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Monday, April 25, 2011

Keeping it Simple

The teapot with no lid

A simple object, one source of light, and a limited palette

I recently discovered the website and although there is a closed membership there I found the daily challenges which I think are fun.  It fits in really well for me since I often do several paintings (small ones) a day.
I set this up in my studio with one light source and lovingly sculpted it with paint.  Once again I discover the longer I work the more feeling I seem to illicit in the piece.  It's a dear little teapot thrown and glazed by Bernard Leach's son, David in England.  My sister brought it back to me years ago and I have always cherished the beautiful little celadon teapot.  Unfortunately in 2001 there was an earthquake in Napa and it rocked the entire house and threw all the cabinet doors open in the kitchen and heaved everything to the ground.  I lost the lid of this one as well as all of my Waterford crystal that I seldom used......O structural damage so I'm happy for that!
I will always keep the teapot even though the lid is long gone.  I even have shards from other "dear" bowls I lost that day which I still keep.  I'm funny that way.

Monday, April 18, 2011

Promotions with a book Sally Rosenbaum

Sally Rosenbaum Paintings by Sally Rosenbaum | Make Your Own Book

While compiling and burning images to dvd for my publishers I noticed that I was out of ink on my printer.  I always like to print up thumbnails to accompany the dvds so I can have some authority on the final results.  Not all images come out like you want on someone else's computer.  SO being out of ink I decided to make up a small colorful booklet of some of my favorite paintings on where I've been cataloging and documenting all of my kids' travels and favorite snapshots for fun.  Here is the end result.  What a fabulous way to send a compilation of your paintings and very economical too.  I would have spent a lot more doing it on the computer with good paper and archival inks! 

Sunday, April 10, 2011

Summer Notes

Summer Notes

Sometimes I wonder what to talk about but I'm so excited to post a visual that I go ahead and post and leave it in "draft" stage before publishing.  I posted a version of this last night and came back this morning to check my masterpiece and couldn't live with it, so out in the studio with my pjs on (and before coffee) working again on little areas where my eyes stuttered and were "bugged" by shapes and colors.  I spent more time working on the face getting more bone structure going on in the lit side of the face.  I added a blue purple component to balance out the orange and the green and tried to create more "shoulder."  I find it difficult sometimes to get the roll of the shoulder especially when the figure is backlit.  My first inclination is to go straight for the light on the turn of the shoulder and what appears dark behind it is simply too stark. This morning I blurred out those edges and brought more of the golden greens into the shoulder and more of the dress into the back ground and then redefined the shoulder.  I may still work more on bringing the front of her chest forward with more saturated color.
My first inclination when approaching a painting is to ram pure color into it.  Later , when I view it after having had some "time off," it ends up looking too garish..  Then the marvelous nifty neutrals come to my rescue.  I started installing them in and around all the foliage in the background and it helped a great deal to give air and relief to the background.  I guess the long and short of it is that it takes a few go rounds to come to the place in time when it is pronounced done. There's something about living with a painting for a time period.  I might even go so far as to say that as long as they are in my line of sight they are never done.  I have painted more than 4000 paintings in my life and I can only think of perhaps, 4, that I was really satisfied were done, as in DONE, wouldn't touch them again. Pierre Bonnard, I read, had a certain painting hanging in his room.  He used to paint directly on canvas stapled or affixed in some way to the wall but not stretched.  It was the day of his death and there was a certain leaf on a peach tree in the painting that was agitating his enjoyment of viewing it.  He struggled, got up, went over and touched it with some color, went back to bed, and later that day died, met his maker, and passed away. Discontent is a by product or side effect of painting and has to be tolerated, respected, and given accommodation, I suspect.

Post script:  I should remember the nifty neutrals and value and treasure the monotony of routine in the midst of dramatic times.