Tag Archives: contemporary impressionist

Jack Frost Visits

Jack Frost on my windowpane in the studio.

After a balmy winter holiday, the temperatures in the Midwest plummeted.  We recorded minus 4 degrees (F) this week.  Needless to say, I’m a wuss and am not spending much time outdoors.  However, even working in my studio has challenges.

As I have mentioned before, my studio is an old summer kitchen about 30 feet from the back door.  It was designed when cooking was done on wood-fired cook stoves (which it actually had when we moved here.)  This was to keep the heat out of the house in the summer.  You’ll find one of these buildings on many old farms in southern Indiana and throughout the Midwest and South.  I am lucky that ours is about 15 x 25’, which is pretty large for a summer kitchen.  In this case, the family and field hands actually ate in the building.  It is a perfect size for a studio.

Unfortunately, the whole purpose of the design was to keep the heat out of the house so they didn’t really care about insulating the building.  Thus, it’s very drafty.  Although I have a gas heater, unless I want to go broke, I keep it turned down.  This week I was wearing a hat, many layers of clothing, two pairs of socks (the cold comes up through the floor), and I was still chilly.

I snapped this photo of the beautiful patterns of the frost on the windowpanes.  It looks like giant feathers.  With all of our insulated windows and super-heated houses, window frost has become more and more uncommon.

The beauty of nature is all around us, even in the most unlikely places.

Since I was confined to studio painting, here are a couple of my recent works.  Plus, I tweaked the still life with red cabbage and artichokes that I posted on here a few weeks ago.  Artists are never quite satisfied with their finished work. Renoir was known to bring his paints to gallery exhibits even after his paintings were hung, just so he could make changes.  I’m not quite that bad but I might fiddle around with a painting which doesn’t quite suit me.

Here’s hoping that the weather is better where you are and that warmer days will be here soon.

Artist Still Life, oil on canvas board, 10 x 10, Kit Miracle

Down by the Creek, oil on canvas, 20 x 16, Kit Miracle

Red Cabbage and Artichoke, 18 x 24, oil on canvas, Kit Miracle. Still Life revised from previous version.

Red Cabbage Still Life – A Challenge in Color and Shape

Red Cabbage Still Life, oil on canvas, 18 x 24, Kit Miracle

This still life is a little larger and more complex than many of my other recent paintings.  I was inspired by a visit to the grocery.  I must have had my “artist’s eyes” on that day because I seemed to be dazzled by the beautiful colors and shapes of the vegetables.  Several of the more interesting vegetables came home with me that day.

Inspiration in the vegetable department at the grocery. I love these colors and interesting shapes.

Before I tackled the main still life, I first completed several smaller still lifes just to get a feel for the shapes and colors.

Red Cabbage, oil on canvas board, 10 x 10, Kit Miracle

Surprisingly, the red cabbage was the most difficult to paint.  It has very subtle hues of purple, red and magenta.  It was a tight head so not much interest as far as shape until I peeled back a leaf or two.  I think a larger, leafier cabbage would be far more interesting.

Artichoke, oil on canvas board, 10 x 10, Kit Miracle

The artichoke, with it’s pointy leaves and shapes, was very fun to paint.

Radishes in Green Bowl, oil on canvas board, 10 x 10, Kit Miracle

The radishes are usually fun but their greens started to wilt quickly.  However, they later generated more new leaves so that was a big help.

The final big still life was painted on an 18 x 24 inch canvas which I had toned in variegated colors.  It seems to have a glow all its own.  I don’t quite know how that happened except that some of the under painting showed through.  Unfortunately, I didn’t’ take step-by-step photos of this painting.  I might tweak it a bit more but there’s always a risk of going too far.  Sometimes done is done.

These paintings will be for sale on my Etsy shop.  KitMiracleArt

Ladybug Teapot, a Whimsical Painting

Ladybug Teapot, oil on canvas, 12 x 16, Kit Miracle

This playful still life was inspired by the whimsical ladybug teapot that I found in my prop cupboard.  It’s actually a teapot and cup combination which I paired with some red apples and bright green fabric.  Check out the step-by-step of how this painting was created here.

The painting can also be found on my Etsy shop, KitMiracleArt.  A great gift for your favorite tea lover!

Appletini – Something Different

It was a busy week here on the farm with company and the big Thanksgiving feast.  The weather has been pretty great, too – all sunshine and balmy temperatures.  In November, this means more outdoor chores, such as, chopping firewood, cleaning gutters, etc.

Appletini, oil on canvas, 16 x 12, Kit Miracle

All of these activities mean that I only completed one painting this week.   I call it Appletini since it features a big red apple in a martini glass with a silver shaker behind it.  The reflections were what really attracted me.  This is similar to previous paintings that I’ve posted on here, Apple Jack, and Two Lemons and a Martini Glass.  I don’t know why but I like placing objects in unusual situations.  Props courtesy of Goodwill thrift shop.

I’m not quite sure if I’m finished with the painting but I probably am.  What do you think?

Of course, available on my Etsy shop and can be shipped in time for the holidays.

Studies in Red – Oil Paintings with Heart

I’ve always liked red paintings.  When I did art fairs for many years, they seemed to be very popular with my patrons, too.  Everyone has room for a red painting to brighten up that special spot.

The four paintings that I completed this week are predominantly red or at least in the red/orange family.

The Birdcage, oil on canvas. 12 x 16, Kit Miracle

The first one, The Birdcage, features the antique birdcage that I bought at a flea market earlier this summer.  I paired it with some bright red fabric printed with beautiful little birds.  Then I decided to do a tea theme with a teacup and small teapot, along with some luscious lemons.  Although the painting is a little busy, especially after the simplicity of the others that I’ve been working on lately, I think it works.  Boy, that birdcage was difficult to paint!  The other challenge was to depict the birds on the fabric without letting them take over the composition.

The Conversation, oil painting, 10 x 10, Kit Miracle

The second painting I did this week is called The Conversation.  I can just imagine two friends having a lovely talk in the afternoon sunshine.  It looks as if they just left, doesn’t it?

Lamplight, oil painting, 10 x 10, Kit Miracle

Then I painted this bright interior painting called Lamplight.  This depicts an interior scene, perhaps an entry hall, with a lamp and a simple bouquet of red flowers.  The gold frame of the mirror helps connect the objects on the table.

A Sunny Corner, oil painting, 10 x 10, Kit Miracle

My final painting this week I call The Sunny Corner.  I’ve always loved the play of sunlight and shadows on interior walls and floors.  The effects are often fleeting but beautiful, nonetheless.  The chair just invites the viewer to take a rest and enjoy the sunshine.

Visit my Etsy shop, KitMiracleArt, to see many more painting details.

Onions and Garlic, a step-by-step demonstration

Onions and Garlic, 12 x 16, oil on canvas, final- Kit Miracle

I’ve been painting a lot of still lifes lately.  This one was inspired when my husband came home recently with a bag of big, beautiful garlic bulbs.  I quickly grabbed them before he could put them in a sauce or plant them in the garden.  Then I went “shopping” through the house and refrigerator, and even my prop closet for the rest of the items I needed for a still life.  This one reminds me of something by Cezanne or Renoir.  The impressionists were known for beautiful paintings featuring simple household items.

If you would like to see a demo of this painting step-by-step, click here for the demo page.  The painting is for sale on my Etsy shop, KitMiracleArt.  Paint has to dry though!

Painting Marathon – Trying Something New

About a week ago, I decided to see how quickly I could paint ten paintings.  I’m not quite sure what the spark was.  Maybe I was bored, tired of the old style. Something I saw that reminded me of some yellow and blue paintings that I had done years ago.  Anyway, I decided to challenge myself, not only with the number of paintings, but stretching to a slightly different style.  In this case, my aim was to paint looser, faster, and more colorful.

Apple Jack, oil on board, 16 x 12, Kit Miracle

I chose my subject matter by going “shopping” through my house and refrigerator, and, of course, my prop cupboard in the back of my studio.  Hey, I didn’t even remember that I had martini glasses until I spotted them in the back of that cupboard!  And a shaker, too.  Must have been from a resale shop.

Two Lemons and a Martini Glass, oil on canvas board, 12 x 9, Kit Miracle

It was really great fun.  The miserable and damp weather meant that I didn’t feel any guilt at all about holing up in the studio instead of going outside for some fresh air.  I didn’t even want to come into the house to eat.  (And that never happens!)

Wait for Me!, cherry tomatoes in a dish, oil on canvas, 8 x 10, Kit Miracle

Although I wasn’t deliberately trying to emulate any particular style, I can see a lot of Cezanne and Janet Fish in these paintings.  And I’m really eager to try some more, perhaps larger or some landscapes in this style.  What do you think?  Thanks for stopping by.  Your feedback and comments are always welcome.

Oh, yes, all of these paintings are available at my Etsy shop, KitMiracleArt.  Check them out.

Three Tomatoes on a White Plate, oil on canvas, 8 x 10, Kit Miracle

Three Lemons in a Blue Bowl, oil on canvas, 8 x 10, Kit Miracle

Pine Sprigs in Antique Blue Bowl, Weller pottery, oil on board, 12 x 16, Kit Miracle

Lucky Four, green apples, oil on canvas, 12 x 16, Kit Miracle

Lemons on Blue Plate, oil on board, 12 x 16, Kit Miracle

Green Apples and Cut Glass Dish, oil on canvas board, 9 x 12, Kit Miracle

Adam and Eve, red apple and green apple, oil on board, 8 x 10, Kit Miracle

The Huntress I and II, oil on canvas

The Huntress I – oil on canvas, 20 x 20, Kit Miracle

The Huntress II – oil on canvas, 20 x 20, Kit Miracle

The Huntress I and II are two paintings that I created earlier this year.  Although I have often created a series of paintings, this is the first time that I created a pair of paintings.  They each stand alone from a design view, but work better as a pair.

My aim here was to create a bit of mystery, to simplify the background and the figure, and to play off the high intensity light without adding a harshness to the scene

Check out the step-by-step page to learn more about how I made these beautiful pair. https://my90acres.com/artwork/the-huntress-i-and-ii-step-by-step/

Telling A Story with Your Art

Pumpkin Head – final painting, oil on linen, 29.25 x 36, Kit Miracle, Halloween theme, telling a story

I was talking with an artist friend recently and was lamenting that I couldn’t seem to find my style.  She was astounded and said that I definitely do have a style.  Upon reflection, I’ve had other people tell me that they can recognize my paintings immediately in a gallery full of artwork.  So, I guess maybe I do have a recognizable style.

But as we talked further, I said that the paintings that I’m most proud of are the ones that tell a story.  To me, storytelling is so much beyond just the skill of being able to render a still life or landscape.  This is not really a new thing. Artists have been telling stories through their art for centuries from the first caveman drawings (how to hunt) to relaying biblical scenes to recording street scenes.

Some of the things I think about when I’m creating one of these story paintings are:

  1. How can I engage the viewer?  How do I draw him in, step closer, stay awhile?
  2. I want the viewer to ask, What’s next? Is there a next?
  3. If I can, I want to insert an element of surprise. After the viewer stands in front of the painting, they notice the small things.  Maybe they have an Ah Ha
  4. I like to insert some emotional aspect.   Wonder.  Fear.  Danger.
  5. And it seems as if many of my story paintings exhibit some quality a little beyond reality.

The painting Pumpkin Head is such a painting.

The straight story here is that my son was carving some pumpkins for my granddaughter for Halloween.  When she asked for happy faces, he responded, No, they’re born as pumpkins and they die as scary Jack O’Lanterns! Kinda creepy if you ask me but it set the scene.

Many viewers have picked up on the element of danger here.  He really shouldn’t have been carving a pumpkin in his lap…but no blood was shed.

Pumpkin Head – detail, carving jack-o-lantern

And the element of surprise.  The viewer doesn’t really know if the child is a boy or girl with the gray outfit and dinosaur boots, until the pink bow is spotted peeking over the pumpkin she is holding.

Pumpkin Head – detail, child with jack-o-lantern

And, of course, there is humor.  It’s just a bit silly but something kids have done for years.

Finally, there’s an unreal quality about the painting.  Maybe it’s the October light or the impressionistic handling of the paint.  The moment in time.  The difficulty for me was to decide what to leave out of the painting.  I worked on this for two months with the last month taking the most time as I agonized what to change, what to emphasize.

I will make some future posts of other recent story paintings.  Meanwhile, think about the idea as you look at the work of Edward Hopper, Grant Wood, or Diego Rivera.  Good art is a lot more than just pretty decoration.

To view a step-by-step illustration of Pumpkin Head, visit this page.

Pumpkin Head is currently on exhibit in the annual Juried Show at the Krempp Gallery, Jasper Arts Center, Jasper, Indiana.

One hour painting challenge

Painting in plein air is a great time to challenge yourself with a limited time to complete a work.  Usually you’re painting quickly anyway due to the changing light and conditions.  In this piece, I decided to limit myself to one hour.  I even set a timer.

Wild daylilies

Orange daylilies grow wild here in southern Indiana and can be found along nearly any country road in June.  They’re so beautiful and hardy.  This patch of flowers I actually dug up along the road since, surprisingly, our farm had zero of these elegant and lively flowers.

One morning I noticed the light pouring through the trees which seemed to spotlight this flowerbed.  I also loved the dark background of the bushes behind the flowers which seemed to make them stand out even more.

Wild daylilies plein air, Kit Miracle

I decided to work in acrylic which is not my strongest medium to work with.  The pochade box is a Sienna which is a beautiful piece of craftsmanship in itself.  As an aside, I will say that I was not prepared for this painting venture; I had to keep returning to my studio for supplies that I had forgotten. (Note to self:  make a list of supplies for each medium and keep everything together.) I also limited my palette to four colors plus white.  I could have eliminated the green and just stuck with the primary colors.  I would also have used an acrylic paint retarder medium as the paint kept drying too quickly.

When I set the timer, I dove into the work by doing a quick sketch and using larger brushes.  I tend to cover large amounts of canvas for the initial lay in, going back to add details and tweak things.  That’s my method but you may work differently.  The whole point of the timer and this exercise was to force me to make decisions more quickly and not get overly fussy.  Having too much time is not always beneficial.

Wild daylilies, Kit Miracle, acrylic on canvas, 9 x 12

Shooting for bright colors and the contrajour light, I think I accomplished my task.  What are your thoughts?