At today’s meeting Loretta U, Tim, Diane, Linda, Annie,
Ward, Loretta L, Jeanne, Tom D, Genie, Charlie, Mike, Eunice, Joanne T, Tracie,
David, Elo, Jim, Ward, Judith, Tom K, and me, Celeste.
Today’s suggested table topic: Painting the ordinary and making it
extraordinary—What do you know about it? Do you have examples?
Celeste: Recently on Facebook I saw a painting done by Yong
Hong Zhong. He had painted the space between his house and another house. This
would look like a very boring place but Yong made it look beautiful by pushing
color and adding a dark shadow in the foreground. I am showing two
paintings. One has a greenish sky and
the other was painted from a photo reference that had dynamic lighting.
(Yong's photo from Facebook)
Joanne T: With watercolor you have to paint with strong
color as a matter of course (so that they are not bland). When I was at the
Cannon Beach paint out I visited with the artist Sally O'Neill. She painted a
bush and a window. It would seem like a very dull subject… but she made it
exceptional with color. I am showing two paintings that I did at the Scottsdale
art school. These were from photo references supplied by the instructor, Penix.
Traci: This is an interesting topic to me. I enjoy the
ubiquitous. I like to look at things and think about how those objects can affect
others. What might stir one person can leave another person cold. I like to look at things and decide if there
is a story there. I am showing a painting that I painted at the Rose garden….It
is of the bathroom! (Laughter)!
Ward: To me it is all magic! That someone tried to make a
picture is magic in and of itself! Every time you paint something it is like
you have created a little spell. It is like a conjuring of sorts…. something
wasn't there but now, because of you, it is. I am showing a painting that I am
working on…it is of a band.
Annie: I was thinking about Michelangelos drawings of hands.
He provided them in many different views. If you look at those you will realize
just how extraordinary they are! It was so hot recently I went to the nearest
movie theater and just followed the crowd in. I went to the movie: “Through the
looking glass”. That movie is an
absolute spectacle. .To me it was too real and as a result (to me) it has an
icky component to it. The pace was too fast.. it was all overwhelming. I didn’t
like it. Sometimes efforts to make something extraordinary just goes too far. I
like it when a painting in particular invites the viewer to participate. I am
showing a painting I did recently in class. I am also showing the color paintings that I did of some Edward Hopper’s paintings. I have trimmed them out into
individual paintings.
Lisa: I identify with reality! When I first saw this topic
and I read it I had a thought "Oh yeah, good idea, maybe I should try that” (Laughter)! I should try to make things less
literal. Do you remember the woman who came and shared her late husband's
photographs with us? I took one of those photographs and painted this from it.
Diane: The last couple of years have given me an
appreciation of the ordinary and the extraordinary. When I first started
painting I also started taking a lot of photographs. I see things that I want
to photograph---things that intrigue me like shadow shapes or other unusual
effects. This painting is my brother’s granddaughter. I have been working on it
for a while. It isn’t precisely what I thought it should be-- and yet there is
a magic to it. I caught something about her.
David: Well since last meeting I gessoed some boards!
(Laughter)! Along time ago I went to a drawing class. The teacher brought in
her painting of an egg in an egg cup. You can't get much more ordinary than
that, but the entire class was enthralled with that painting. We couldn’t stop
looking at it.
Tim: My name is Tim and I’m addicted to art… (Laughter)!
Recently I went painting and I meant to take a kit gouache…when I got to my
location I discovered that I had my kit of watercolor. Well oookay, I guess I’ll be painting with
watercolor! (Laughter)! I did this painting, you just have to go with whatever the circumstances. I
am showing a painting that I did in the studio and I am showing some other
plein air paintings. I painted at Benson State Park.
Joanne K: As artists we are always pushing and always making
things look extraordinary. That is our job.
Then again, the “extraordinary” can be just what is happening in your
own life and how that reveals itself in your paintings. For example, this
painting was from a time when my husband was fighting cancer. The painting
depicts “upstream” and that is just what we were engaged with…serious upstream challenges. Jim and I have just returned from the Max Ginsburg workshop. We
both learned so much. I am showing paintings old and new. I am showing two
paintings of my son. One was done in a long time ago and one was done just
yesterday.
Loretta U: I don’t know if any of my paintings are at
extraordinary at all. Most of my paintings seem mild to me (intentionally mild). I do find these
meetings to be quite extraordinary. I always learn things here.
Eunice: The painting I recall as being really extraordinary
was a row of garbage cans. It was the most ordinary subject and yet it was
painted in an exciting way. I am showing a landscape of some red clover.
Mike: I have found an extraordinary art store.. I have
discovered a store called Dots and Doodles in Astoria. I bought this sketchbook
there. They will engrave your name right into the cover of your sketchbook for
free! Astoria is a lovely town. I took a workshop there. I will be back to
Astoria to paint because it is a very paintable place.
Charlie: If you think back to when you were in school you
will remember what it’s like to think that most everything is
extraordinary! I think we should try to
regain that type of newness and freshness in how we look at things.
Genie: The most ordinary subject painted in the most extraordinary
way is by John Singer Sargent. It is a painting of a campsite. It’s just a
tent and yet it is the most remarkable painting. I brought in a painting of a
cat that I did for one of my daughter’s friends.
Tom D: What is extraordinary for me is not always what is
extraordinary for others. For example, I have one of my best paintings hanging
up at home and people visit and say absolutely nothing about it! (Laughter)! To
me it is remarkable when composition and color come together to make everything
just right.
Jeanne: I have always liked the Bay Area figurative
painters. In particular I admire David Park. There is not a lot of information
on him because he died at a young age. There is a famous story about him where
he took everything out of his studio and took it to the dump. When he came back
to his studio it was empty and he began painting only figures. I have this book
about him. He paints an ordinary scene, but makes the figure (like in this example)
very large in the foreground. I am taking a class. The teacher had our model do
different poses for only 15 minutes… we had to put all the poses on one canvas!
I did what David Park would do and made one figure much bigger than
the others.
Loretta L: I have trouble with plein air. I can’t improve
what is already so beautiful. I brought in a painting that I did in Jennifer
Diehl’s class. I love how she taught about strong contrast.
Tom K: I am addicted to fear! (Laughter)! I have recently
spoken with a young curator and he taught me a couple of things. First of
all we should no longer date our paintings-- did you know that!? I understand
the reasoning behind it. No more dates on paintings. Also the young curator
says that a lot of artists are signing on the back and not the front. I paint a
lot of hours on one painting. I will go back to the same location and paint
again there. Oh, I have advice for the other Tom...when people come over to your house ---go over and stand next to your painting like this (Laughter)! I recently painted plein air and was
congratulating myself for remembering to bring everything, but when I left I
forgot the painting that I painted! Everyone needs a Joanne Kollman in their
life because she found my painting and brought it here today to return it to me
(Laughter)!
Judith: Recently I painted a triptych of Renaissance-type
paintings. They just didn't have that extra until I added a lime green stripe.
The paintings were in a show at PCC in the Sylvania campus. I won first prize !
(Applause)! I think one of the most important things we can all do is to
remember to “follow through”!
Elo (new, Welcome!): I believe that painting is a lot like meeting
people. Some people don't reveal how extraordinary they are until you get to
know them. ..until you get to spend some time with them. Most people
are extraordinary and I think maybe most paintings are too.
Jim : I'm very excited because I believe I have experienced
a turning point in my work. For a long time people have liked my art and I will
think of myself yeah yeah it's OK but in my heart I wasn’t exactly happy with
where I was. I have taken a lot of really great workshops. I have taken a workshop
with Ken Auster and a couple of workshops with Ned Mueller I have benefited from all of the
workshops I’ve done so far.. but this one really was special. Maybe it is a
little bit because Max Ginsburg and I are around the same age. (Laughter)!
Seriously, we remember a lot of the same things, like WWII (Laughter)! Ginsburg is gentle but demanding. He taught us
that the beginning is the most important part of a painting. He taught us to
look closely at the model because the changes that occur within a two inch
space are important (temperature changes, shape changes). Good drawing is important. Ginsberg likes
dramatic lighting. I've adopted his way of painting on a greenish background. He
teaches that you must imply and suggest instead of relying a great deal on fussy
detail. He taught us to paint “across” the form. You don’t use a lot of paint
until the end. I had a wonderful time
and liked spending time with Joanne --she talks a lot , but that’s all right.
(Laughter)! I am showing two paintings that I did at the workshop. I feel that this may be
the best I have ever painted. (Applause applause)! (Congratulations, Jim, and thank you for the Workshop report).
Announcements:
Ward Stroud is going to be teaching
a watercolor class at OSA July 14 and 15th. He also has a demonstration
upcoming at Dick Blick. He will have a workshop at Dots and Doodles in Astoria
in the near future. He will have other announcements in the future also! Stay
Tuned!
Next weekend is Joanne Kollman's workshop at the beach. This
is June 18 and 19th. You can come for one or two days. Participants will be
able to participate in a show through the Cannon Beach Gallery. There will be other extracurricular
activities like a barbecue and a talk by Jef Gunn.
http://cannonbeacharts.org/looking-at-landscape-cbaa-at-plein-air-more-festival-associated-events
More workshops:
https://www.facebook.com/groups/408762309299376/
More workshops:
https://www.facebook.com/groups/408762309299376/
Studio One-Eleven: some space available at their session on
Sunday from 430 to 730.
https://www.facebook.com/groups/1695576667380902/
Interested in a Max Ginsburg workshop here in Portland?
(2017) Email Joanne: joradarts@gmail.com
A Recent issue of Plein Air Magazine features Jennifer Diehl
Podcast with Plein Air Magazine and Thomas Kitts:
Thanks all for coming today and sharing your ideas and paintings.
Next Thursday June 16, suggested table topic: What is on your studio materials /equipment
wish list? Is there any equipment or materials that you are dreaming about
owning? No wish too big or too small! let’s discuss
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