Gardening with Scottie, 20 x 20, oil on canvas, Kit Miracle
I recently completed this winter still life painting. That is, when it’s cold outside, I usually paint inside. The theme for this painting is planning my spring garden. There were many challenges, especially all the circles and ellipticals as well as that dang ceramic dog. I’m not sure I’m done with this yet as I keep tweaking it every time I walk past it in my studio. Check out the demo for Gardening with Scottie.
Posted in art, garden, oil painting, painting instruction, still life
Tagged art, books, country living, gardening, kit miracle, oil painting, painting, painting instruction, still life
Hiking in Crawford County, 30 x 30, oil on canvas, Kit Miracle
Last year I decided to participate in a challenge art competition. This was a local county exhibit with the county plus the eight surrounding counties. The requirements were: a box, fabric, a living or formerly living thing, a map and something representing my county.
This is the painting I finally came up with. The box is the L.L.Bean shoe box. Fabric background and tablecloth. A deer skull and some bittersweet. A map of a local park. And some postcards of local scenes. It sounds simple but it actually took me an entire day to set up the still life.
Many of the entrants created collage or 3-D sculptures. Only two of us did paintings. I was shooting for something that met the conditions of the challenge and also created a good painting. Adding the lamp to the still life created its own special challenges as I had to paint much of the painting in a nearly dark studio. I repainted that lamp four times and I’m still not totally happy with it but the judge really liked the way it seemed to glow on the canvas. I won second place so I guess it was a success. What do you think?
Lucky Red 2 – final. 18 x 24, oil on canvas, Kit Miracle
In keeping with the red and good luck symbols, I created this still life after the first one. There are a couple of common elements to Lucky Red the first, such as, the bamboo plant and the small fish glass paperweight.
Here you see a large jade dragon signifying the year of the Dragon and a jade/silver/gold bracelet with the I-Ch’ing symbolizing Ta Yu or number 14. Unfortunately the bracelet wasn’t so lucky as it was damaged in a bike wreck. Humph! I also have a sleeping cat from Provence suggesting my name – and the cat sleeps with one eye open. The gold cup is from my mother and the tea is Yogi brand (Detox). I always like to incorporate a sense of humor or irony in my work if I can do it very subtly. The seashell doesn’t represent anything in particular; I just like it. And the red cloths for the background – one a kind of orangey-red batik and the other a medium dark red.
Lucky Red 2 – initial still life set up. Notice the peach gel to diffuse the light.
Lucky Red 2, initial drawing on the canvas
Lucky Red 2 – first washes
Lucky Red 2 – more blocking in major colors
Lucky Red 2 – adding more colors
Lucky Red 2 – step 6, adding more details, color corrections
Lucky Red 2 – adding more details. This is the 85% mark when all that is left is to tweak the details.
A view of the painting with the still life set up behind it.
Lucky Red 2 – cup detail. Notice how abstractly this gold cup is painted.
Lucky Red 2 – detail of shell. Notice how loose the brush strokes are. It is a real accomplishment to get the effect with just one pass.
Lucky Red 2 – detail, sleeping cat
Lucky Red 2 – final. 18 x 24, oil on canvas, Kit Miracle
Many years ago I read that when Andrew Wyeth was complimented on the realism of his paintings that he responded, “All realistic art is an optical illusion. You’re taking paint, applying it to a two-dimensional surface and tricking the eye into believing that they’re seeing a real object.” Although this didn’t quite sink in at the time, over the years I’ve come to understand what he was saying.
When I paint a subject in a realistic manner, I am literally fooling the eye. My son was looking at the painting, Lucky Red, and went up close to examine it. After a while, he commented that there really wasn’t much there. I just laughed. “You’re right,” I said. “It’s all an optical illusion.”
While I admire artists who have the tenacity to paint every little hair on a rabbit, I really wonder why they are doing that. Isn’t the entire object of the painting to convey the mood and feeling of the artist? Personally I believe in letting the viewer become part of the painting by bringing their own knowledge and imagination to the work. The hard edges certainly define some critical points, but soft edges let one area slide into another, creating a cohesiveness that cannot be obtained photo realism. My personal opinion, anyway.
Go back and look at some of the original paintings that I’ve posted on here – Lucky Red, Grand Canyon at Moran Point, and Blue Bottles with Lemons. Then look at these close-up.
Detail – Lucky Red. Notice how abstractly the fish and seaweed are painted in this glass paperweight.
The golden Buddha is also painted very loosely. Notice the sparkles of the ribbon, too.
This Mediterranean glass paperweight is a mash of swirling colors. Again, the sparkles on the blue ribbon.
Notice the lost edges of this paperweight blending into the folds of the cloth.
This tree in Grand Canyon at Moran Point is very loosely painted when viewed in detail.
Again, the viewer’s eye is blending the colors in this yellow lemon.
I don’t know quite why I started this painting but it’s something that has been rolling around in my head for awhile. Sometimes I’ll think about a work for years before I get around to painting it.
Lucky Red is a challenge of red on red on red. Shiny and soft. Clear objects, reflective, see-through. Some of the symbols are pretty obvious. The lucky Buddha, three Chinese coins, a WINNING lottery ticket. Some are less obvious. The lucky bamboo plant. Two of the glass paperweights have fish swimming in them. Fish are a lucky Chinese symbol. And swirling throughout the still life is a lucky blue ribbon that I won at a holiday party. (Thank you, Joan!) Topping the set up off is another glass paperweight called Mediterranean which celebrated the completion of a bike ride through France several years ago.
We all have lucky symbols in our lives. What are yours?
Lucky Red – the initial still life set up
First step, drawing on the canvas
Second stage, blocking in major shapes
Third step, laying in base colors of the objects
Fourth stage. Almost finished.
What my palette looks like with a variety of reds. Using black to tone some of them down.
The painting compared with the still life. Notice the gel I have taped over the light.
Lucky Red, final. Oil on canvas, 18 x 24, Kit Miracle
Last week I posted my silver teapot find from the flea market. I just completed this oil painting to demonstrate the fun of dealing with reflections of shiny objects. This will probably become a favorite still life subject in the future.
Silver on Grey still life set up
Silver on Grey, oil on canvas 12 x 16, Kit Miracle
A flea market find, this silver teapot and sugar bowl cost less than $10.
I just purchased this silver-plated teapot and sugar bowl at a flea market for $10. It was heavily tarnished and wouldn’t be anything I would want to actually use, but it will make a great addition to my arsenal of items for still life set ups. To check out more recommendations, from how to set up, objects to consider, to my large cupboard of items, visit my page for Tips for Setting Up A Still Life.
A Little Blue (on a Rainy Day) Final, oil on canvas, 24 x36
This is a very complex still life that I recently completed. Check out the demo on the linked page. https://my90acres.com/?page_id=330&preview=true
Blue-rimmed bowl, still life after Cezanne – final, 18×24, oil on canvas
I just completed this painting which is my interpretation of a still life in the style of Cezanne. Although it is not a copy of any of his paintings, I wanted to challenge myself to interpret his style and used several of the objects that he used in his still lifes. For a step-by-step view, check it out on my Artwork pages.https://my90acres.com/artwork/blue-rimmed-bowl-still-life-step-by-step/
Last Sunday, my friend Laura Pommier and I spent the afternoon painting a still life in my studio. It’s very interesting how two people can look at the same things and come up with entirely different paintings. Well, a little wine, some snacks and lots of good talk. It was an afternoon well spent. Then yesterday I worked on the painting some more, adding the final details.
This is painted on a panel, 12×24 and was toned a pinky-peach color. Notice in the detail images how I allowed that to shine through for an added glow.
The Green Bowl, 12×24, oil on panel
The Green Bowl detail 3