x 7 watercolor) SOLD

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The Green Mister

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The Green Mister (watercolor 10 x 14) $150.00

This is probably the last watercolor for my one woman mini show this coming April at Art in the Valley, Corvallis Oregon.

I’m using a new technique to replace liquid mask when reserving soft edged areas of white paper in many of  my latest still lifes.   Puddles of clear water on the paper will resist paint.  In this painting I made little lines of water along the reflected light from the mister and silver vase before painting the window sill.  The result is a soft sliver of white paper remaining after my washes.

To use the water resist technique use as much water as you can without running outside the area you wish to reserve.  You may need to renew the water fairly frequently too.

The water resist technique is more trouble than either masking whites or carefully painting around them, but it has the advantage of creating a much softer edge.  This technique is not suitable for fine detail.


Or purchase a print from Fine Art America.com.

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Free Tickets

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Sundown on the Broken Dock (watercolor 12 x 16)

I have five admit-two-free tickets to the March 27-28th, Spring Best of the Northwest Art and Fine Craft at theWarren G Magnuson Park.  Admission is ordinarily $7.00 per person so the tickets are worth $14.00 each.   I’ll mail one ticket each to the first five people to send me their Washington mailing address at jennyarmitage@dancingfeatherstudio.com.

Update:  just three tickets left at noon PST.

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Watercolor Society of Oregon

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Georgia in the Morning

Georgia in the Morning (11 x 14)

Twixt Wind and Water

Twixt Wind and Water

I thought after sculpting for half a decade, I’d developed a pretty thick skin about displaying and selling my artwork. But I’ve discovered that my sculpture calluses provide no protection whatsoever for my tender painting skin. Rejection and acceptance still matter more than they should.

I’m not sure why this is so. It may be because somewhere in the back of my brain I only consider paintings to be “real” art.  But I don’t think so. I’ve admired too much sculpture and photography to believe that.   It might be because it’s new to me, but I’m not sure it’s that either.  I don’t think I was ever this raw about sculpture or quilting shows. I think the answer is simply that there is a great deal more of me in my paintings than there is in my sculpture, quilts or photos. But whatever the reason, when I submit my paintings I itch as I’ve never itched over applications before.

Grandma Braids

Grandma Braids

But getting paintings hung in galleries, art shows, and art festivals requires submissions followed by (gasp) acceptances and rejections. I’ve just begun to put my toes in the water. My paintings now hang at Art in the Valley, where my sculpture has already littered the shelves for a few years now. And in addition to the Oregon State Fair this past August, I’ll have my paintings in at least two art fairs. Each of those acceptances mattered in a way sculpture acceptances haven’t mattered for years. Nor would I have considered any of these shows a big deal for sculpture. In fact, I’ve been in these fairs for years. But they mattered for paintings all the same.

In addition to art fairs I’ve begun applying to watercolor societies. Signature membership in watercolor societies is the entrance to watercolor society shows as their shows are often member only. I applied to the Watercolor Society of Oregon earlier this month. The three paintings shown in this post are the painting I submitted to them for active membership.  Yesterday the acceptance came. I’m very happy, ridiculously happy given the that the prize is membership dues, and the right to submit paintings to shows.

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The Joke’s On Me

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Hungry, Vegan, and Broke

Hungry, Vegan, and Broke

Memorial Day Waterworks (17 x 19) $275

Memorial Day Waterworks (17 x 19) $275

I spent yesterday talking with people and watching their reactions to my paintings at the Artisan Village, a part of the Oregon State Fair. Mostly, the paintings I, and my family like are the paintings other people like. Also, many people from Wilsonville were charmed by Memorial Day Waterworks because they recognize Town Center Park. The Annex Pub and the seascapes were also popular. There were some surprises though. One of them was Hungry, Vegan and Broke.

I painted the two young men in Hungry, Vegan, and Broke as a kind of private joke. I saw them in in downtown Portland in front of Powell’s Books. And while they were obviously hot and tired, they looked healthy and able bodied. Certainly they didn’t look like they’d been hungry anytime in the recent past. And the sign was so absurd: “Hungry, Vegan, and Broke.” I could translate that sign two ways: “We Are High Maintenance Choosy Beggars;” or, “Feed Us Because We Are Such Good Moral Young Men.”

I liked my little joke, and I loved the afternoon sun on their skin. But I the reactions of my family and friends to the painting were mixed. I didn’t even consider making a print or greeting card of the painting, and I hesitated to frame it for the fair, but I did.   At the last moment I made some magnets of it too.

Well, the joke is on me.  Almost everyone who sees this painting smiles, and this is the painting everyone wants a print of.  I have sold more Hungry, Vegan, and Broke magnets than magnets of any other painting. Today I’ll place it more prominately in the booth.  Right now it’s down low and half hidden by a table.

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Opening Day at the Artisan Villiage

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Grandma Braids

Grandma Braids

Today is my opening day at the Oregon State Fair’s Artisan Village. I’ll be demonstrating polymer clay sculpture all morning and working on a new Central City Painting all afternoon. I’m really looking forward to the chance to spend a few days painting.

I’ll be painting and sculpting there today through Tuesday. Today’s hours are 10 am to 9 pm. Saturday’s hours are the same. Sunday through Tuesday I’ll be there 11 am to 8 pm.

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Silverton Art Festival

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I’m spending the weekend selling my polymer clay animals and vases at the Silverton Festival of the Arts. Come see me if you are in the Salem/Portland metro area.It’s a nicely run show and Silverton is great place to spend the weekend whether there’s an art fair going on or not.

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Decisions, Decisions

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I’m busy putting together materials for my first art fair painting booth.  (I’ll be in the Artisan Village at the Oregon State Fair in late August and early September).  I will have a ten by twenty foot space to fill with paintings and sculpture.

I spent yesterday afternoon going over my paintings with a girl friend and deciding which ones to make into prints to sell at the fair.   I also quizzed friends, followers on Twitter, Facebook fans, and an on-line pen pal.  The results were all over the map. After much thinking and listening, here is the tentative list:

The Pumice Seekers

The Pumice Seekers

Memorial Day Waterworks

Memorial Day Waterworks

Ladder to the Past

Ladder to the Past

Winter Morning Solitude

Winter Morning Solitude

Twixt Wind and Water

Twixt Wind and Water

Waterfall in Her Lap

Waterfall in Her Lap

Georgia in the Morning

Georgia in the Morning

Daddys Magnifying Glass

Daddys Magnifying Glass

Her Own Little Fountain

Her Own Little Fountain

The Pink Bucket

The Pink Bucket

Grandma Braids

Grandma Braids

Winter Morning Solitude II

Winter Morning Solitude II

Hat and Shoulders

Hat and Shoulders

Splash Dance

Splash Dance

Romantic Memories

Romantic Memories

Winter Sun

Winter Sun

The prints will be roughly 8 x 10 or 11 x 14 and in a few cases 12 x 16. I’m not having any painting printed larger than the original.

I have chosen a different but overlapping group to make into 5 x 7 greeting cards. I’ll post that list when the cards are printed.

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Biting Off More Than I Can Chew: Demonstrating

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I have difficulty painting in public. I never paint my best or even close to my best with an audience. Even at the gallery where people wander in and out infrequently, I have a hard time with painting in company. I don’t blush or drop my brush. But I don’t concentrate as well as I do in private. And I make fundamental errors more frequently.

But I must learn to paint in public and soon. And what is more I must be able to talk about it while I do it, because this coming August I have agreed to demonstrate painting and sculpture at the Artisan’s Village in the Oregon State Fair.

It’s sculpture that got me into this. I’ve sculpted for seven years now and I’m quite comfortable doing it with an audience. For the last four years I have sculpted all day at just about every art fair I’ve been in. Only heat and fancy carpets stop me.

Last Christmas a representative from the Artisan Village saw me demonstrating at the Salem Saturday Market Christmas Show and asked if I would be willing to take a booth at the fair. This is plum. Commercial booths at the fair rent for several thousand dollars. Booths in the Atrisan Village rent for $75.00. The difference? The Village is a juried venue. The catch? —artists in the Village must demonstrate from 11:00 am to 9:00 pm.

Most artist share a booth and share demonstrating hours. But I know no one else who sculpts polymer clay. And besides, it’s an outdoor venue and the hotter it gets the hotter polymer clay gets until it becomes much to soft to sculpt. What to do?

Well, I was looking for a way to display my new watercolors so I talked myself and the director into both sculpture and painting. I am to sculpt in the cooler mornings and paint in the heat of the day. Switching mediums halfway through the day should help me keep my brain active too.

Now all I have to do is learn to paint in public. I spent this weekend learning. Saturday and Sunday I sold sculpture while painting watercolors. I tried to stick to easy subjects and to leave the detail work for later.

I will try my hand at painting in public again at The Salem Art Festival in July, and the Silverton Fine Arts Festival in mid August. At the end of August it’s show time.

Here are my three half finished paintings. With luck I’ll be posting the finished paintings later this week:

Dances with Fountains (in progress)

Dances with Fountains (in progress)

This is the beginning of another painting in my Splash series of the children playing at Town Center Park. I began by masking the boy and the fountains and painting the water in cobalt blue and burnt sienna. After lifting the first mask I masked the splashes on the boy and the high lights in the fountains. Then I added raw sienna to the palette and began painting the boy. I think I am going to need a real red to complete his skin. Then I will lift the mask and complete the detail work.

Boy with Umbrella (in progress)

Boy with Umbrella (in progress)

This is a full size painting of the boy with the umbrella. The boy is mostly finished, but I want to add a second umbrella on the lower right. I didn’t have a reference photo for that at the show. But I have plenty of pictures of umbrellas in the same light to choose from here.

The painting is on hot pressed paper. The palate is cobalt blue, phthalo green, quinacridone deep red rose, yellow ocher and ceruleum blue.

Pumice Seekers II (in progress)

Pumice Seekers II (in progress)

This is a much smaller version of a painting I did a few months ago of my husband and the girls looking for pumice stones at Crater Lake. Stephen loves the original and won’t let me sell it. But it’s too large for his office. I’m hoping to have this smaller office sized version finished in time for his birthday.

So far I’m using just three pigments: cobalt blue, yellow ocher and burnt sienna. The painting still needs a great deal more contrast.

In the meantime I’ll be preparing to sell sculpture and paint at the Salem Art Fair. I will be at the State Fair August 28th through September 1st in Booth 414 on the south side of the village next to the floral gardens. Wish me luck.

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One Big Umbrella, One Small Boy, Three Small Sketches

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About a month or so ago the Titanic exhibit, or at least a small piece of it came to Salem. Stephen and I took the girls. It was a hot day and we were grateful to the sponsoring bank bank for providing us all with sunshades. And all of those great green and white umbrellas made the crowd rather picturesque. I puzzled the volunteers by photographing the crowd rather than the outside of the exhibit.

I think I will eventually do a back-lit painting of the line. But right now I have an upcoming art fair in Seattle (for my sculpture not my paintings) that’s taking up most of my time. Nevertheless I want to keep my brush hand in. These three little sketches are of a toddler ridding on his daddy’s shoulders and playing with one of those umbrellas.

Boy with Umbrella I (5 x 7) $20.00

Boy with Umbrella I (5 x 7) $20.00


He was having so much fun twirling that umbrella around and so happily oblivious to everything else that I was afraid he was going to bean his father with it. Come to think of it the father has slid of the paintings. None of the angles I liked showed the man’s head. When I included too much of his back and shoulders it looked like the boy was ridding the headless horseman.

Boy with Umbrella II (5 x 7) $20.00

Boy with Umbrella II (5 x 7) $20.00


I began the sketches because I liked the umbrella. I ended up doing three of them because I got carried away with the infinite variety of color in the boy’s hair and skin. Blue, yellow, red, brown, purple and orange. It’s all there.

Now that I look at the sketches I may make a full size painting out of one of these.

Boy with Umbrella III (5 x 7) SOLD

Boy with Umbrella III (5 x 7) SOLD

The palette was phthalo green, ceruleum blue, cadmium red, quinacridone deep red rose, yellow ocher.

These three sketches may be framed or used as postcards. Purchase all three for $50.00.

Because they are so small, I’ll mail these little sketches flat rather than in a tube. As always prices include postage within the continental United States.

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Art Interferes With Art

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Leafy Camel (6 x 4) polymerclay

Leafy Camel (6 x 4) polymerclay

When I started this blog, I intended to emulate the daily painting bloggers and create a painting a day. Alas, life gets in the way and some days the house, the husband, the children, the garden and friends take up too much time to allow for painting. Thank heavens they do. And I often want to do bigger projects than I can possibly paint in a day. So my actual practice has been more like a painting every other day.

Now the art fair season is upon me. This weekend I’ll be at the Wilsonville Festival of the Arts, selling, not my paintings, but my sculpture. And after this show I’ll need to start sculpting again if I’m going to meet my show commitments this summer and fall. And I always meet my art show commitments.

So this blog may slow to a painting every two to three days. But there will be more paintings. There will indeed. I can’t help it. I’m obsessed.

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