Tag Archives: contemporary impressionist

10 states, 4,435 miles, four national parks, 16 days

Duck on a Rock, Grand Canyon, plein air sketch, 12 x 16 Kit Miracle

Part I

Ten states (plus three of them twice).  Indiana, Illinois, Arkansas, Texas, New Mexico, Arizona, Utah, Colorado, Kansas, Missouri, and back through Illinois and Indiana.  Lots of different terrain and climates.

4,435 miles.  Not really too bad.

4 National Parks – Carlsbad Caverns, Grand Canyon, Zion, and Arches.  Plus, you can’t be in the area without stopping at Roswell to see the alien museum.  It’s not exactly on the way to anywhere.  Even their streetlights are painted like aliens.

16 days – we left a day early and returned a day early.

Whew!

Earlier this month we drove down to Texas to pick up our granddaughter for the summer.  Then we went of a big adventure.

I like to keep a journal of my travels with notes and musings, small sketches, mileage, and even sometimes the label from that chocolate shop in Paris which I never can remember.  These travel journals are always fun to revisit later, long after my memories have faded and gotten fuzzy.  They instantly transport me back to the place and time, allowing me to experience the trip all over again.  They’re, of course, nothing so monumental as the Lewis and Clark journals, but they work for me.

Sun breaking through the clouds over Arkansas, sketch, Kit Miracle

After months of planning and preparation, making reservations at the big stops (didn’t realize it was the Grand Canyon’s 100th anniversary until afterwards), we lit out on June 2nd, a day earlier than planned.  We were concerned about the flooding in the Midwest and decided to skirt along the Mississippi to Arkansas and then take the southwestern route to Texas.

Flooded Arkansas River in Little Rock, sketch Kit Miracle

Fortunately, the only flooding we saw on the way out was the Arkansas River in Little Rock but that didn’t affect the drive.

Driving west on 87, sketch, Kit Miracle

After we picked up the granddaughter, we headed west through the Texas hill country (beautiful), to the flatter and dryer areas of west Texas.  Just a delight to be on the road again, away from the daily maintenance of the homestead.

Longhorns resting in shade (from memory), sketch, Kit Miracle

Abandoned House, Texas sketch, Kit Miracle

We negotiated miles of roadwork through the oil fields of west Texas and New Mexico to land at our first national park, Carlsbad Caverns.  My husband and granddaughter had never been in a cave, and even though I have, this was a truly fascinating experience.  The vistas outside were gorgeous, and inside the cave was even more so.  We elected to take the elevator down (700+ feet) rather than walk.  The National Park Service has done such a wonderful job of making this site accessible and interesting.  We took a self-guided tour of the great room which still took an hour and a half. Although many other areas remained to be viewed, that was enough for us.  We didn’t stay for the bat exodus at sundown  either.  Just too tired and road-weary and ready for a meal and bed.

Carlsbad Caverns, New Mexico, sketch, Kit Miracle

Carlsbad Caverns, New Mexico, sketch, Kit Miracle

Carlsbad is probably typical of any town in the oil field area with lots of traffic, overpriced rooms, and not much scenery.  As we were waiting at a restaurant for dinner, we spoke with a lady who was a local who said it was always this way during boom times.  People renting a room in their homes for $1200 or more.  And getting it.

Sample sketchbook – journal with alien streetlight, sketch, Kit Miracle

Our stop the next morning heading north was Roswell, NM.  You have to stop if you’re in the area as it’s not exactly on the way to anywhere.  We visited the alien museum built in a former movie house.  It was pretty much as I expected.  A mix of history, facts and lots of speculation.  (I hesitate to use the term cheesy but you get the idea.)  Of course, had to buy the T-shirts and trinkets as I don’t expect to get down this way again.  The whole town has gone alien nuts; even the streetlamps are painted as aliens.  The annual UFO festival this year is July 5-7, 2019.  I expect it will be a sight.

Butte, New Mexico, sketch, Kit Miracle

We continued on down the road towards Gallup where we spent the night.  My granddaughter’s major requirement for a hotel was a pool (she’s nine).  After a quick stop in the morning at Walmart, we stocked up on food for our stay at the Grand Canyon.

The further west we drove, the more interesting the landscape became with the big mountain in Flagstaff calling us (Humphrey’s Peak).  It still had snow on the top.  After a roadside picnic lunch (sure got tired of fast food in a hurry), we headed north to the east entrance of the GC National Park.  I’d been there before but the others had not so I couldn’t wait to introduce them to “my” canyon.

We drove through sparsely populated reservation territories.  Some beautiful scenery but appeared to be struggling.

Finally, we arrived at the East entrance of the Grand Canyon. I want to insert here that every park employee that I have met has been terrific.  They’ve always been so polite and helpful.  This is true for every park we have visited.  And I also want to emphasize that our National Parks are one of the greatest assets the American people have.  People from all over the world travel to see our lands and it makes me just want to bust with pride.

Duck on Rock, Grand Canyon, sketch, Kit Miracle

Duck on Rock, Grand Canyon, sketch, Kit Miracle

My granddaughter and I got up early and went out plein air painting.  Well, I painted and she checked out the rocks and vegetation.  The first day was very windy, but after that, it eased up.  My husband was really affected by altitude sickness but we all had a great time.

Next week I’ll post Part II of the remainder of the trip, parks and scenery

Hopi House, Grand Canyon Village, sketch, Kit Miracle

Family at the Beach

Intimate Spaces Series – Family at the Beach, acrylic on canvas, 30 x 30, Kit Miracle

This is the twelfth painting in the Intimate Spaces Series.  Family Day at the Beach reminds me of the many beach scenes by Sargent, Sorolla, and even Mary Cassatt.  There is nothing really extraordinary about the scene and that is what I like about it.

If you look closely at the mother in the painting (click to zoom in), you will notice that she is very pregnant.  The son will soon have a sibling.  Dad is painted with a slight paunch.  Not all scenery at the beach is magazine perfect. This is real life.

Family at the Beach, detail. Notice how abstract the sand is painted. Layer upon layer.

Again, another detail of the sand in the foreground.  This is painted very abstractly.  There are many layers but the whole point is that the focus should be on the family and not necessarily anything else in the painting.

Settling In

Intimate Spaces Series – Settling In, acrylic on canvas, 28 x 38, Kit Miracle

This painting is number seven in the Intimate Spaces Series.  It is titled Settling In which is where the beach-goers begin to stake out their territories.  In this case, the woman in red is being helped by the beach attendant.

Intimate Spaces Series – Settling In detail 1, Kit Miracle

I was attracted to the complexity of the chairs and umbrellas, to the figures and the contrast with the brilliant blue sky.

Intimate Space Series – Settling In, detail 2, Kit Miracle This detail shows the abstract brush strokes I have used for the sand.

As you can see in the detail photo, I have painted the wet sand in a very abstract manner.  It is important to not be concerned about trying to depict every little detail, but to let the viewer’s eyes fill in the details.  The entire painting is a study in contrasts, between details and abstracts, light and dark, near and far.

More series, Intimate Spaces – Beach Series

Go! Number 11 in the Intimate Spaces – Beach Series. Acrylic on canvas, 16 x 16. Kit Miracle

I completed the twelfth painting in my Intimate Spaces series this week.  My thoughts behind painting this series of beach paintings is that when people go to the beach, they carve out their little spaces, arrange their belongings, and then seem to act as if they are invisible within their own little territories.  They’re not.

Maybe I’m just a voyeur, or just have an artist’s eye for observing, but I have always been drawn to people-watching.  The beach, of course, is a great place to be an observer of the human animal, but there are many other places to do that, too.  More thoughts for future series.

Many artists have created series of paintings around themes in the past century and a half.  Most notably are Monet and his haystack paintings or Van Gogh and his sunflowers.  Some artists work the same theme for their entire lives like still life painter Gorgio Morandi who essentially painted the same objects over and over.

And what is the point of painting the same thing over and over? you might ask. For some artists, like Monet, it’s to study the object or scene in different lighting conditions.  For instance, he would often have several canvases at different points of completion, and then work on them when the same lighting and conditions presented themselves.  Most notably, his Rouen Cathedral series, but he was known for this throughout his life.

For me, it is the challenge to drill down into the subject. I like to paint the human figure in situ, or it’s natural, unposed state.  How do people interact when they think no one is watching them?  With each other, or with their surroundings?

My series of beach paintings, I have sixteen planned in all, does exactly that.  Children, families, individuals, seagulls, the landscape – all of the interactions within a limited scope of place.  If it were a different beach or place, there would be different subjects and activities.

But I am surely getting tired of painting sand and sea and sky.  Not doing the beach for the next series, for sure but I already have ideas rolling around.  First, however, will be a little plein air painting for a change of pace.

The importance of preliminary work

Green and Yellow, 20 x 20, acrylic, Kit Miracle. Intimate Spaces series

I recently posted a step-by-step outline of my painting A Day at the Beach (4-10-2019). A critical part of creating a significant panting is the preliminary work. I sincerely believe that the more thought I put into the piece at the beginning, the more I can work out the problems ahead of time, and the better the final result will be.  Well, that’s my theory anyway.

Green and Yellow, detail.

This is another painting in my series Intimate Spaces, all about the territory that people carve out when they visit the beach.  In this painting, I was sitting behind a couple who staked out their space early in the day with two chairs and an umbrella.  They didn’t show up until mid-afternoon.

NOTAN sketches for Green and Yellow. This is where I work out basic shapes and composition. As you can see, initially I intended this to be a rectangle shape but then changed it to a square shape.

I liked the near silhouette of the couple with the contrast of the kids playing in the surf in front of them. Maybe they were grandma and grandpa.  I don’t know and never did figure it out.

Large graphite sketch of the main characters for Green and Yellow.

As with most of my paintings, I begin with a NOTAN sketch, just hard contrast of black and white to get a feel for the composition.  Then I did a large graphite sketch of the couple.  I didn’t feel a need to sketch the kids as they’re just notes really.  They were painted directly.

NOTAN sketches of past couple of paintings. Working in black and white allows me to focus on the shapes and composition.

Here are a few more examples of NOTAN sketches.  You’ll notice the one from my last post of A Day at the Beach and how I was focusing on the interlocking umbrella shapes.

More NOTAN sketches from Jump.

And the two pages of NOTAN of Jump which I created in February.  With some of the bigger pieces, I’ll also do a color sketch but not always.

The final conclusion is that no matter what style of art you create, you will often have better results if you put in more thought and work into the beginning of your work than having to correct problems later.  Indeed, sometimes you may discover that the scene or piece doesn’t merit following through.  Or you may decide to attack it from a different direction.

A Day at the Beach – Painting a Series

A Day at the Beach, final. 24 x 36, acrylic on canvas, Kit Miracle

As a working artist for over three decades, I find keeping interested in painting involves challenging myself. Sometimes this means new subject matter or new materials. Even a new location helps.  The challenges keep me inspired and allow the mental juices to flow.

My latest challenge is painting a series of paintings revolving around a day at the beach.  I love slice of life subjects, catching people going about their lives without thought of an audience. One thing I’ve noticed is that when people are at the beach, they stake out their territories, bringing the chairs and the umbrellas, the coolers and the toys.  Beach goers seem to operate under the illusion that no one can see them in their little sand kingdoms.

But the artist’s eye can.

The planned series includes vignettes of life at the beach.  Families, couples, kids playing, people just enjoying the sunshine…or totally ignoring their surroundings with their noses in books or napping.  My inspiration for these seaside paintings are John Singer Sargent, Joaquin Sorolla, and Burt Silverman.  It took a lot of effort to make their seaside paintings seem so, well, effortless.  Unstaged even though they often were. And that is the aim of this current series that I’m working on.

The painting above depicts the settling in and establishing of territory by a family.  Mom gets the lounge chairs ready while son is waiting patiently for her attention.  The composition with overlapping umbrellas and tents is like a little city, each with its own slice of life.

The beach walkers and people playing in the surf add distance and perspective to the scene.  I also chose to flatten the color of the sky (no clouds) and the foreground.  This allows the emphasis to be placed on the middle plane where all the action is.

A Day at the Beach is number six in the series.  I have sixteen planned but we’ll see.  A series is an exploration of an idea and I’ll keep at it until I don’t have anything else to say about the subject.

If you’d like to see how this painting was created, click on this link or go under the tab Artworks and click on A Day at the Beach for step-by-step photos.

Thanks for stopping by.

Fresh flowers for spring!

Are you tired of winter and ready for something new?  Try adding some fresh flower paintings to your home for a new look.  Both of my Etsy shops are having a sale of 20% off ALL flower paintings or even any painting with some flowers in it.  No limit except for the time.  Sale ends April 30th.  Check out the links below.

Etsy KitMiracleArt  click here!

Etsy shop My90Acres click here!

Spring sale. 20% off all flower paintings or any painting with flowers in it. No limit. All in my Etsy shop KitMiracleArt.

Spring ad for Etsy shop my90acres. 20% off all flower paintings. All original. No limit.

Mixed Bouquet

Mixed Bouquet, original painting, 20 x 16, impressionistic style, Kit Miracle

Spring is finally ready to pop here in Southern Indiana.  The early daffodils and crocuses are out in force.  The tulips are up but not yet blooming.  I’m not sure if the narcissus will make it after the deep freeze  a week ago but the forsythias are ready to pop.

Meanwhile I’m still in the mood to paint flowers which finds me scouring my old photos.  This painting was based on a small bouquet of mixed zinnias from my garden.  I think the greens are sprigs of coriander with added bits of phlox and sweet peas.

Painting flowers is much more challenging than most people realize.  Some artists are so talented in painting every pistol and stamen but that is not my style. I prefer to capture the feel of the flower.  This is called impressionism.

As you can see if you view the detail photos, brush strokes are a mix of bold and soft.  It takes some practice to achieve this effect but all I can advise is to keep at it.  Or, wipe it off or paint over any less than desirable areas.

Mixed Bouquet, detail 1. Another closeup of the flowers. Loosely painted in impressionistic style.

Mixed Bouquet, detail 2. Notice the loose strokes and variegated painting.

Mixed Bouquet, original painting, Kit Miracle

This painting can be viewed on my Etsy shop here.

When you take a flower into your hand and really look at it, it’s your world for the moment. I want to give that world to someone else.  Most people in the city rush around so, they have no time to look at a flower.  I want them to see it, whether they want to or not. 

      Georgia O’Keeffe

Afternoon Shadows – another painting beyond the photograph

Afternoon Shadows, acrylic, original painting, 14 x 18, contemporary impressionism, Kit Miracle

I thought I’d post another painting created from a photograph for my class. This photo was taken of our patio and arbor with the fire pit on sunny autumn afternoon.  I like outdoor scenes with a human element.  This will often include at least some kind of man-made item whether a building, fence post, road or path.  In this case, the setting gives the feeling of comfort and ease.  The chairs, the smoke from the fire, the dappled sun and shade all contribute to the atmosphere.  The turtle sandbox adds a touch of whimsy.

When using a photo as inspiration for a painting, it’s important to remember that it is a tool and a road map.  Take inspiration but don’t be afraid to change things.

Afternoon Shadows, detail 1. Click and enlarge the photos to see the brush strokes. Notice the background tree is just painted with a few strokes. And the smoke is just a glaze on top of the background. See the indication of the sun and shadows on the chair.

In this painting, I was trying to capture the feel of the afternoon sun. The smoke and fire indicates that there could be a chill in the air with a slight breeze.  The location and setting are inviting; it looks as if someone has just left the area.

Afternoon Shadows, detail 2. Zoom in on the vines and leaves to see just how loosely they were painted. The sandbox turtle adds a note of whimsy.

My style is not photo-realist but contemporary impressionist which works well for conveying the feeling of this scene.  The chairs beckon the viewer to sit in the sun or warm themselves by the fire.  Will a child come walking into the area to play in the sandbox? I love paintings that tell a story.

Afternoon shadows, detail 3. Zoom in on the posts and the background trees to see the brushstrokes.

As you can see by the detail images, I use loose strokes to indicate the branches and leaves.  From a distance, the painting appears to be much more detailed than it actually is.  It takes some practice and confidence to make just the right stroke to indicate a branch.  Or, if you make a mistake, just scrape it off and try again.

Afternoon Shadows, original photo. If you compare this photo to the painting, you can see areas that I have emphasized, changed or deemphasized.

Normally I would have painted a scene like this in plein air but I was busy that afternoon and only had time to capture the view with my camera.  That is one of the benefits of using photographs as inspiration.

Afternoon Shadows for sale

Peace is the beauty of life.  It is sunshine. It is the smile of a child, the love of a mother, the joy of a father, the togetherness of a family. It is the advancement of man, the victory of a just cause, the triumph of truth.  Menachem Begin

Painting beyond the scene

West Wind Blows, original painting, 12 x 16, impressionistic, Kit Miracle

Artists are known for traveling over the world seeking new things to paint.  I have done so myself and have captured many scenes of my travels over the years.

I don’t know why travel is so inspiring but maybe it makes us see the world with new eyes.  We return home refreshed and look at our surroundings in a new way.

However, we don’t need to go away to appreciate what we have.  It is often right there before us.  A new light, a different angle, maybe the same scene in a different season.

This is a scene that I have passed thousands of times. I’ve always liked this valley with the hills but on this particular day, it really pulled at my attention.  Maybe it was the backlit clouds scudding across the sky.  Maybe it was the farm in the valley.  I even found the shadows of the trees across the pasture interesting.

West Wind Blows, detail, painting, Kit Miracle

Of course, I took some artistic license….like I need a license…and edited the landscape to suit myself. But compare the original photo to the scene that I captured. A little editing maybe but any local person would recognize this place.

West Wind Blows, original photo for painting

I’m teaching a class on painting from photographs.  One of the points that I’ve been trying to get across to my students is to use a photograph as a tool, a place to start, but you don’t have to be religious to the exact photo.  It is up to you, the artist, to change it to suit your needs and desires.

It’s a warm wind, the west wind, filled with bird cries.

John Masefield

West Wind Blows