New Year, New Exhibit

"Table, Chair & Tray"
oil on linen, 28 x 30
(c) Maggie Siner, 2014

What better way to start the New Year than seeing a solo exhibit by the talented Maggie Siner. Maggie's new show opens in Richmond, VA, on January 2nd, at the Brazier Gallery. There is an opening reception at the Gallery that evening--now that's a way to start the year off with a bang!

I can't make the reception, but you can rest assured that I won't miss the show. I have studied with Maggie

Merry Christmas!

Photo (c) Lesley Powell, 2014

Star of wonder, Star of night,

Star with royal beauty bright,

Westward leading, still proceeding,

Lead us to thy perfect Light.

MERRY CHRISTMAS, ALL!

Lyrics from "We Three Kings", Christmas carol composed by John Henry Hopkins, Jr. in 1857.

Hopper in Paris

"Notre Dame, No. 2"
Edward Hopper, 1907

Over ten years ago, the Mint Museum mounted an exhibition "Edward Hopper: The Paris Years". I was completely taken by the wonderful Hopper canvases from Paris. These lovely paintings were quite early in Hopper's career. He made three trips to Paris between 1906 and 1909, as a young man in his mid-20's. This period was well before the development of his mature style, and before his famous body of work, which focuses on the 20th century urban world. I love what Scott Lucas wrote about Hopper's Paris paintings: "These are paintings by a driven and talented artist rambling through the treasure-trove of style and technique laid out before him in the galleries and museums of Paris

Painting the Town: SouthEnd

"SouthEnd Scene"
12 x 9, oil on linen
(c) Lesley Powell 2014

Where I live, there is a very limited window of time in which the outdoor climate is actually a PLUS for outdoor painting, rather than something to be struggled with. In fact, I once heard somebody say that the reason there are fewer plein air painters in the Southeast than other regions is that

In Praise of Art and Artisans

"The Lacemaker"
J. Vermeer, 1670

I have intended in the past to write about the value of hand-crafted things--particularly original works of art. Somehow I never found the right words without them seeming rather self-serving. Then I read this in Design*Sponge. It is one of ten statements of values that they hold dear. They call these statements a "manifesto of sorts", which lays their beliefs squarely on the table. This one says it far better than I ever could!

We believe high quality work takes time and is worth investing in: Design*Sponge began with a simple goal - to build a platform for handmade design. Now that "handmade," "DIY" and "indie" are words we see in mainstream catalogs, our goal has shifted toward helping all of us understand, or at least respect, the prices makers have to charge for their time and materials. Do we believe that everyone has to shop this way? Absolutely not. 

But we believe that, in the long run, investing in pieces that are made well and have a personal connection to you and your community will lead to a longer life for the objects in your home and a more meaningful relationship with them.

       From Design Sponge blog Dec 2014

Tools of the Trade II

Lately several people have expressed interest in the taboret I use in my studio. So it seemed like a good time to embark on Part II of my "Tools of the Trade" posts, and divulge the details. I have to confess that the taboret design is not entirely of my own creation. Connie Winters put me on to the idea, and she had seen it used by Alice Williams.

The basic concept starts

Happy Thanksgiving!

"Mayflower in Plymouth Harbor"
1882
Pilgrim Hall Museum, Plymouth, Massachusetts

Happy Thanksgiving!

I could not find any appealing paintings of pilgrims --  but hope you will enjoy this one of the Mayflower in Plymouth Harbor. Happy Thanksgiving to all!

Holiday Open House: December 5th

An invitation to a night of art and fun in Charlotte's historic SouthEnd. I am co-hosting, along with twenty-some other artists in my building. Lots of holiday cheer! Hope to see you there! 

Dilworth Artisan Station Holiday Open House Friday, Dec. 5,  6-9 p.m. What: 28 artists and other businesses open their doors. Beautiful artwork in a variety of styles and prices will be available. Enjoy wine, music and more. Where: Dilworth Artisan Station,118 E. Kingston Ave. in SouthEnd. Parking: Lot beside the building, spaces on street and in overflow lot behind Carrabba's. Or use LYNX Bland Street Station. Make a night of it!: Our open house is part of the SouthEnd Gallery Crawl. With one stop you can visit many art venues, restaurants and night spots. These studios and businesses will be open Ada Shapiro - Alla Ostrovsky - Ann Conrad Anne Neilson Fine Art - Belgrave Associates - Bob Brooks Caroline Hall - Crossland Studio - Fryday & Doyne - Hodges Taylor Art Consultancy -Holt McLean -  Holt School of Fine Art - Janet Lasher  Jeff Cravotta - Jim Shannonhouse - Juliann Bannon  Kate Stewart - Kim Gibbs  Leonor Demori - Lesley Powell - Lita Gatlin  Miriam Durkin - Pamela Freeman - Pamela Winegard - Paul Hastings  Sandvi Studio - Scott Miller Associates - Sharon Hockfield   Terri Otten - Terry Thirion Copyright © 2014  Dilworth Artisan Station

The Art of Slowing Down

"The Sargent Gallery"
(c) Lesley Powell 2013
(SOLD)

If you have been to a major museum lately, you have probably suffered the same fate that I have--a sense of being completely overwhelmed by everything there is to see. So many masterpieces, so little time! We are all prone to rush through the galleries, taking in as much as we can, as quickly as we can. One study says that the median time people spend looking at a painting is only 17 seconds! The Louvre says that people look at the Mona Lisa for an average of 15 seconds. No wonder that at the end of a museum visit

Anatomy of a Painting: SouthEnd

One of my most popular posts of all time has been the one entitled  "Anatomy of a Painting", showing the step-by-step process of creating a painting in an olive grove of Provence. Now I am going to reprise the concept, and show the anatomy of a painting in a completely different landscape (some might not even call it a "landscape")

Urban Revitalization

"Yonkers"
Edward Hopper

I have always loved the urban landscape. Though I have never lived in a huge metropolis, I have always lived within two miles of downtown--be the town small or large. Lately I have been painting the urban scene near my studio, in the SouthEnd of Charlotte. As I have done so, I have reflected on

Sneak Preview: 2014 "SMALL GEMS"

SMALL GEM: "San Giorgio II"
8 x 16, oil on linen, (c) Lesley Powell 2014

I can't believe that another year has gone by, and I am announcing my Fifth Annual "Small Gems" sale!  I am very thankful for my blog readers, and especially for those of you who take the time to let me know that an occasional post has had a special meaning for you. As a way of saying thanks, I'm giving you this sneak preview of the 2014 Small Gems.

Faithful readers know that I will donate half the sale price of every Small Gem to a favorite charity. This year, the donation will go to

Arts for Life

Today I have the honor of announcing the beneficiary of my "Small Gems" sale for this year: Arts for Life. Arts for Life is a wonderful North Carolina non-profit organization that brings the arts to seriously ill children and young adults while they are in the hospital. I could not sum it up better than they say above: Inspiring courage through creativity.

A day in the hospital can seem to last a year. Arts for Life is right there where the rubber meets the road: in the clinic and at the bedside. It helps young patients discover the power of their own creativity and imagination, as they confront the toughest battles of their lives. The art gives these young patients something to smile about (see above!). Besides bringing a bright spot to the hospital days, there is even evidence that painting and drawing can help relieve pain in pediatric patients!

This year, Arts for Life will serve almost 7,000 people in four North Carolina communities (Winston-Salem, Durham, Asheville and Charlotte). That's 15,428 hours of direct contact with patients and families. No small impact.

With your help, I hope to make a contribution to the wonderful mission of Arts for Life. I will donate half of the purchase price for each painting sold in my Small Gems Benefit Sale to Arts for Life. Stay tuned for details on the benefit sale--it will run from November 5 through December 4---details in an upcoming post!

Art means WORK

"The Lacemaker"
Johannes Vermeer, 1675

Two years ago, I discovered the quotation you will find below. I saw it posted on the wall of a local pediatric cancer clinic, in the arts area operated by volunteers from Arts for Life. 

The quote really resonated with me. I was raised in a family where one of my father's favorite sayings was

Announcing Maggie Siner's Provence Workshop 2015

I am excited to announce that the dates have been set for Maggie Siner's 2015 workshop in France. Yes, "Painting in Provence" is on the calendar for June 27 to July 4, 2015! You could not ask for a more gifted, generous instructor than Maggie. Nor could you find more gracious hosts than our hosts at Les Bassacs, or more beautiful surroundings than the Luberon area of France.  

The hamlet of Les Bassacs, where we will stay
Photo: (c) Lesley Powell 2011

Maggie used to live in this area, so she knows the lay of the land. She has scoped out all the best spots for us to paint. We will work hard, paint without ceasing (almost!), and enjoy delicious meals home-cooked by our hosts. You can read all the details, and find out how to apply, on the Painting in Provence website. I am serving as the Trip Coordinator this year,  and I would be happy to answer any of your questions about the workshop. Meanwhile, for some inspiration,

Manual Labor

Lately I have been muttering to myself  "A painter's work is never done!" I know many painters sing the same refrain--if only we could spend all of our time actually PAINTING! But alas, there are many more tasks involved in our work. One distinctly unglamorous job is

Unfinished

"The Athenaeum"
Gilbert Stuart, 1796

I am often drawn to paintings that are not too finished, ones that are toeing the line of being "unfinished". Shown above is a very famous unfinished portrait, Gilbert Stuart's portrait of George Washington. It is quite obviously unfinished---as in, somebody died or quit in the middle of the work. Screech!---you can practically feel the brakes slamming on. Rather than this sort of abrupt quitting in mid-canvas, what I really love are

Feels like Fall!

(c) Lesley Powell 2014

We are finally getting a real taste of fall! I was in rural Virginia recently, just on the cusp of fall, and took advantage of the perfect temperatures to paint outdoors. I was delighted to drive down a familiar road and see

Strokes of Paint

"Falk House"
8 x 9, oil on linen
(c) Maggie Siner 2014

At least in my book, one of the key things that makes a painting come to life is being able to see the painter's hand at work in the finished product. Don't we all love it when we can see the painter making his mark? That said, I must rush to add the following: Bravura strokes alone do not make a great painting. But as a friend of mine once said, "I like to see

Carpe Diem

I had an experience lately that underscores an important lesson about painting from direct observation (that is, painting from life, or painting en plein air). The lesson is that you can't ever plan on returning to the same subject

Bridges of Paris

"Overlooking the Seine"
9 x 14, oil on linen
(c) Lesley Powell
SOLD

Lately I have been working on a series of paintings featuring my favorite bridges in Paris. It seems that each bridge has its own personality. As I work, I have been thinking of this admonition, which has been shared with me by painters I admire:

Hue Knew?? Cerulean Blue

Cerulean Blue

Some time ago, I wrote about the various blue pigments. One of them is cerulean blue. (Trivia point: Movie buffs and fashionistas may remember Meryl Streep holding forth about cerulean blue in the movie "The Devil Wears Prada"). Cerulean is a light, bright blue pigment. It was first developed in the 1860's, and was an important part of the palette used by the Impressionists. Here is a favorite painting by Monet that uses plenty of cerulean:

Claude Monet
"Gare St. Lazare"

Chemically, cerulean is cobalt stannate. It is made by mixing cobaltous chloride with potassium stannate. As it turns out, true cerulean is a very weak color. And it is also quite expensive.

Enter "Cerulean Blue Hue". Many times, when you see the word "hue" on a tube of paint, it is an indication that the paint is of an inferior grade. Not so in this case. "Cerulean Blue Hue" is made from phthalo blue mixed with white. It is actually "stronger" than its namesake--which is to say that it has more tinting power. As as added benefit, it is also less expensive to make than the original cerulean blue. Hue knew?!

For the curious, phthalo blue is a "modern" pigment, first developed in the 1920's. It is VERY powerful...I have always found the phthalo colors too garish. Little did I know that phthalo blue is the basis of the Cerulean Blue Hue that I use every day! In fact, it played a prominent part in the painting below:

"Joucas from Below"
9 x 16, oil on linen
(c) Lesley Powell 2014

So, my exploration of cerulean blue taught me a few new things about the pigments on my palette. And I also discovered that the term "hue" on a paint label is not necessarily a bad sign! I am inspired to return to my series of studies on pigments, and see all the other nifty stuff I can learn...

Just Looking...

"Ile de la Cite"
10 x 17, oil on linen
(c) Lesley Powell 2014
(sold)

How many times have I entered a shop and had the salesperson ask "Can I help you find anything?". And how many times have I replied

Coming Attraction...

"Yellow Boudoir"
12 x 12, oil on linen
(c) Lesley Powell 2014

Coming soon to a theater near you -- my painting "Yellow Boudoir" has been selected to be on the set of the movie "Ashby", which has been filming in Charlotte. This is a first for me!

The movie is billed as a comedy-drama, and stars Mickey Rourke, Emma Roberts and Sarah Silverman. I don't know anything about the placement of my painting on the set, so I am in suspense. I will have to go to the theater when the movie is released next year, and keep my eyes peeled... If you spot it before I do, let me know where to look!

Small, Simple and Superlative

"Pansies"
4x8
(c) Catherine Kehoe

I don't know how I have failed to discover Catherine Kehoe before now. She is a very talented painter and teaches at Massachusetts College of Art and Design. As my blog readers know by now, I am an enthusiastic fan of

Sacrificing Detail

"Distant View, Rainy Day"
4.5 x 9.25, oil on linen
(c) Lesley Powell 2014

I have recently been trying to approach my landscape paintings with an eye toward simplification. I am working to omit needless details, and focus instead on the essence of the subject. So of course my heart leapt up recently

Tree Party

"Tree Amidst the Lavender Fields"
7.5 x 11, oil on linen
(c) Lesley Powell 2014

Good News! My painting "Tree Amidst the Lavender Fields" has been chosen to be part of the Tree Party juried exhibition, to be held at Ciel Gallery in Charlotte, NC. Many thanks to the juror, Andy Braitman, for selecting my painting for the show! 

It's always a roll of the dice to enter work in a juried competition like this. The juror typically has hundreds or even thousands of images to review in a very short time. As a result, the decisions must be quick and are often arbitrary. I have had far more entries declined over the years than accepted. I always remember the story of a famous artist who had his painting declined

The Canvas Tote

No, I am not referring to the classic tote bag---this is about toting canvas halfway around the world for painting purposes! I have received so many questions about this topic that I decided to write this post and share some information that I hope will be useful. These tips are particularly designed for plein air painters who are traveling by air with checked and/or carry on luggage.

First point of clarification: I do not travel with my canvas already mounted on panels, or with panels that I have purchased from art suppliers. These are wonderful options (I especially like RayMar linen panels). But for me, it too limiting to have only these relatively small, standard sized panels. Instead, I like to travel with a roll of unstretched canvas. It allows me to paint large or small, vertical or horizontal, odd sized or standard sized. I just mark off my rectangle on the canvas, to whatever dimension I wish...as you can see below:

So here's what I do. First, I decide what suitcase I will take. Then I measure the interior of the suitcase to determine the longest mailing tube it will hold. That measure will be the height of my canvas. (It's usually 20 to 24 inches). I buy a strong cardboard mailing tube, and cut it down to size, if need be.

Next I buy the canvas itself. I typically pack two types: (1) a cotton canvas, and (2) an oil primed Belgian linen. Why both? I prefer to paint on the linen, but it weighs a lot, and it is very easy to dent in the packing and unpacking process. So I lighten my load a bit by packing cotton duck canvas for some of the yardage I take.

The rolls of canvas and linen typically come in widths of 54 inches. I roll the material out and cut it in strips to fit my mailing tube. I usually end up with 5 or 6 strips that measure 22 x 54 inches. I roll these up and slip them into the mailing tube, which then goes into the suitcase. Voila!

I also pack a light piece of plywood, cut to the size of my suitcase. When I get to my destination, I can clip my canvas to this board when I go out into the field to paint. I might choose to paint several small paintings of various dimensions on one piece of canvas, as shown in the photo below.

At the end of the trip, I roll the painted canvas back up (painted side OUT), and slip it back into the mailer. From thence it goes right into the suitcase for the homeward journey. I usually have enough time for the paint to dry, but if I am going to be painting right up until departure time, I take a couple of panels (mentioned above) to use on the last day or two. Those can be packed even when wet, with their wet sides facing each other, using little plastic bubbles at the corners to keep them separated.

When I get home, I usually mount the paintings on wooden panels, which I have cut to size.I use an archival paste glue for mounting. If I have been smart enough to leave a nice margin of canvas around the painting, I will stretch the painting on stretcher bars instead of mounting it on board.

My approach does make for a fair amount of "post-production work"--mounting and stretching the canvas---but I think it's worth it. In return, I am free to chose my subject without regard to a fixed dimension. So you might say that the extra work is the price of freedom!

In Our Own Back Yard

oOn several occasions during the recent workshop in Provence, we had the opportunity to paint in the tiny hamlet where we were staying, The hamlet is called "Les Bassacs", and consists of just a handful of old houses. By "old", I mean OLD: Parts of the house I stayed in date from the 15th century!

The houses are clustered together

Perched Village, Part I: Murs

Murs, France (c) Lesley Powell 2014

I wrote earlier about painting inside one of the perched villages of Provence. Now it's time for an even bigger challenge--painting the village itself, from below. Our intrepid instructor, Maggie Siner, would say that there is danger in these villages. Inside, there lurks the danger of succumbing to the charm of the subject and making a cutesy, corny painting. Outside, from afar,

Limestone Cliffs of Lioux

What a sight--near the Provencal village of Lioux, a huge limestone rock formation that can be seen for miles away. This one is a natural phenomenon---not made by man's quarrying, but instead cleft during some architectonic shift of the earth's plates in prehistoric times. I later learned

Inside the Village

"Hilltown Pathway"
13 x 7, oil on linen
(c) Lesley Powell 2014

During the recent workshop with Maggie Siner, we painted inside one of the beautiful perched villages of Provence. These ancient villages--with their steep cobbled streets, odd shaped buildings, beautiful old facades, and cheerful window boxes--present a number of intriguing painting motifs. Such a feast for the eyes! It can be difficult to narrow your focus

Painting the Quarry

As I wrote in my last post, I was recently part of a workshop group, painting in the Luberon area of Provence. Our group consisted of nine painters, under the instruction of the talented Maggie Siner. We started the week as strangers,

Ochre

Ochre Cliffs, Roussillon, France
(c) Lesley Powell 2014

I have recently returned from France, where I visited the village of Roussillon for the first time. Roussillon's claim to fame is its fabulous colored soils, which for decades supplied the entire world with ochre pigments. In fact, it was a scientist from Roussillon, Jean-Eteinne Asteir, who