Time Passing...

Who can't help but think about time during this season, when we turn the calendar page to a New Year? One saying about the benefit of time is that "Time heals all wounds". On a less metaphysical level-- perhaps more mundane, but nonetheless very beneficial for the practicing painter-- the passage of time often allows us to see, and therefore to correct, problems in our paintings.

I'm not an expert on how the human brain works. But I do know that it's very common to get "too close" to a painting--to be so wrapped up in the struggle that you lose sight of the way forward. In those cases, it's smart to put the painting away for a few days, and work on something different. No peeking! Miraculously, when you pull the painting back out,

Christmas Cometh!

Many of us are busily wrapping Christmas presents, as December 25th draws nigh. I've put my special "ribbon" (pictured above) on a few gifts this year. It's an idea that came to me last year, and it has gotten such a good reception that I kept it up this year.

My preferred painting surface is oil primed Belgian linen. I buy it in big long rolls, like the ones you see hanging in fabric stores. This means that I roll out and cut pieces of linen for each individual painting, in the dimension needed for that particular painting. I have to trim off the selvedges. But I love the way they look, with their sprocket holes and raw linen showing on the side. So I have made a point of removing them in continuous, long strips, which I use as ribbons in wrappiing Christmas presents. It's fun, different, and good for the planet!

Wishing you all a very Merry Christmas!

A Bouquet

"Hydrangea, Facing West"
16 x 12, Oil on Linen
(c) Lesley Powell 2018
(SOLD)

Thank goodness that Trader Joe's carries beautiful white hydrangeas all year round! During a recent spell of wet, gloomy weather, I sought a pick-me-up by painting some fluffy hydrangea blossoms. The hydrangea can be intimidating to paint, because each blossom is composed of hundreds of separate little "flowerettes". That's a lot of detail that can really bog you down!

"Hydrangea. Threesome"
18 x 18, Oil on Canvas
(c) Lesley Powell 2018
(Available)

For me, the key to a strong painting is to see the big shapes of light and dark, and to avoid getting mired down in too much detail. To identify and simplify the big shapes--now that is the challenge! Meeting the challenge involves a lot of squinting, and using my peripheral vision. If I stare directly at

Announcing Maggie Siner's 2019 Workshop in France

"Les Bassacs Farmhouses"
8 x 12, Oil on Linen
(c) Lesley Powell 2018

Faithful readers know that one of my annual rituals is attending Maggie Siner's painting workshop in Provence. It's a highlight of my year. My husband asks how I can keep going back to the same place, with the same instructor, year after year--he thinks that would get boring. My reply: Au contraire!! I'm excited that the dates have been set for next year (details here).

"Fields near Ochre Woods"
12 x 16, Oil on Linen
(c) Lesley Powell 2018
Available at Huff Harrington Fine Art

Though we stay in the same little hamlet every year, Maggie always scouts out new painting locations. Each location is carefully chosen to help us understand and implement the lesson of the day. The "lessons" are a series of building blocks to help us learn to see and to paint.

I use the term "lessons", but actually the experiences far outstrip that meager word. The workshop is a total immersion

To Audio Guide or Not To...

Photo (c) Metropolitan Museum

The audioguide was first introduced in 1953, in the Stedelijk Museum in Amsterdam. As the old commercial used to say, "We've come a long way, Baby!" In one recent twist, IBM has even used its Watson artificial intelligence platform to allow paintings to "talk" to their viewers.

And yet. When I visit a museum, I am always torn as to whether or not I should use the audio guide. One one hand, I don't want to miss anything. On the other hand, I don't want a stranger to tell me what to see, or what to think about the works of art.

The Metropolitan Museum in New York did a comprehensive study of its audioguide program in 2015. The study found that

'Tis the Season!

"Les Astiers"
Oil on Linen, 8 x 16
(c) Lesley Powell 2018
Available at Dilworth Artisan Station Holiday Open House

Hard as it may be to believe, the holiday season is nigh! Like everybody else, art galleries and painters have their own rituals of the season. One of the rituals is the "small works" show -- a collection designed to showcase paintings that are small enough to fit under the Christmas tree, and affordable enough for gift-giving. After all, who wouldn't love a gift of art??

"Cyclamen, Winter"
8 x 8, Oil on Canvas
(c) Lesley Powell
Available at Dilworth Artisan Station Holiday Open House

Galleries often send out a call for small works as early as August or September. The early call gives painters time to plan and execute paintings that fit the bill. Many painters work in a very large scale, so producing small works is a diversion for them, something they do especially for the holidays. Some painters even paint Christmas-themed paintings just for these shows. 

"Fresh Mown Fields"
Oil on Linen, 8 x 16
(c) Lesley Powell 2018
Available at Huff Harrington

Lucky for me at this time of year, I often paint in a smaller format. As a result, I have plenty of paintings to consider for these events. And all of them have been created in the course of my ongoing approach to painting, throughout the year. I am illustrating this post with some of them.

"Gerbera and Lemon"
12 x 9, Oil on Linen
(c) Lesley Powell 2018
(SOLD)

If you'd like to see Small Works shows in person, here are a few that will include my paintings. The dates are for the opening receptions, which will feature yummy food and drinks. It's a fun way to kick off the holiday season! The shows themselves will be hanging for most of December. Click the links below for more details. Enjoy!

"Little Jewels"

Huff Harrington Fine Art

Atlanta

Reception: Saturday, December 1st, 10 AM to 5 PM

"Small Works Show"

Shain Gallery

Charlotte, NC

Reception: Friday, December 7th, 6 to 8 PM

"Holiday Open House"

Dilworth Artisan Station

Charlotte, NC

Reception: Friday, December 7th, 6 to 9 PM

Special Sauce

As far as I can tell, one of the questions most often asked by painters is "How can I develop my own style?" I must confess that this question is one that I have never asked.  Instead, I hold firm to the belief that each painter has an inborn, unique style, just like he or she has unique handwriting. And that holds true even if -- perhaps especially if -- you don't make a conscious effort to cultivate a "style". 

Consider handwriting. Even if you disguise your handwriting in an attempt to fool the experts, it will still give you away! Your painting style is equally inescapable. It is our artistic DNA.

I recently read Austin Kleon's catchy little book, Show Your Work.  Kleon makes the case that we should not make a

The Maine Thing

"Sea at Ogunquit"
Oil on Canvas, 24 3/16 x 29 1/8
Edward Hopper, 1914

I've recently been to Maine, and my thoughts have been turning to all the wonderful artists who have painted in Maine through the years. Such a rich history! There are some locations that seem to exert a magnetic pull on painters, beckoning them from far and wide. Maine is definitely one of those locations. 

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"Across Linekin Bay, Maine"
Oil on Panel, 8 x 9 3/4
Robert Henri, 1903

Edward Hopper spent nine summers painting in Maine, very early in his career. His luscious landscapes from that period are a wonder to behold, and are a far cry from his later urban scenes. If you enjoy such things, the Wall Street Journal

Coming Attraction

I'm excited to be the guest of The Gardener's Cottage in Asheville, NC, for a special event--one week from today.  On October 18, the shop will host an "Art in the Garden" reception, and I will be the featured artist.  Can't wait to come to Asheville and share my newest paintings! Some of them were painted on location in Asheville, specially in anticipation of this show.

"Distant Peaks"
Oil on Linen
(c) Lesley Powell 2018

The main event will run from 5 pm to 7 pm on Thursday, October 18, 2018. It will be at The Gardener's Cottage, in historic Biltmore Village, at 34 All Souls Crescent, Asheville, NC. If you can't make it that evening, many of my new

Once Upon a Museum

Crowds at the Mona Lisa

Earlier this year, when I visited London, I had two very different museum experiences, back to back. The first was stressful and frustrating. The second was a complete joy. I think that the difference had much to do with (1) the crowds and (2) the audio guides (or absence thereof).

Crowds at the National Gallery, London

The first experience was the blockbuster Monet exhibit at the National Gallery. Many beautiful works--in fact, almost a "greatest hits" show. But not too many surprises, and a

Framed!

Painting: (c) Lesley Powell 2018

I recently ran across a wonderful description of the role of a picture frame: "The art world equivalent of Ginger Rogers--in the sense of making the main attraction look good." (Thanks, J. Peder Zane and the New York Times). Zane goes on to note that the frame is the painting's "essential, but often ignored partner".  He points out that frames subtly shape the viewer's experience of the painting. I might say that sometimes the influence is NOT so subtle.

Painting (c) Lesley Powell

I must confess that I love painting paintings, but I hate the decisions involved in framing them. Would it be better to keep it very simple, or does the painting need a little bit more heft? Should it look rustic, or a bit gussied up? I might know how I would frame a painting for my personal viewing, but if the painting is going to a gallery, I wonder how it will fit with the other works there. And I wonder whether the frame will be a plus or a minus in the eyes of visitors to the gallery.

Painting (c) Lesley Powell

And then there are the whims of fashion and design to consider. As Zane notes, over time, each generation has selected its own frame style to match its sensibilities. Nowadays, the style switches occur far more frequently than once a generation. Sometimes it seems like constant flux. As Heidi Klum says on Project Runway, "One day you're in; the next day you're out." Sad but true.

Example of frame for a work on paper

I suspect that I am not alone in my dread of the framing process. There is something about the life of a painting on the easel that comes into jeopardy when the framing starts. To quote Elizabeth Easton (Director of The Center for Curatorial Leadership):  "In some ways, a painting never looks more beautiful than when it is on its easel, and the artist takes his brush away for the last time. And the frame is part of leaving that moment".

Painting (c) Lesley Powell

So the struggle goes on--to select the Ginger Rogers of frames--just the right one, the one that will enhance the painting, rather than detract from it. To find a frame that  keeps the painting alive, rather than smothering it. I'm illustrating this post with photos of frames I have loved over the years. It's always a thrill when a painting seems to be elevated by its frame, a synergy for which I am constantly striving.  I'd love to hear your own thoughts about framing...

Undertones

Undertones. Hmmm, sounds a little bit sinister, doesn't it?  But toning a canvas before starting to apply paint is anything but! In fact, for most painters, it's an essential first step in the painting process. (For the uninitiated, "toning" a canvas refers to putting a thin layer of color down on the raw white canvas, as shown in the top photo). 

There are many different reasons that painters tone their canvases. Here are a few:

Photo from Bill Guffey

(1) Some painters use a medium value, neutral, gray tone, so that when they start to apply color, they can readily compare

An Artful Heist

"Woman--Ochre"
40 x 30, Oil on Canvas
William de Kooning, 1955

Who doesn't love a good whodunnit? The latest high profile art heist revolves around a quiet, unassuming couple who lived in a small town in New Mexico. Mr. and Mrs. Alter both worked in public schools for most of their careers.  And yet when she died in 2017, what was found lurking behind their bedroom door, but a stolen William de Kooning painting, valued at a hefty $160 Million. Hmmmm.

The painting was stolen over thirty years ago from the Arizona Museum of Art in Tucson. A man and woman came to the Museum just before opening, and while the woman engaged the guard in conversation, the man went upstairs. When he came down, they left quickly. The guard, sensing something amiss, went upstairs, and discovered that the de Kooning had been sliced out of its frame. This painting was a prized part of the Museum's collection, because de Kooning was a leading figure in the Abstract Expressionist movement. Abstract Expressionism emerged in the mid-20th century, and proved to be a defining element in American art history. It was distinguished by very dynamic, gestural (some might even say "wild") marks and brushstrokes, and by abstraction of the subject matter--both of which are evident in the stolen painting. 

Museum Officials examine the stolen painting

Decades elapsed with no clues of the painting's whereabouts. Then Mrs. Alter died. An estate sale was held, and an antiques dealer bought the contents of the Alter home for $2,000. As soon as the dealer displayed the "cool, mid-century painting" in his shop, customers starting remarking that it looked like a de Kooning. The antiques dealer did a little research, learned about the earlier theft, and called the Museum. The rest of the story fell into place quickly--the Museum authenticated the painting, the dealer returned it to the Museum, and the FBI began investigating. 

The FBI has declined comment, since the investigation is still pending. But--evidence has surfaced that the Alters were in Tucson the night before the theft; sunglasses and a scarf matching those worn by the woman thief have been found in Mrs. Alter's belongings; and the Alters drove a car like the one described by the guard as the getaway car. And there's more. One detail I found especially creepy is that Mr. Alter published a short story in which two people stole a valuable emerald from an art museum. The story ends with the emerald on display in an empty room, and this exclamation: "And two pairs of eyes are there, exclusively, to see it!". Does this give anybody else the absolute conviction that the Alters were the thieves??

Stolen de Kooning painting hiding behind the Alters' bedroom door

An art heist like this raises intriguing questions. There's virtually no way to sell a high profile  stolen work on the legitimate market. And you can't exactly show it off to your friends. The thief must act for the pure thrill of the conquest, or for the pure artistic enjoyment of the painting. Or perhaps for the power trip of having exclusive viewing rights. It does set one to wondering "Why?". 

To read more about the modus operandi and motivation of art thieves, here's a fascinating article from The Atlantic. Puzzle on...

I'll be Brief...

"Fresh Cut Fields"
7 x 14, Oil on Linen
(c) Lesley Powell 2018
(SOLD)

On my recent painting trip, the focus was the landscape. I spent a great deal of time and effort breaking the landscape down into its simplest elements. I have learned this much from studying with the wonderfully talented Maggie Siner: if you get the foundational aspects of the landscape down correctly, the "details" practically take care of themselves. And on the flip side, if you DON'T get the foundational aspects in place correctly, no amount of tinkering with details can save you.

"Murs Hilltop"
7 x 14, Oil on Linen
(c) Lesley Powell 2018
(Available)

I have written a great deal in this blog about "simplification"--so much, in fact, that the phrase is probably growing tiresome.  I have been thinking of a new way to express this concept, and have come to call it "brevity". I want to convey the landscape with brevity--telling you enough, but not too much. I want to involve the viewer in the painting, so that the

Home from Provence....

"Murs, Beyond the Wheatfields"
12 x 16, Oil on Canvas
(c) Lesley Powell 2018

There is nothing like a total immersion painting experience to re-charge your batteries! I have just returned from three weeks of painting in the south of France. The first week was devoted to a workshop with the immensely gifted painter and teacher, Maggie Siner. The next two weeks were consumed with independent painting--a perfect time to cement some of the lessons from the workshop.

"Fields off Chemin des Pradelles"
12 x 16, Oil on Linen
(c) Lesley Powell 2018

We missed the lavender this year--it had all been harvested by the time we arrived in Provence. But on the bright side, the wheat had also been recently cut. That meant that we got

Summer Reading

August is almost upon us, and with the last days of summer reading in mind, I thought I would write about a few of my favorite art-related books. These are not instructional books designed for painters (maybe that's a subject for later!). Instead, these are books that any art lover--or any reader for that matter--can love.

In the nonfiction category, one of my favorites is Strapless, by Deborah Davis.  It tells the story of John Singer Sargent's infamous painting of Madame X, and how it affected the lives of both Sergeant and the woman who posed for the painting. I found it very gripping, and loved the insights into Sargent's

The Many Colors of White

"Hydrangeas from Vickie"
18 x 18, oil on canvas
(c) Lesley Powell 2018
(Available at Shain Gallery)

Faithful readers know how much I love to paint white things. It's a very interesting challenge, because of course "white" is never actually pure white. Its hue is quite variable, depending on what sort of light is shining on it, and what color objects are near it. Painting white things really does develop your color perception muscles!

"Big Leaf Hydrangea"
12 x 12, oil on linen, mounted on panel
(c) Lesley Powell 2018
(SOLD)

My latest vehicle for the exploration of white has been the hydrangea flower. It all started very innocently, when a friend brought me an arrangement of hydrangeas from her garden.  (Top painting). They looked so cool and fresh, and were such a counterpoint to the summer heat, that I just had to paint them! 

"Half Turned Hydrangea"
16 x 12, oil on linen
(c) Lesley Powell 2018
(SOLD)

After the first two paintings, I was hooked. I seldom start out intentionally to create a series of paintings. But sometimes the sense of discovery--and the desire to probe deeper--just spur me on.  In this case, I was trying to avoid getting bogged down in little details of all the flowerettes that make the big blossoms. I tried to see the blossoms in terms of big shapes of color, and light and shadow. My mantra was "Simplify, Simplify!"

"Second Verse"
18 x 18, oil on canvas
(c) Lesley Powell 2018
(SOLD)

Simple, however, isn't easy! It's a constant process of decisions about how much you can say with how little detail. I went through a lot of scraping off in these canvases--painting an area, then stepping back and seeing that it was too detailed, then scraping it off, and finally re-painting that passage using only shapes of color. In the end, I was pleased with the shapes and colors, and I think they manage to tell the whole story.  Thanks for looking!

Hot TownI!

"Uptown Silhouettes"
8 x 8, oil on linen
(c) Lesley Powell 2018
(SOLD)

I don't know about your locale, but mine has been suffering unbearable heat and humidity over the past few weeks. The sixties song "Hot Town, Summer in the City" (remember the Lovin' Spoonful?!) keeps running through my head! Along those lines, I just delivered a new series of paintings to Shain Gallery in Charlotte--urban landscapes, featuring the skyline of Charlotte. 

Lesley at work along the Light Rail

The paintings were actually painted earlier this year, before the extreme heat set in. My studio is near the light rail line that runs from south Charlotte to Uptown. There is a wide walking and biking trail alongside the rail line, which provides a great place to stand, with a fine view of Uptown. Just above is a shot of me at work there, and below is the finished painting. I love this scene, because it shows both the

Bloomsbury, Part II

Clive Bell's Study at Charleston

I knew I wanted to write a follow-up on my recent post about the Bloomsbury Group, and decided there's no time like the present! The earlier post seemed somehow incomplete without an exploration of "Charleston"--Vanessa Bell's country house in England, where she and her Bloomsbury friends hung out. And believe me, they did more than just hang out. They decorated virtually every surface of the house with murals, pictures and designs. Look around: walls, mantles, bookcases, door panels, furniture--no surface was spared! They even made their own pottery tablewares.

Dining Room at Charleston, with stenciled walls and pottery by Quentin Bell

Charleston is located in the Sussex countryside. The original reason for going there in 1916 was rather practical: Duncan Grant and David Garnett were conscientious objectors in World War I, and to be exempted from fighting, they were

So Very Bloomsbury!

Photo of Study at Charlotte Street Hotel,
courtesy Charlotte Street Hotel

On my recent trip to London, I stayed in the Bloomsbury district. My hotel, Charlotte Street Hotel, featured interior design inspired by The Bloomsbury Group, who lived and met in the area, and took their name from it. Staying there, I definitely started to get the Bloomsbury vibe! 

A loose confederation formed in the early 20th century, The Bloomsbury Group (or "Bloomsberries", as they sometimes called themselves) included artists, poets, writers, economists, and intellectuals of various stripes. Radicals and Bohemians all, they mounted a full-fledged rebellion against all the conventions of the Victorian era--political, religious, sexual, philosophic and artistic. 

Painting by Vanseea Bell, in Library at Charlotte Street Hotel

"Basket of Flowers"

Vanessa Bell

Scratch the surface, and you will find a thousand connections among the Bloomsberries, and some familiar names as well. One prominent member, Vanessa Bell, was the sister of the