Posted onNovember 26, 2023|Comments Off on 125th Annual Juried Show – Richmond Art Museum
McGuire Hall, Richmond Art Museum, Richmond, Indiana.
I mentioned in a post a few years ago (October 2019) that my high school alma mater is in Richmond, Indiana. It is a beautiful and stately old school with many new additions over the years. What most people don’t realize is that it is one of the few public high schools in the country that has it’s own art museum attached.
As a student there, I walked past famous paintings every day on my way to class in the arts wing. I thought that every high school had an art museum. I didn’t learn until much later how unusual this situation was. I’m sure that walking through beautiful McGuire Hall had a definite impact on my eventual career path. It was very inspiring seeing real paintings by William Merritt Chase and T.C. Steele on a daily basis.
Richmond Art Museum still receives enormous community support. They are currently celebrating their 125th annual juried exhibition for artists living in Indiana and Ohio. I am very pleased to report that I had both of my entries accepted into this prestigious show. The two paintings are The Golden Marble and Leo’s Muse which I’ve discussed in earlier posts.
Leo’s Muse, final, acrylic on canvas, 23K gold leaf, sterling silver leaf, 16 x 16, Kit MiracleThe Golden Marble, acrylic on canvas, 30 x 24. 23K gold leaf and sterling silver leaf. Kit Miracle
If you’d like to see the paintings in person and many other beautiful works, the exhibit runs through January 6th, 2024. The museum is located on the north end of Richmond High School on Hub Etchinson Parkway where there is public parking. Admission is free. Feel free to stop in, see the exhibit and some of the artwork on display in the other galleries. Hours are Tuesday through Saturday, 10 to 5; closed Sunday, Monday and major holidays. Call 765-996-0256 for more information.
This is the time of year when people gather together in homey places. Basements, dens, shops, barns. Places with warm stoves and fireplaces, indoors or outdoors, as weather permits. Shared food and snacks, tall tales, laughter and fun.
Typical buck in velvet captured on the deer cam a few years ago.
I’m not talking about Thanksgiving. I’m talking about the opening of deer season which was yesterday in Indiana. This is with firearms. Bow season has been open for a awhile already.
Oh, those poor Bambis!, you say. I probably thought that over 35 years ago when I lived in the city. Now that I’ve lived in the county for most of my life, I have an entirely different perspective. Long gone are the days when my Uncle Elmer Ray would go hunting in the UP in Michigan, bring back the deer he bagged, then drive around with the poor victim strapped across the hood of his car. It always tasted a little wonky to me. Wonder why?
Not only did I feel sorry for the poor deer, when I moved to my90acres, I didn’t worry about the deer roaming around the property. Hummmm…. After they’ve eaten rows of green beans, new pea sprouts, or my flowers, I’ve got a different viewpoint. They don’t have much respect for what is my territory and what is their space.
But what really changed my opinion over the years have been the ELEVEN deer / car run accidents my family has had over the years. Plenty of expense and at least one car totaled. No injuries, fortunately.
The white tail deer population was mostly wiped out in Indiana by the early 1900s. It was reintroduced in the 1940s. Now, there are an estimated 680,000 deer here. Unfortuntely, having large wild animals roaming freely means that Indiana also saw more than 14,000 deer / vehicle accidents last year. That translates to 1.5 M across the US. This translates further to 1 B damages and around 200 fatalities.
Look carefully at the bottom of the photo to spot numerous deer tracks in the mud.
I’m not going to discuss the pros and cons of hunting season, but here are some things to keep in mind from becoming a statistic if you have to travel through rural areas. And by the way, the deer population is pretty strong in urban areas, too. This information is not scientific so draw your own conclusions. But I used to drive to work on country roads for a minimum of 250 miles per week for many years. These are some of my conclusions.
If you see dead deer along a certain stretch of the road consistently, consider that an unofficial deer crossing. They will often use the same paths over many years. Be aware. I saw one trying to cross the road in such a place just this past Friday evening. I was driving rather slowly (50 mph, probably to the annoyance of the car behind me) when a young buck appeared on the side of the road. I laid on the horn and the brakes; fortunately he turned around and went back but he looked as if he was going to run out in front of me.
They like to move at dawn and dusk but don’t let your guard down. I’ve seen them roaming at all times of day and night.
I’ve noticed that where a tip of woods touches the road with another tip on the other side, you’ll often see deer crossing. They’re using the cover of the trees.
Same goes for drainage ditches. They’ll take cover running along in the ditch, then pop up where the road crosses. Surprise!
They often run in groups. I’ve braked for a deer running across the road, then drove on, only to see in my reaview mirror the car behind me hit another animal in the herd.
Those are just a few hints to help you avoid becoming a statistic. Just use caution this time of year. Avoid feeding times, use your high beams, if possible. Slow down a bit. It just might save you a lot of aggravation down the road.
Just a note. The hunters around here are not just seeking trophies (although there is some bragging for that nine-pointer), but they actually use the meat for the table. Many hunters even share with local food banks and other organizations of need.
Afternoon visitors. They’re eating fallen fruit from the orchard.
The most recent paintings that I’ve done have been with using a very limited palette which I’ve posted about previously. I’ve now cut the number back to four colors plus black and white. I like the challenge to see if I can adapt the most colors from just a few options. Actually, it works very well.
The original reference photo. I like the dappled light.
This painting is based on some photos that I took of summer flowers several years ago. Called August Bouquet, it showcases some zinnias and Queen Ann’s lace, plus others. The vase is sitting in the shade on an old wooden table, with dappled sunlight showing through. I’ve added some scissors as a foil for the flowers.
Vertical canvas prepared with thin color washesCanvas with sketches, and colored outlines
The canvas is a 20 x 16 vertical, 1.5 inches deep. I’ve already sanded and gessoed it and added a little texture. Then I added a thin wash of colors approximately where I anticipated locating the main shapes. After this coat dried (working with acrylics that only takes about twenty minutes), I then made a loose pencil outline of the flowers and other shapes.
The next step was to add color to the outline. I don’t try to make the outline colors match the subject, in this case, flowers. In fact, I often choose what I anticipate are contrasting colors to the final painting.
Middle stage with some fill-in color, loosely painted. I actually like this stage best. I think it would look nice in a larger size.August Bouquet, almost finished. I did not stick with the dark brown of the wooden table but kept to a lighter tone. I will tweak it a bit and add some gold or silver leaf details. Maybe.
Then the main shapes began to get filled in. I hesitate to call this the tedious part, but it is much more involved than the previous steps. I just have to stick with it until I’m done. I zone out, listening to music or a recorded book. Sometimes I fill in the background first; sometimes I start with the main subject. There are no hard rules here.
Canvas on my easel. I’ve turned off the painting light to get a better idea of values and colors. You will also notice a couple of shed snakeskins hanging on my easel. Actually, this is ONE snakeskin (about five ft) which my son found in the woodshed. He thought it would be fun to leave it for me in my studio…spread out on the floor. Big joker, eh?
I step away from the canvas often at this point to compare values, colors, shapes. The painting light above my easel can cast light which is too harsh so it’s best to turn it off while I compare values. This is a good point to take a break, perhaps overnight. I’ll often run out to my studio in the morning to see if the painting looks as I thought I left it or what glaring changes I need to make.
Although August Bouquet will be finished with a few more details, plus probably some addition of gold or silver leaf, I actually like one of the middle, less-finished stages best. One doesn’t actually need to put in every detail; in fact, it’s often distracting and doesn’t help convey the message of the painting.
Maybe I’ll paint it again with a less-finished look. What do you think?
My notes with a list of the colors I’ve used. All Liquitex or Golden Heavy Body Acrylics. These paints are high quality and thicker than standard paints. I can get more texture with them. My disposable palette with the four colors plus black and white.
Posted onNovember 7, 2023|Comments Off on Feature article in Southern Indiana Living Magazine
My work is featured in the November- December issue of Southern Indiana Living Magazine. Thanks to the wonderful write up by Judy Cato, she’s managed to condense forty years into two pages – with pictures! Thanks so much, SILM and Judy. Check it out here, pages 18-19.
I was tinkering around in my studio this week in between starting some new work when I pulled out a sketchbook. Well, one of many. I have sketchbooks of all kinds and sizes. Some fit in a pocket or purse, others are what I call vacation sketchbooks where I record scenes, thoughts and ideas while traveling. There may be more than one vacation in a book. Some I will start and finish completely, while others I pick up as needed. One of my favorite sketchbooks is a handmade Japanese book with thick deckle-edged paper. I don’t remember where I got it but it is so beautiful that I choose carefully what I put in it. Most other books, I write in the back the maker and particulars. And my name and contact info in the front.
Found objects, present from my son. Praying mantis egg casing and three blue jay feathers.A posy of violets, large four leaf clover, and a pretty leaf.
I find sketching to be very relaxing but I’m not obsessed with it. I try out new ideas. Make notes of the materials I’ve used. Or I might write the name of a book that I heard about while listening to NPR. They’re my sketchbooks and I can do what I want. There really aren’t any rules. I might cut swatches from a favorite article of clothing before I put it in the rag bag, or add a post card. Or how about that sticker from that wonderful chocolate shop I visited in Paris. I would never remember the name of that again.
If you looked through my books, you might find some pressed flowers or leaves, lots of four leaf clovers (artists are good at finding those). A favorite quote from a Chinese fortune cookie.
Typical found birds nest waiting to be captured in my sketchbook.Basket of feathers, mostly turkey, and a small nest composed of dog hair and lichen.
Many of my sketchbooks are devoted to nature or natural elements. I have plenty of subject matter out here on the 90 acres. Plus, one of my sons would (and still does) leave interesting things on my drawing table. A birds nest, some feathers, a praying mantis case. I’ll hang onto these items until they become too ratty and disgusting to have around. But the drawing will last much longer.
A messy robin’s nest. See if you can spot the secret code in the drawing. Notice the thumbtack shadows.
One of my oldest sketches (not in a book but just loose paper) was of a very scruffy robin’s nest which my son brought me one day. I did a fairly large drawing, added some (imaginary) eggs, and scanned it electronically. I’ve used that drawing for many years. I’ve even printed it off on watercolor paper and painted it so I have two versions. Unfortunately, I have seen my drawing pop up on the web elsewhere under someone else’s name. Ha ha. What they don’t know, is that I added a secret code to the drawing so I know it’s mine. I kept the original drawing on my bulletin board in my studio for years until the paper yellowed but you can see the thumbtack marks in the corners. Yeah, those artists are violating copyright laws but I have neither the time, interest nor resources to pursue the matter.
Box of found objects. Birds nests, acorns, chestnuts, magnolia seedpods, etc.
Back to the point. I highly recommend keeping a sketchbook or two or four. They’re so great to relax, record your life, your thoughts. I’ve used pencil, pen and ink, watercolor, colored pencils and markers. I don’t use charcoal much as it tends to be messy and it smears but you can use what you want to in your book.
A dead bird. Anything can end up in the sketch book.
Cold weather seems to bring on an appetite for hot soup. We make a variety of soups here on the farm not only because they are tasty and filling, but it’s also a good way to add those veggies into the diets of some people who claim they don’t like vegetables. We never make small batches of soup around here either so this is as small as it gets (an eight quart pot). Plenty to eat for a couple of days and plenty to share.
The other day I made one of our favorites, Thick Kale Soup. Don’t like kale? You will love this soup. My granddaughter says this is her favorite soup. I actually posted this recipe a few years ago but it bears repeating.
Simple ingredients: smoked sausage, onions, garlic, kale, potatoes, white beans, broth and spices. That’s pretty much it. Got company coming? Add more broth, potatoes and another can of beans.
Cut the smoked sausage into bite-size pieces.Cubed potatoes. Personally, I like to leave the potatoes unpeeled.
Heat the olive oil in a 6 – 8 quart soup pot. Add the chopped smoked sausage. You can use any kind of smoked sausage – regular, light, turkey, or even Polish kielbasa. Stir and brown.
Add the chopped onion and stir until clear. Add the minced garlic. Keep stirring so they don’t burn.
Strip the kale from the stalks with your fingers. Much faster. Then rough cut.Here I have added the potatoes to the pot with the sautéed smoked sausage, onions and garlic.
Meanwhile, wash and strip the veins out of the kale. Rough chop and add to the mixture, stirring until wilted. Add the chicken or vegetable broth and cover. Bring to simmer.
Wash and dice the potatoes. Sometimes I leave the peel on just for added texture. Add to the pot after it comes to a slow boil. Cover and bring back to simmer.
Breaking down the potatoes with my very old, inherited potato masher. This helps thicken the soup, too.White beans. Top are great northern; bottom are cannellini
When the potatoes are cooked (about 15-20 minutes), use an old fashioned potato masher and rough mash them in the pot. This just helps the soup to thicken.
Then add the two cans of beans (drained). Frankly, I just use whatever white beans I have available. I’ve even added butter beans and it works fine.
This is the final kale soup should look like.
Add the cracked pepper to taste. You probably won’t need any salt as the sausage is pretty salty, but suit yourself. I often use a couple of bouillon cubes to add salt, plus always some garlic powder.
Serve with crusty bread for a filling lunch or dinner.
Still gathering produce from the garden this autumn.
Autumn is my second favorite season (spring is my favorite). I think it’s due to the brilliant colors, all those reds and oranges and yellows. The garden is winding down but I’m still extending the season. Frost was predicted last week (didn’t happen) but I covered the vegetable patch anyway. Still getting some tomatoes and peppers. They’re small but we’ll miss that fresh and juicy taste when the last one is gone. I started a new crop of lettuce and spinach. The spinach isn’t doing well but the bib lettuce is coming along. We should be eating fresh lettuce in a week or so. I know it doesn’t seem like much to most people when you can just go to the store and buy fresh lettuce, but still there’s the pleasure of picking my own.
Covering the vegetable patch to prevent frost damage.
We lost all the peaches due to a late freeze this year but we’ve had a bounty of pears. My husband has the patience to sit and process them for the freezer. Future pies and cobblers. I get the fun job of picking them with my long handled fruit picker, with the aid of my grandson who thinks it’s pretty special to dodge the fruit as it comes down. The persimmons are also ripening. I don’t particularly like persimmons but a lot of people around here do. As do the deer and other night creatures. If you don’t know, you have to have both female and male trees to pollinate them. Just a fun fact.
The Kieffer pears just do not want to give up. We don’t spray so, no, they are not perfect. But they make great pies.These are natural persimmons, not those pretty store-bought ones. Many people make persimmon pudding.
The potted flowers haven’t given up yet either but they’re getting pretty straggly. I like the roses that still put out an effort and a few late blooms. And I did take a grandchild to the library to paint pumpkins.
A late-blooming climbing rose.
I returned from our trip to the Smoky Mountains last month inspired to paint many of the beautiful scenes that we saw. Sunrise in the Smokies, mountain streams, just so many awesome vistas. After a few small paintings, I printed some cards and painted some holiday scenes for a local gift shop and one of my Etsy shops. Tis the season and most artists and craftspeople are busy this time of year.
Smokey Mountain Sunrise, Acrylic, 10 x 20Mountain stream in the Smokies. Acrylic, 10 x 20.
And, hey, it’s fall break this week, too. Hummm….guess I’ll cajole the grandkids to help me do some chores, like cleaning out the greenhouse and the shop. Both of those tasks have been on the list all year. Maybe pick up some walnuts for replanting. I picked seven gallons of redbud seedpods which we’ll sow in the woods. If you don’t have this beautiful understory tree in your area, I truly feel sorry for you. A good excuse for a walk in the woods with the kids.
Anyway, I hope that you can get outside to enjoy the final warm days of the season wherever you live.
Posted onOctober 1, 2023|Comments Off on Great Smoky Mountains in Autumn
A watercolor / pen and ink sketch from our cabin.
We were able to get away to visit the Great Smoky Mountains this past week and meet up with some old friends. The cabin we rented had an unbelievable view but the park itself was well worth the trip. I haven’t visited it for years. Of course, the towns outside the park had grown a bit (A LOT!) but the natural beauty of the park is still impressive.
Morning view of the mountains from our cabin.
As the most visited National Park in the country, it’s amazing how well-maintained it is. We took a ride through two parts of the park during the week and were able to get out to enjoy the views and visit some historical buildings. I would have loved to just park and paint the scenery but I’m sure our friends wouldn’t appreciate watching me paint for a couple of hours. Well, maybe next time.
Beautiful stream in the park. Another view from within the park.The Ephraim Bales cabin (and other buildings).
We took the Newfound Gap Road tour first and had a picnic lunch by the river. Since we had plenty of time, we then drove down to Cades Cove. That was an adventure. Although we avoided the weekend crowd of leaf-lookers, we got stuck in a miles-long traffic jam of cars inching forward. The road is one lane and one way. There was no indication of what was causing the delay. People were getting out of their cars and walking past us. We came to find out that there were supposedly some bears in a tree up ahead. Although we didn’t see any of those bears, we did see a mama and cub run across the road in front of us before we got to the traffic jam. There was also a plein air painting event going on, too. Added to the people who were trying to spot the bears in the tree, it was a little chaotic.
Cades Cove, Smoky Mountains. We had plenty of time to view the scenery since we were stuck in a traffic jam.
Anyway, it was a beautiful day for a drive and a picnic.
Horse-drawn wagon, anyone?
Although not the oldest national park, Great Smoky Mountain National Park, admission is free and there are plenty of activities for people of all ages. But I wouldn’t recommend approaching any wild bears. They’re not pets and they can move very quickly. As my granddaughter remarked when we told her about the crowds of bear watchers, are you kidding me?!
All these people thought there were bears up in the tree but we didn’t see any.
Posted onSeptember 17, 2023|Comments Off on The Golden Marble – More Gold and Silver Leaf
The Golden Marble, acrylic on canvas, 30 x 24. 23K gold leaf and sterling silver leaf. Kit Miracle
This is another painting in the gold and silver leaf series that I’ve been exploring. At 30 x 24, it’s the largest one so far. I also completed this one before Leo’s Muse which I posted last week.
The subject is a young boy who has been playing dress-up with his sister. In a spirit of silliness, she has adorned him with ribbons and hair clips. His smile engages the viewer as he shows off The Golden Marble which is a prized possession.
Although I usually plan my paintings very carefully, I’ll admit that I really wasn’t sure where I was going with this one. I liked the subject. I knew that I wanted some gold and silver. Other than that….well…
A preliminary sketch of the subject of The Golden Marble
As usual, I did some preliminary drawings of the child. These are just to familiarize myself with the subject. I then sketched him on the canvas, a straight-on shot. Then I began playing with background colors. I elected to use some very bright and warm colors, radiating out of the figure.
Initial lay-in of colors. I did the background warm/hot colors first. The began a grisaille of the figure.Now laying in flesh tones, plus adding some detail to the background.
I then painted the figure in grisaille, those greyish tones. Later working overall with adding some detail to the background. More paint on the primary figure. Although I had some reference photos to work from, this doesn’t really represent the situation. I painted very loosely, adding more to both the figure and the background until I was satisfied.
The figure is pretty complete. I decided to add a carpet to part of the floor, leaving the rest as hinting at wood flooring.Applying the gold and silver leaf while working on the floor
Because the canvas is so large, I had to place it on the floor of my studio to work on adding the gold leaf. Again, no fans or air conditioning blowing as the metal leaf is so fragile and blows everywhere. It was pretty challenging to decide where I wanted to place the metal leaf, plus I kept switching back and forth during the process. Sometimes the gold would be on top; other times the silver would be. The fixative is clear so I had to carefully judge where I wanted to place it, and estimate the right amount of tackiness for the metal leaf to stick. Overall, I’m pretty pleased with the result.
The Golden Marble, detail 1. I left plenty of the warm background colors show through. As you can see, I alternated placing the gold leaf on top of the silver, and the silver on top of the gold. Abstract shapes alternate with more organic circle or bubble shapes. No real planning, just in the flow.The Golden Marble – detail 2 showing the texture of the canvas and close-ups of the hair decorations
The final steps were to go back and touch up the figure here and there. I have learned that it’s difficult to touch up or make changes in the gold and silver leaf as it just doesn’t look the same as when first applied. I may find some way to eventually meet this challenge, but haven’t yet.
The very final step is to spray a protective coat of clear acrylic over the entire painting. This keeps the silver leaf from tarnishing and the gold leaf from flaking off.
Overall, it’s a very striking piece. I want to explore my next subject in this medium.
Leo’s Muse, final, acrylic on canvas, 23K gold leaf, sterling silver leaf, 16 x 16, Kit Miracle
For the past several months, I’ve been experimenting with adding gold and silver leaf to some of my paintings. I don’t know why I decided that this was a path for me, but as with most artists, we get inspired with new ideas and techniques. I posted on here earlier about some glam cat paintings and some others, but the most recent sparkly paintings have been both challenging and rewarding.
Leo’s Muse, several sample preliminary sketches
In Leo’s Muse, I began with some ideas rolling around. I took a few dozen photos of my model in different lighting and poses. Then began the difficult part of winnowing down all my options to a few good poses. It may seem like an unnecessary step, but I have found that it helps to do a number of sketches even before I get to the final idea. This allows me to familiarize myself with the model and the lighting until I reach my final idea.
Leo’s Muse, initial canvas sketchLeo’s Muse, step 2, blocking in color
I then sketched the outline of the pose on a prepared canvas (gesso and a couple of coats of acrylic paint.) Then I basically start…somewhere. For a portrait, it will be with the head or body. Then I lay in some loose background colors. In this particular painting, I painted the flesh in grisaille (grey undertones) before I began adding color to the face. After I have the basic face laid in, I just keep working on the painting as I would a normal painting until I reach a point where I am satisfied.
Leo’s Muse, adding more color, grisaille grey under tones on canvasStep 4, adding color over the grisaille
Another challenge with this painting is the added wreath of flowers. That is entirely imaginary as I didn’t really think of it while I was planning the painting. That is often the way of the creative process. Surprises pop up.
Leo’s Muse, nearly finished. Last step before gold and silver leaf is added
The canvas is two inches deep so the painting is carried around the sides.
Leo’s Muse, adding the metal leaf
After letting the painting dry for awhile, I then began to add the gold and silver leaf. I was a bit conflicted about this step as I really liked the painting without the added touch. But the design in my head called for it so, what the heck? I took the leap.
If you have never used gold or silver leaf, let me tell you, it is challenging. This is not a paint but actual sheets of real 23K gold and real sterling silver which have to be applied to the painting. The sheets of precious metal are so thin (.003 microns, whatever that is), that I can’t have a breath of air in the studio. No fan. No air conditioner. Hold my own breath while I’m applying the metal. And the little flakes get everywhere! On me, my clothes, other parts of the painting, all around my studio.
A fixative must first be applied to the surface that you wish to apply the metal. Then you have to wait until it has the right amount of tackiness. Then gently apply the metal, transferring from the tissue paper leaves to the painting, then gently press it into the fixative, and then remove the tissue paper all the while praying that the gold will actually adhere to where you have placed it. The fixative is clear as it dries, so that’s another dimension of challenge. Where did you paint it? Ha!
After I’ve let it dry, then I can take a somewhat stiffer clean brush and brush it off the rest of the painting. More challenges with flying gold and silver flakes. If you’ve never tried this before, you might want to experiment with the fake gold until you get the hang of it. When possible, I collect the extra flakes and put them in labeled jars for use on backgrounds or other areas.
After the paintings have had time to “set”, I will spray them with a clear coat of acrylic. This prevents the sterling silver from tarnishing, and the gold from flaking more or rubbing off. Or so I am told. I haven’t used it enough to be absolutely certain but we’ll see.
Leo’s Muse, final, acrylic on canvas, 23K gold leaf, sterling silver leaf, 16 x 16, Kit Miracle
By the way, the title of the painting, “Leo’s Muse” is actually short for Leonardo’s Muse. The model’s direct gaze and Mona Lisa smile of that other famous lady with the knowing look.
I'm a professional artist, retired director of a performing arts center, bona fide book addict, and enjoy the quiet life...most of the time. I'd love to hear from you or get your ideas for future posts. Come back soon!
I'm a professional artist, retired director of a performing arts center, bona fide book addict, and enjoy the quiet life...most of the time. I'd love to hear from you or get your ideas for future posts. Come back soon!
my90acres 