Tones of Green

I love to paint in tones of green. The painting that I did this past week in my painting class started as one painting and then it decided it wanted to be completely different. Unfortunately, I don’t have a photo of the first layer. Fortunately the first layer is just random colors, so it is not a big problem.

I told the class that I had been painting Ireland. My intent was to not paint Ireland in this class. That was not the case, however. It had a lot of red-orange at the top and very bright yellow green at the bottom. It became more and more green until it morphed into what I think is one of my best paintings of Ireland.

painting by Ann Hart Marquis showing tones of green.

The Green, Green Grass of Home, acrylic on canvas, 30 x 30 x 3/4 inches. Ann Hart Marquis

As with most of my paintings I like to create layer over layer what various mark-making lines in each layer. My teacher calls me a builder. I rather like that reference. When she saw the finished painting she commented that there must be 32 different greens in it.

Due to being in this class, this painting and the one I am working on now will be in an upcoming group exhibit at a very lovely restaurant here in Albuquerque. This is a busy time in New Mexico because the weather is quite wonderful—sunny and a little cool. The exhibit will run from October 1 – December 30, 2016.

Also each October the International Hot Air Balloon Show is held here and Albuquerque is packed with tourists for at least a week. It is a good time to be in an art exhibit.

And my current painting which will also be in the exhibit is an abstract in hues of orange and magenta! It is not green. It does not remind me of Ireland. I purposely left all my greens and blues at home the day of the class. I just took reds, yellow and magenta. It seems a bit shocking to me at the moment. We will see how I finish it.

Impasto Paint and My Big Palette Knife

If you read my post from last week, you know that I started taking an abstract painting class. Part of the class includes critique, so students can bring in pieces that they are working on for feedback from the teacher. Also, at the end of the class we all got together and critiqued each other’s work.

It was a very helpful process especially to be able to bring my work and say “what does this need.” Fortunately, the piece that was on my post last week got good feedback from the teacher.

She said it was almost finished and just need two swipes of thicker paint, almost like an impasto. I like to paint thickly especially with my palette knife. I am now trying a very large palette knife about 2 1/2 inches wide and 6 inches long. Needless to say, it can cover a lot of canvas.

She suggested that it be in the same color as what was already on the canvas. That was not too difficult a challenge except mixing paint to the exact color as I did several days previously, always takes patience.

Painting showing impasto paint

The Nature of Water and Air, acrylic on canvas, 24 x 30 x 1.5 inches. Ann Hart Marquis

I also started a new painting in class that I almost completely painted over once I got home. I was trying to follow her discussion and suggestions without listening to how I wanted to paint.

Next week, I think that I can incorporate her suggestions and still stay true to myself.

Artist Critique Group

If you read my blog with any kind of regularity, you know that I sometimes think a painting is finished, live with it awhile and then decide that it has some kind of major problem. I have just come to the point on the painting below that it is time to just stop and take a long look at it before proceeding.

Ann Hart Marquis painting for artist critique group

Untitled- Ireland, acrylic on canvas, 24x30x1.5 inches. ©Ann Hart Marquis

Fortunately, next week I start an abstract painting class where I can work on what I want including getting feedback from the teacher Janet Bothne. If I feel stuck or think that I don’t know what to do next, I can get advice. So this class sounds perfect for me.

In addition, this class includes a critique time with the whole class where I can get or give feedback. I have been looking for an artist critique group for several years. I am excited about the idea that other people will be giving me opinions about my work.

I have friends who do not like to have their work critiqued. According to artist and blogger Sharon Hicks,Some artists cringe at the mere thought of having their work critiqued. The very word ‘critique’ is based on the word ‘criticism’, and in our culture that word has taken on a negative connotation, since to criticize something usually means to point out its faults.”

According to the dictionary, however, the word critic derives from the idea of someone who judges, evaluates, or analyzes literary or artistic works, dramatic or musical performances. To me this is a neutral statement. Ideally a critic can give both positive and negative responses. It relates to the idea of useful criticism.

For me, good and useful criticism  serves one purpose: to give the creator of the work more perspective and help them make their next set of choices. I like the idea of having a set of choices.

I am also open to critique right now. If anyone has ideas of where this painting needs to go next, I would be delighted to hear them.

My Exposure to Fauvism in Collioure, France

This week has been a frustrating one for me because of trivial obligations like an annual doctor’s appointment and buying food. Activties like this cut into my painting time. So I have not finished the Irish painting that I am working on.

Since I frequently think of my journey from never having painted to now, I thought I would write about a painting that I did three years after my first painting class in France. This time the painting class was again in France, but not where I had originally painted. It was in Collioure on the Mediterranean where it meets the Pyrenees.

painting showing exposure to Fauvism

Collioure, France, acrylic on canvas, 11 x 14 inches. Ann Hart Marquis

Collioure is a very picturesque small town that has drawn many painters including Matisse, Derain and Dufy. It is referred to as the birth place of the Fauvism movement in painting. This class was taught by the same teacher I first had in Soréze, France. She considered herself an Fauvist painter. She was responsible for my first exposure to Fauvism.

Collioure, France

Collioure, France

As you can see from the above painting, my drawing skills were still lacking as were my use of brush strokes and layering color. I had not yet mastered the idea of perspective. Fortunately, it is a very colorful town so some of the colors were representative of what I saw and some were colors that were already a favorite part of my palette.

This painting was done in plein air, while I was sitting on the steps of a lovely house that looked down into the town and surrounding hills. It was an ideal place to paint.

Although today is the first time that this piece has been photographed, I see it every time I walk into my studio because it is hanging on the side of a cabinet. It reminds me of how I started and how far I have come. I have kept all of my drawings and paintings over the years. The only ones that I don’t have are sold.

It is important to me to be able to look back on all of the work I have done. They always make me smile.

Walking Into a Painting With My Imagination

As I was studying this painting, deciding if it was done and trying to think of a title, I had an interesting experience. I felt pulled into the painting. I wanted to walk through the grass and see the Irish Atlantic Ocean that I imagined was on the other side. I felt like walking into a painting.

Ann hart Marquis showing walking into a painting

A Place in My Imagination, acrylic and charcoal on canvas, 14 x 14 x 1.5 inches.

I am sure I have had this experience before with one of my paintings, but I couldn’t remember one that was so compelling to me. I have certainly had similar feelings with other paintings that I have seen. I once found a painting at the Louvre that was so captivating to me that I stood in front of it for 15 minutes.

I think that imagining walking into a painting somehow is related to the general wanderlust I am feeling at this time. It is possible that I need to go back to Ireland—or another Celtic place.

On the practical side of this painting, I approached it differently than my other Irish paintings. I didn’t put any medium on the canvas except black gesso. Previously for added texture, I used some type of molding paste on the others before I painted.

This time the painting had little texture except for paint when it was finished. Since I like texture, I applied an extra heavy gloss gel to the canvas and roughed it up to give the kind of texture that I was looking for. I like the effects although they can’t really be seen in the photograph.

I haven’t used heavy gloss gel much before. It was an experiment. When it is applied it looks like it is going to dry white. However, regardless of how thickly it is applied, it dries totally clear. The gel I was using was Liquitex Super Heavy gloss gel. I like the look and may try it again from time to time.

Tonalism Painting

When I was in California last summer doing an artist residency I was called a tonalist painter for the first time. My work had never been referred to that way before and I recognized what association was being made.

I very frequently will tone down my colors with grays or sometimes with a color’s complement. For example, I don’t like phthalo blue by itself, but I do like it with some value of gray. Here is an example of a painting that I just finished.

Tonalism painting by Ann Hart Marquis

A Song of Wandering, acrylic and ink on canvas, 24x30x1.5-inches. Ann Hart Marquis

Tonalism

Traditionally, tonalism (1880-1915) involved creating a painting permeated by a dominant tone and in a limited color scheme. Often, at least historically, painters worked mostly in earth colors so black would have been a common color on their palettes.

In tonalism, the palette is minimal, characterized by warm hues of brown, soft greens, gauzy yellows and muted grays.

Here is an example of a painting by the tonalist artist James McNeill Whistler (1834-1903.)

James McNeill Whistler-Nocturn Sun

Nocturn Sun-James Mc Neill Whistler

According to Stapleton Kearns, “Usually the goal of tonalist painting is the production of a mood in a painting rather than the representation of any actual place. The color, design and the mood were the subject rather than a unique and spectacular location.”

Many of my paintings are similar in color to a traditional tonal style.
• I eliminate details for broader brushstrokes and subtle transitions of tone.
• Frequently I use a neutral palette-mainly cool colors: green, blue, mauve, violent, grays, to produce similar tones.
• I also sometimes like high horizons to bring focus to the foreground.
• I like to use glazing techniques, layering thin layers of color over underlying colors
• I like to paint wet on wet.
• I like to start with a warm undertone even if I use black gesso and then layer cool overtones to achieve some tension of color.
• I like the idea of the “lost edge” technique which results in flow of color and atmospheric quality.
• I don’t like to paint specific, recognizable locations, but rather my impressions of a place or scene.

Will I continue to paint in this style? It appears that for my Ireland series I will. After that who knows.

History of a Painting: The Many Lives of One Canvas

I finished a painting this week that I have been working on for a while. It has had many lives. Here is some the history of a painting.

Ann Hart Marquis painting showing history of a painting.

All Legendary Obstacles, acrylic on canvas, 24x30x1.5 inches

As some of you know, I sometimes think that I am finished with a painting and feel comfortable about presenting it to the world, or whoever is looking at my work.

A few weeks ago I wrote a post about a small study I did for a larger piece. I liked the way it looked and proceeded to start a somewhat large 24×30-inch canvas inspired by the small painting.

painting study showing the history of a painting

Ireland Study, acrylic on canvas, 8×10-inches.

I finished it and I thought it was interesting. I displayed it. I lived with it about two weeks and then I started to analyze why it was not making me happy. The problem was then glaring. What were all of the rose forms at the bottom of the painting and why did it look so stiff and out of sync with the series it belonged to?

Ann Hart Marquis Creativity and Travel

First Rose of Spring, acrylic on canvas, 24 x 30 x 1.5 inches

I knew something was going to have to change in a big way—the bottom of the painting. I studied it again and decided that the middle of the painting had some interesting aspects and I liked the colors that I had used.

So what to do? Turn it upside down? That’s what I did. I added some yellow accents.  I then painted over the rose color which was at the top with a gray-blue. I didn’t like that and by now I had so much paint on that section of the canvas that the texture looked out of place.

I was not going to give up. I called on the assistance of an art lover who had much more arm muscle than me to sand down the top of the painting. He did a great job and now I had a smooth surface again.

Stage 4 after sanding

Stage 4 after sanding

Now what color to paint the sky? This time I choose a tint of Naples yellow and created a transparent glaze with a gloss medium. I painted the sky letting the gloss dry for a day before adding a second and third layer of paint. By then about five days had gone by.

A few days ago I decided the yellow in the middle made the painting too cool so I dragged some red oxide chalk over the yellow, wiped most of it off, and sealed it with gloss medium. Finished!

I have started on my next painting which looks like it goes with the series. I will see how it progresses.

Romantic Painter

I am a romantic painter. I have found definitions of “romantic” such as  a sensibility; primitivism; love of nature; sympathetic interest in the past, especially the medieval; mysticism; individualism.

I am also sentimental. Webster defines someone who is sentimental as a person excessively prone to feelings of tenderness, sadness, or nostalgia.

That brings me to nostalgia. I am nostalgic and find myself attracted to the Irish notion of a gentle melancholy that permeates life. While I reflect on Ireland and my Irish paintings, I am also thinking about why I am drawn to certain subjects, places, or ideas.

Such thoughts drew me to one of the first paintings that I ever did. I was on a painting retreat in France with no experience at all. Each day we would be driven to some exquisite location to paint. We would arrive and scatter, painting whatever we were drawn to. One could have chosen a lovely view, goats, a forest and other people.

Ruins was done by romantic painter Ann Hart Marquis

Ruins, acrylic on canvas, 11×14 inches.

I wandered around and found a three story 19th century home that was in ruins. What happened to this house, I wondered. Why didn’t this seemingly once lovely place undergo repairs? What was its story? Of course, that was what I decided to paint.

I have learned that I am drawn to emotions and events that I perceive may exist or have existed. That is one reason that I am drawn to Ireland and spent so many years in France. I was and am enchanted by the history, the way people lived, the myths, the beauty of both structures and raw nature.

I think that the classical definition of all of the above can be summarized to this description:

The Romantic embodied “a new and restless spirit, seeking to burst through old and cramping forms, a nervous preoccupation with perpetually changing inner states of consciousness, a longing for the unbounded and the indefinable, for perpetual movement and change, an effort to return to the forgotten sources of life, a passionate individual effort at self-assertion, a search after means of expressing an unappeasable yearning for unattainable goals.

I especially like the part about unappeasable yearning for unattainable goals. If I ever get a clear idea of what those goals are, I will let you know.

 

Painting from Imagination

Since I returned from Ireland I been painting from imagination. I keep looking at photos of the trip, and they are lovely, but they are not really inspiring me to use one for a subject for a painting.

I seem to be drawn to scenes, memories, senses and sensations from the trip. I see colors in my mind and I see shapes and images. Sometimes I just see layers of images that I can’t separate.

Since the trip, although my paintings are abstract landscape paintings, my first three paintings contained scenes or some shapes that were easily recognizable like a cliff or an ocean setting. This time I wanted to do something different.

Ann Hart Marquis shows Given to Exaggerated Wonder painting from imagination

Given to Exaggerated Wonder, acrylic on canvas 24x30x1.5 inches.

I usually draw very little before I paint. I didn’t draw at all on this painting. It developed by first deciding on my palette, preparing a canvas with black gesso and then when that dried, I just started letting shapes and colors come from my imagination.

I was also using Golden Open gloss medium mixed with paint which allowed me to drag one color into another before they dried to form bands of color. In other words I was painting wet-on-wet.

I started at the bottom with darker blues and greens and then worked my way to the top letting the colors become lighter as I ascended. What a fun way to paint! I just kept a vision of Ireland in my mind. The memories and feelings both consciously and unconsciously informed what I was painting.

I was painting in a new way and it felt very creative. In my next painting that I will start on Monday, I will try it againpainting from imagination.

I like this quote that I found about creativity:
“Even those of us not in explicitly creative fields must come up with new ideas and insights in order to move ahead. How can we shake up the way we think? Creativity has been pegged to conducive environments, perfect collaborators, personality traits, serendipity, and even spiritual muses. While research psychologists are interested in increasing innovative thinking, clinical psychologists sometimes encourage patients to use artistic expression as a way to confront difficult feelings.”

My Artist Muse

Yesterday I finished a painting that I had been working on for some time. So today the question was what should I paint next? I have been primarily working on medium-large canvases, 24×30-inches. It takes me about a week to finish this size painting if I get to the studio almost every day.

Today I felt some pressure to think of what I wanted to paint next. It does not work very well if I am feeling pressure when I paint. And I had no inspiration for the next painting.

So instead of starting on another large canvas that would take some planning, or at least giving some thought to an image, I followed by friend Dotty’s example to do a small format painting in a day. It actually took me less than an hour and I am happy with the results.

Ann Hart Marquis-How artist muse helped create My Mind's Desire

My Mind’s Desire, acrylic on canvas panel, 8×6-inches.

There was certainly no pressure involved. My process included finding a sample of coarse molding paste, letting it dry, having some lunch, then going back to my canvas. I then applied random paints that were in the same palette as my last painting and very loosely applying them.

So this brings me to thinking again about inspiration, motivation and the muse. By the way, I don’t think I have an artistic muse. Unless I think of the word as a verb: chew over, contemplate, excogitate, meditate, mull, mull over, ponder, reflect, ruminate, speculate, think over.

 I do sometimes need to wait for inspiration. I have been thinking a lot about how I get inspired to paint a certain scene. I think that it comes down to thinking about a place I have been or perhaps looking at a photo of a place that brings forth some kind of feeling in me.

It also may involve including some sort of paint or medium that I have not used for a long time or maybe never—like coarse molding paste.

So I have been contemplating, mulling over and reflecting what I will do next. It may be a larger version of the one above. I am still pondering, but with no pressure.

Do you ever feel pressure to be creative? Do you have a muse?