Paul Durand Ruel

Without the help and support of collectors, dealers, & representation, we artists would be a sorry bunch indeed. Ones of the big names, (Paul Durand Ruel) getting some recognition in London. As a dealer he was responsible for aiding the likes of Monet, Manet, Pissarro and Degas. Selling and promoting their work, giving it an national stage.

A major show at the National in London is running, with works he bought and sold of these and more artists.

http://www.bbc.com/news/entertainment-arts-31720413

A Singular vision - Basalt Colorado

Here's a few recent paintings that will be in my solo show called 'A Singular vision'. It will be hosted in Colorado in a few weeks at Ann Korologos Gallery in Basalt (nr Aspen). The show is pretty balanced between landscapes and still life paintings, which will be a first for me (I usually show mostly Still life paintings). I'm excited to see how it goes, and looking forward to visiting.

Tulips & Papaya with blue

30X30             Acrylic on canvas

 Fish, plums & a runner from Leon M

26X48             Acrylic on wood

 Old trunks and branches 

24X36           Acrylic on panel

Following the path 

18X24            Oil on panel

 Tulips bathed with light 

16X20              Acrylic on panel 

Inclined Field 

24X24              Acrylic on wood

 Outdoor warmth with Lilies 

30X46            Acrylic on panel

Visit the galleries web page here for more details Ann Korologos Gallery
Opening reception will be held on the Friday (13th). Show runs from March 10 – April 10 2015. For more information and the works included in the show please visit the gallery at 211 Midland Ave in Basalt, call 970-927-9668, or inquire online at art@korologosgallery.com.

Elegant Irises

Just put the finishing touches on the 2nd of these two paintings. The bouquets and other subject elements differed in each, but they followed a similar theme of a tall skinny aspect with elegant Irises. Because of this commonality I began both these paintings on a single panel of wood. I marked it down the center and initially brought both paintings along at a similar rate.  Working initially on the single surface helped me in keeping the consistency of the theme between each painting. As they moved further along the painting process (about 2/3rds of the way); there came a point were too much focus was needed on each painting. There was also a risk that the colors for each may influence the other. Separation was essential, so I took a saw down the middle, finishing each work separately.

Tall iris over lemons and plums 

40X20                   Acrylic on wood

Iris, cherries and watermelon

40X20                   Acrylic on wood

Bridge under winters sky

Have spent the last few weeks planning and working towards a solo show to be held at Ann Korologos Gallery in Basalt, Colorado in March. These two landscape paintings are recently finished and will make up part of the show.

The show is split loosely between still lifes and landscape paintings.  Over the coming weeks I will post up various pieces that will be in the exhibition.

 Bridge under winters sky
24X36 Acrylic on panel

Nabis fall path
30X20 Acrylic on canvas

Copy Commissions

I received two commissions in the space of a month from my gallery in Virginia (Chasen Galleries, tel (804) 204-1048). What made this unusual, is that both collectors wished to commission copies of  existing paintings that were in the gallery; but at a slightly different size.

I really enjoy painting commissions. In many ways it brings you closer to the collector, knowing that you're working on a painting that truly fulfills the wishes of the individual. From time to time the collector falls in love with a painting that's already sold, and I'm more than happy to recreate the paintings as faithfully as I'm able.

What made these commissions a little more challenging was the small changes in size. In each, I slightly stretched the original subject. And in the case of the still life painting I modified minimal the table design at the the base of the painting. Re designing the drawers and bringing in the edge of the table. The change, helped frame the base of the painting a little in it's new size. Drawing the eye back to the focal points on the table. 

Still sheltering cove

24X36             Acrylic on panel

Sheltering cove (the original painting, commission was based on)

14X24               Acrylic on panel

Harmony across the darks (the original painting, commission was based on)

36X24              Acrylic on panel

Commission of Harmony

46X30                  Acrylic on wood

Moonlight and the sun - A couple of contrasting landscapes

Here's a couple of recently finished landscape paintings. Though both are featuring trees, they couldn't be more different in atmosphere, and time of day...

Under the shade of the oak

Acrylic on wood      28X36

The first of these, is a 'classic' Californian view with an oak in the foreground and strong over head sun. The day I took my original notes and reference it was a little cooler than normal, but still I was appreciative of the shade the tree offered.

The foreground and tree was a joy to paint, but the background took more time. I tried a few different color versions of receding hills, before settling on this. Despite it's alla prima appearance, the painting was slow to grow to completion, and was painted gradually over many months.

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Moonlit colors

Acrylic on wood      22X34

'Moonlit colors' was a great challenge, it had been years since I had attempted a night scene, but one evening when the moon was full and strong I felt compelled to take notes on the colors and trees. I then attempted to recreate the ambiance of the scene in my studio days later. I enjoy the process of painting from memory, I feel it often breeds more heartfelt creative work.

Rainmonds Staprans inspiration

Late in the summer I experimented with some ideas from looking at Rainmonds Staprans work. I find his work to be immensely exciting!

 A R. Staprans painting

 

Few artists are able to achieve the balance between 'color-field' and 'form' (or 'content') as well as him.  He also composes his frame in a very modern style; with focal elements placed in what would traditionally be thought of as poor or bad locations. Staprans never falters in this,  his composition choices never appear ill chosen, and always exemplary. (the images of his work I've shown here are maybe not the best examples of this, but a quick google search will give you many examples). 

For further study of the artists work, I would also recommend the book 'Raimonds Staprans - Art of tranquility and turbulence' by Karlstrom.

 A R. Staprans painting

I wanted to take a little flavor of Staprans work, and fold it into my more usual compositional and color choices of my still lifes.  To tease the edges of my work and it's usual conformity. In occasionally, doing this sort of thing, I feel it's a good way to come to terms with your work and where it's growing too. Maybe to resolve in your mind a direction that may work, or may not?   At any rate here are the fruits from that labor...

Stargazing with a hint of Staprans
30X30                 Acrylic on canvas

 Detail

Detail