Category Archives: contemporary impressionism

Italian Eating Italian: Intimate Spaces, Breaking Bread Series

Italian Eating Italian – Intimate Spaces, Breaking Bread Series. Acrylic on canvas, 24 x 30. Kit Miracle

Painting a portrait head on is a bit challenging.  However, the distinct lighting of this portrait helps define the features.  The painting has a very robust feeling; a man eating a piece of bread and drinking some vino.

Italian Eating Italian, detail, chin. Notice the reflective light on the chin and neck. Also notice that I rarely use a direct white paint. Most of my whites are mixed to add more vibrancy.

If you look carefully at the closeups, you can see that although I paint in a loose impressionistic style, the brush strokes are sure and vibrant.  I’ve been working with some colorful and contrasting lines which add a bit of spark to the painting.  The colorful outlines are not always related to the painting as far as contrasts go, but sometimes they are.

Italian Eating Italian, detail, hand and glass of wine. Here you see the wine glass, slight angle, gripped by the hand but all loosely painted.

Italian Eating Italian, detail. Hand with piece of bread. The challenge here was to paint a piece of rustic white bread against a white shirt.

This is another painting in the Intimate Spaces – Breaking Bread Series.

Intimate Spaces – Breaking Bread. A new series.

Alone. Intimate Spaces – Breaking Bread series. Acrylic on canvas. 30 x 24. Kit Miracle

A few weeks ago I showed some of the NOTAN studies for my next series of paintings.  If you recall, this is where the artist breaks the composition down to black and white abstract shapes.  This is the first painting in that new series.

Intimate Spaces, Breaking Bread is a rather ironic title for the series considering the times we are currently living in.  However, this series was planned out in December, long before we knew what the pandemic would do to our socializing.  No more public meals, family gatherings, etc.

So it only appropriate that the first painting is titled Alone.  The lone figure, distanced in the deserted restaurant.  The hard back lighting and reflections on the tables and chairs.  The even more ironic title of the sign inviting him to “Join” the team.  The painting evokes the feeling of loneliness, being alone, as in Hopper’s Nighthawks and some of his other paintings of solitary figures.  Even though there are some quite bright colors in the painting, the main palette is subdued, echoing the feeling of being alone.

Alone, NOTAN study. Although I don’t usually add middle tones to the NOTAN study, I did here to add more body to the image.

Alone. Charcoal sketch 24 x 18, Kit Miracle. Here I have added middle tones but it still keeps true to the basic NOTAN study.

Front Page!

Annie’s Room, acrylic on canvas, 30 x 30. Kit Miracle

Woo Hoo!  I made the front page of the current edition of ArtistsCreating, A bi-monthly e-magazine for artists in southern Indiana.  There’s a feature article about  me inside, too.  Check it out here.

Download the FREE e-zine to see what else is happening in the area arts.  http://www.itsallart.com/AC.AprilMay.2020.pdf

February’s Art Production

February’s Art Production. The Food We Eat Series. Acrylic on canvas. Kit Miracle

I thought I’d do another post about a month’s art production.  I created ten food paintings for the series The Food We Eat.  I love the bright colors.  Most of the meals were at home but a few were while I was away. I really don’t eat out that often except when traveling.  Guess we like our own cooking best.

For those who may be interested, I am using my own photos for the paintings.  The pictures cover a span of over ten years so I have a good amount of inspiration.  They are not projected on the canvas but are drawn free-hand.  Dang, those circles and ellipses on the plates and glasses!  What a challenge!  And they’re all either 16 x 16 or 16 x 20 on canvas of 1.5 deep.

In addition to the food paintings, I did more tree drawings but they’re not shown here.

March will probably see some more food paintings but I think I’ll take a break.  I have other ideas rolling around.

The titles that you see here – reading top to bottom, left to right are:

  • Ahi Tuna
  • Raspberries and Oatmeal
  • Texas Tacos
  • Breakfast with Oranges
  • Lunch in Santa Fe
  • Leah’s Lunch
  • Good Lunch, Bad Lunch
  • Pie!
  • Hot Soup on a Cold Day
  • Holiday Meal

Each meal has a story which is on my website. Kitmiracle.com  You can click on the individual photos to see closeups of each painting.

One month’s art production

A composite of my January art production. Four watercolors, five sunflower paintings, six tree drawings and three paintings for my new series focusing on food.

Since I retired from being a director of a multi-discipline arts center a couple of years ago, people are always asking me, What are you doing with your time these days? Or Are you still painting?

Sheesh, I was an artist before I was nearly anything else.  Yes, I paint every day! That is really no exaggeration.  Sometimes I’ll take a day to just goof off, read a book or go do some other fun stuff.  Without guilt.

So I thought I’d look back at the month of January just to see how much art I really created for the month.  These are the stats.

Red Rock Cliffs at Zion National Park, watercolor / pen and ink, 9.5 x 13.5, Kit Miracle I don’t remember what is the name of this group of rocks (there are so many in the park) but I was attracted to the contrast of the sunlight and shadows.

Four watercolor / pen and ink travel paintings. These sell well in one of my online shops and they’re fun to do.

 

 

 

 

 

Rosemary’s Sunflowers, 20 x 16, acrylic on canvas, Kit Miracle. This bright painting is one of five sunflower paintings that I completed in January. Love the loose brushwork and dazzling colors.

Five sunflower paintings, all acrylic on canvas. Various sizes from 8 x 8 to 20 x 16.

 

 

 

 

 

 

 

 

Maple, partial sketch. Faber Castell grey pens. 11 x 14, Kit Miracle. I first completed the whole tree, then decided to focus on this detail.

Six tree drawings. Trees are hard to do but winter is a great time to “see the bones.”  I thought I’d give myself a challenge of doing one tree per week.  We’ll see how that goes.

 

 

 

 

Room Service, 16 x 20, acrylic on canvas. Kit Miracle As the name implies, this is a meal that I ate in my room on one of my many business trips, this time to Kansas City. I was attracted to the muted colors with a little dash of color for the main entree.

Three paintings in a new series called “The Food We Eat.” They will all be paintings of food, a very popular subject.  I just love the bright colors.  And the challenge.  I have thirty two paintings planned for this series.  Or at least until I get bored.

 

 

 

In addition, I have been designing new print-on-demand products for one of my Etsy shops.  So far, I’ve created about fifty.  There are so many ideas but time is limited.

The drawings are not for sale; just for practice.

And the food paintings will be saved for a group display.

Plus time spent updating websites, blog, and social media.

Lest you think that I spend all of my time in the studio, that is not the case.  I probably spend five or six hours a day, sometimes more, sometimes less.  It’s not work really.  I just get lost.

But, of course, January is a time of year with few garden demands.  Although I could probably spend some more time cleaning the attic or going to the gym.  But I’m happy.

And larger paintings require more time so not every month sees this kind of output.

But even when I was working full time, I was still able to squeeze in 15 to 20 hours a week in the studio.  I guess it’s just all about priorities.  Although I read a lot, I don’t watch much TV or waste too much time on social media.

If you want something bad enough, you’ll find the time.

Making temporary fixes to a painting

Far Horizons, original painting, acrylic on toned canvas, 20 x 24, Kit Miracle This is the original painting with portions of the toned canvas (raw sienna mostly) showing through as well as the original charcoal sketch on the canvas.

A few weeks ago I posted about changing the background of a painting.  I took a standard flower painting from a traditional dark background to a colorful reddish-orange background to a mixed background.  Someone asked me if I made the changes on the actual painting.  Yes, I did.  I like the painting but I’ve long passed the point of where every one is precious to me.  As the artiste, I feel it is my right to paint how I wish and what I wish.

However, I’m going to show you a neat little trick which will allow you to make temporary changes to a painting.  Here you can try out new ideas, new approaches without making permanent changes.

I have a large roll of acetate film which I used to use for wrapping large matted but not framed paintings, particularly watercolors.  This kept the paintings clean and protected them from fingerprint smudges and other dirt.  Great to use in art bins or wherever you want to display your work in public. You can buy acetate in rolls or sheets.

The painting that I’m demonstrating with is titled Far Horizons.  It shows my granddaughter looking out over the Grand Canyon. Not only does the painting depict the distant views of the Grand Canyon, but the deeper meaning of a young girl looking out to the future.

Although I love the composition of the painting, it somehow didn’t seem to give the impression of really far horizons, as anyone who has visited the great canyon can attest.  So I wanted to try to lighten the background as a test.

Far Horizons, 1st step. A clear acetate sheet has been taped over the canvas. No painting has been done on the acetate yet.

First, I cut a large piece of acetate and taped it to the painting.  Then just started loosely painting over the acetate with acrylic.  I lightened both the distant sky, and made many changes to the rocks with lighter colors.  I even added some more highlights to the girl’s hair and jacket.

Far Horizons, 2nd step. Here you see that I started with the sky and have been painting directly on the acetate sheet. The whole idea is to test out some lighter background colors in order to push it back.

Detail of step 2 showing some loose strokes of lighter colors.

Far Horizons, final step of the acetate painting over the original painting. I even touched up the highlights of the girl’s hair and jacket.

This is the actual painting on the acetate. I’ve put a plain piece of toned paper behind it to better show you the actual painting.

I plan to set the painting aside in order to evaluate whether I want to make any of these changes permanent.  If not, I haven’t done any damage to the original painting and can leave it just the way it is.

This technique works well for both acrylic and oil painting.

Painting in 3D

I recently had some work in an exhibit which was limited to works 8  by 8 inches.  That is pretty small.  So I decided to challenge myself by adding another twist.  I ordered three canvasses 8 x 8 by 2.5 depth.  It was almost like painting on boxes.

I’ve painted edges of canvasses before but this deep was extra challenging.

Kit Miracle – White Dahlia 3D, acrylic, 8 x 8

White Dahlia, left side

The first two paintings were of flowers, of course.  I paint a fair amount of flowers as you know.  Here it was fun to plan what part to focus on and which parts to wrap around with the painting.

Kit Miracle – Sunflowers 3D, acrylic, 8 x 8

Sunflowers 3D, left side. You can see where the flowers were carried around the edge of the deep canvas.

Sunflowers 3D, right side.

The final painting was really outside of my normal subject matter.  A goldfish bowl with a couple of fish swimming around.  I actually had great fun with it, especially carrying the fish bowl around the sides, top and bottom.

Kit Miracle, Goldfish Bowl 3D, acrylic on canvas, 8 x 8 I love the way the fish on the right is looking directly at you. Or so it seems.

Goldfish Bowl left side

Goldfish Bowl 3D, right side

Goldfish Bowl, top

Kit Miracle – Goldfish Bowl 3D – bottom

I guess some artists are more comfortable painting the same thing time after time, but I find that I like the challenge of trying something different.  What do you think?

Figure drawing. How to improve your work.

A typical selection of notebooks or sketchbooks. From 4 x 6 up to 11 x 14, I use these to captures moments of everyday life no matter where I may be. I try to remember to make a note of the date and location as my memory is poor after time passes.

There are so many artists who really excel at figure drawing that I’m always envious of their talent and the ease at which they seem to be able to capture the human figure.  I’m not one of them.

For me, drawing the human figure is mostly a matter of hard work.  Draw. Draw. Draw.  That is my MO.

I was pulling out some notebooks in my studio this week.  In a career of over 30 years, I have a lot of notebooks!

I noticed that I seem to be attracted to figures of all types and sizes, all ages and venues.  I don’t concentrate on one “type” of figure.  Not the big eyed children nor the beautiful sylph models, but the old and the gnarled, the fat and the thin, children doing what children do, people doing what they do when they think nobody is watching.  I don’t think I have a type but others may disagree.

One thing that I noticed when I was pulling notebooks out of my flat files is that I’ve been consistent over the years with my drawing.  I draw a lot. This, more than practically anything else, has probably led to my ability to capture figures.  And I’ll admit right up front that not everything I’ve drawn has hit the mark.  But practice is the best way to develop a skill.

I have small notebooks (4 x 6) which I can squirrel away in a purse or bag.  I’ve been able to amuse myself at airports and museums, restaurants and beaches.  Nearly anywhere people gather.

This is a situational sketch in my small notebook. The location is Topaz Thai Restaurant in mid-town Manhattan. I did this while I was eating lunch. Toned markers were used for quick shading.

Macy Gray at the Iridium Jazz Club near Times Square. Using pen and toned markers.

It was late evening on Times Square. I found that if I leaned up against a wall, I could draw street vendors and other passersby without any notice. It’s a fun challenge.

Audience members at Birdland. I think we were waiting for Rita Moreno but can’t remember exactly. Should have written it down.

Some of my sketchbooks range up to 18 x 24 or larger, which are not always easy for transporting, but great for working on larger compositions.

For drawing instruments, I use everything from pencils to pastels, gel pens to markers to charcoal.  Each has a special characteristic but I suggest that you try many different types of instruments.

Some life drawing sketches. The model is Ron whom I’ve drawn for over thirty years. He can hold a pose for a long time and entertains the artists with stories in his southern drawl.

I’ve taken life drawing classes.  Yes, the models are naked but you get used to it.  I’ve drawn one male model, Ron, for over thirty years.  He’s not a Mr. America by any means but he’s a really great model with inventive poses which he can hold for a long time.  He’s in his 70s now!

Another typical life drawing sketch. If you look closely, you can see where I’ve made initial marks for the model’s trunk. Pencil is the medium.

These are quick sketches in life drawing class. Typically the artist is only given 2 – 4 minutes before the model changes poses.

We don’t get too many opportunities to draw two models together so this was fun. Also, nice to be drawing some real bodies with all the lumps and bumps.

And then when I’m working from photographs, I do several preliminary drawings of the subjects.  This helps me get acquainted with their shapes and postures.  I can work out problems before I even begin to tackle anything in paint.

This is one of several preliminary sketches that I made from photos for a painting I just completed. It’s good to work out problems before I tackle the final subject.

This is an older sketch of my son and granddaughter as a preliminary drawing for a large painting. I love the way his hands dwarf her tiny body.

More preliminary drawings from photos. The granddaughter and her tiny hand grasping her father’s shirt.

So my best advice is to get a notebook, any size but you might be more comfortable with a small one to start with, and a pen or some toned markers, and get to work.  You will be surprised but most people don’t even notice that you’re drawing.  I’ve drawn in restaurants and theatres, at musical venues and just along the street.  I’ve even drawn while in line waiting for a theatre to open!  Yes, really.

Asymmetrical composition

Beach Readers, Intimate Spaces series, acrylic on linen, 24 x 30, Kit Miracle The whole attraction of this subject was the irony of the two young women who are reading and totally ignoring the beautiful day at the beach. I also love the way the red beach chairs draw the viewer’s eye into the scene.

There are many rules of painting composition which I have discussed in previous blogs (search: composition).  These are usually conventional and are designed to lead the eye through the picture.  But one of my favorites is an asymmetrical composition, that is, not even or necessarily balanced.  I liken this somewhat to whether you are a candlesticks at each end of the fireplace mantle kind of person or you feel comfortable placing both candlesticks at one end (usually balanced by some other object at the other end.)  It’s just a matter of personal preference.

The painting above, Beach Readers in the Intimate Spaces series, is a good example of asymmetrical composition. The bright red chairs on the right lead the eye into the scene to the two girls who are reading.  Most of the other action is in that quadrant of the painting.  However, the small figure playing in the surf at the far left is able to balance the scene.  If you don’t believe me, cover the figure with your hand and see what a difference that makes to the feel of the painting.

Asymmetrical composition came into vogue in the 1880s and 1890s as the Impressionist artists were influenced by the import of Japanese prints.  These prints not only led to some experimentation in composition, but to flattened colors and situational composition.  This would be similar to a photograph that is just cut off at strange places.  This could include people looking out of the picture plane, cutting off the head or legs of horses, or even figures exiting the frame.

Below are several examples of paintings by Mary Cassatt, Edgar Degas and Edouard Manet which illustrate this influence.  The first two artists collaborated for years with their printmaking but as you can see, the Japanese influence directly appeared in their work.

Mary Cassatt, Woman and Child in the Driving Seat.

Degas, more race horses running out of the picture plane. Lots of empty space but it works.

One of many Degas racing scenes. Notice how some people are only partially shown in the picture plane. This is a similar composition to my Beach Readers in that there is a big blank space in the lower left side of the painting, with the action on the right leading into the main subject.

Degas. Another very unusual composition of race horses and jockeys.

Degas, Place de la Concorde. Notice how everyone seems to be looking off in a different direction. And why are the little girls cut off at the waist?

Edouard Manet, Portrait of Gillaudin on a Horse. You can only infer the horse in this painting although the main subject is centered.

Exodus

Exodus, Intimate Spaces – Beach Series, acrylic on linen, 50 x 34, Kit Miracle

When I first planned this series of paintings back in January, it was in order to drill down and challenge myself to sticking with a theme.  In this case, Intimate Spaces – Beach Series, was meant to depict how people seem to stake out their territories at the beach, and then to presume that they are invisible to the outside world.  They aren’t, of course.  The Artist’s eye is one of observation, especially of the human animal, and how we go about our lives in public spaces.

There are sixteen paintings planned in this series.  I planned each one back in January, including doing preliminary drawings, NOTAN studies, and approximate sizes.  Some are fun or humorous, some relay my quirky sense of humor in observation, but some are more serious.

I am painting each work in the order that I’ve planned them.  However, as I drew closer to working on the painting Exodus, it seemed as if my thoughts turned to more serious matters.  That is due in part to the turmoil that our country has faced in recent months regarding the influx of people seeking sanctuary here.  This led me to reflect upon the Bible and the story of the flight of the Israelites from Egypt. (Exodus is the second book of the Bible.) Even up to the past few centuries when our country was populated by people seeking a better life than where they were from.  My mother immigrated to the United States when she was only nineteen.  I can’t begin to imagine the courage it took to leave everything and everyone she had ever known for the promise of a better life.  It still gives me pause to think about.

Exodus – Intimate Spaces, Beach Series, detail 1, Kit Miracle

So while this painting actually depicts a family leaving the beach at the end of a long day of sun and surf, with the young boy looking back wistfully at the ocean, it seems to hold so much more meaning.

Exodus – Intimate Spaces, Beach Series, detail 2, Kit Miracle

The actual painting is 50 x 34, the largest of the series.  No faces are revealed except that of the young boy.  And the family seems to be marching off into the sunset.

The sky ended up with multiple layers and the beach sand is heavily textured.  However, the figures are meticulously painted in a manner reminiscent of Renaissance religious paintings.  Even the children have slight halos.  I haven’t totally examined all my reasons for choosing such a method of painting but I’m sure it will dawn on me later.

To actually view the step-by-step painting of this piece, click on this link or go to the tab marked Artwork and scroll down to Exodus.

Thanks for stopping by.  Your comments are always welcome.