Finishing Touches

"Lady with an  Ermine"
Leonardo daVinci, c. 1489

I have written before about the painter's struggle to decide when to stop work on a painting. Many of us wrestle with the same question: "Is it the best it can be? Is it finished?". The answer is not always obvious. In fact, sometimes we think we have placed the final brushstrokes, but then we change our minds.

"Patina"
12 x 16, Oil on Linen
(c) Lesley Powell 2016
SOLD

For some artists, a painting is never finalized. At least not until it leaves the studio--and sometimes not even then (see below). As time passes, you have the opportunity to reflect on the painting. You may return to it after a few weeks with fresh eyes. Sometimes that fresh vision causes you to notice something that just begs to be adjusted. Then out come the brushes again! Just above you can see a painting that I THOUGHT was finished, until I 

Arts in the Garden

"Well Balanced"
24 x 18, Oil on Canvas
(c) Lesley Powell 2016

I am thrilled to have been selected to show new paintings at Wing Haven Garden this week (details below). "Wing Haven" is a very appropriate name for this space, because it is also a bird sanctuary. I am a huge fan of Wing Haven. It is located right in the heart of Charlotte, and is an oasis of peace and calm in an otherwise busy urban area.

"Cottage Garden"
18 x 18, Oil on Canvas
(c) Lesley Powell 2016

Even though Wing Haven Garden is a relatively small area--less than three acres--it has a huge heart. It is one of those rare places where time appears to have stood still. The personalities of those who created this place still sing through, loud and clear. Elizabeth and Edwin Clarkson are the generous couple we have to thank for this legacy. They created this

Painting from Life, Part II

Last month I wrote about reasons that I enjoy painting on location. I ran out of space in one post to cover all of the things I wanted to share about painting form life, so here is Part II. Let me continue to count the ways...

(5) Painting from life involves all the senses! There is definitely a heightened awareness and connection with your subject when you are standing right there, in the same environment. For example, painting a lavender field is completely delicious (see above!). As you stand in the hot summer field, you feel the sun beating down, you smell the fragrance of the lavender, you hear the buzz of the bees among the blossoms. If you are painting at a lobster pier, as in the photo below, you hear the water lapping on the shore, you smell the brackish water and the fish, you hear the motors of the lobster boats. All of these sensations help inform your painting.

My setup on a recent painting session in Maine

(6) Painting from life lets you meet people. I know that bystanders can often be distractions to plein air painters. It can be difficult to paint and carry on a conversation at the same time. But, that said, it is amazing how often a conversation

Wyeth's Interiors

(c) Andrew Wyeth

I was recently in New England, and had the chance to visit the Farnsworth Art Museum in Rockland, Maine. The museum has an extensive collection of works by Andrew Wyeth. I always think of Wyeth as a Pennsylvania artist, but he also spent his summers in Maine and did some beautiful work there. 

"Her Room"
 (c) Andrew Wyeth

Visiting the museum, I was reminded of Wyeth's evocative interior paintings. I don't know why I haven't thought of them before, in all of my posts about interiors! Far from the lush, inviting rooms that many painters choose to paint, Wyeth's rooms are stark. They seem to