PAINTYNGS

Alexandra Tyng Art Exhibit at the Maine State Capital Building

2011-11-22T11:10:00.000-08:00

The following article appeared in the Bangor Daily News on 10/27/11:

New art exhibit unveiled at Maine Capitol Complex

Posted Oct. 27, 2011, at 1:19 p.m.

Alexandra Tyng

The artwork of Alexandra Tyng, including this one titled "Painting on Cadillac," is now on display in Maine’s Capitol Complex as part of the Maine Arts Commission’s Arts in the Capitol program.

Alexandra Tyng

The artwork of Alexandra Tyng, including this one titled "Back to the Lakes," is now on display in Maine’s Capitol Complex as part of the Maine Arts Commission’s Arts in the Capitol program.

Alexandra Tyng

The artwork of Alexandra Tyng, including this one titled "Boat Sailing in Sunset," is now on display in Maine’s Capitol Complex as part of the Maine Arts Commission’s Arts in the Capitol program.

Augusta, Maine — The Maine Arts Commission announced Thursday that the artwork of Alexandra Tyng and James Dodds is now on display in Maine’s Capitol Complex as part of the agency’s Arts in the Capitol program.

The exhibit has been loaned by the Dowling Walsh Gallery in Rockland, and will remain on display until February 2012. The work is viewable by the public throughout the week at the Maine State House from 8 a.m. to 5 p.m., and at the Blaine House from 2 to 4 p.m., Tuesdays through Thursdays. Those wishing to visit the Blaine House are advised to call ahead.

“The Maine Arts Commission is delighted to be hosting this exhibition of paintings,” said exhibit facilitator Donna McNeil. “These world-famous artists depict familiar visions of life in Maine and guide the viewer toward a deep and joyful attachment to Maine’s landscape and way of life.”

Tyng began drawing and painting the Maine landscape as a teenager while staying at a nineteenth century rustic camp on one of Mount Desert Island’s lakes, and at her brother’s lighthouse home in Penobscot Bay. In the 1990s she began chartering planes so she could take reference photos of the glacially carved land formations of coastal Maine, which she uses as references to create large-scale paintings. She also paints panoramas from mountaintops, and closer, more intimate views of places. Every summer she spends several weeks painting outside on Mount Desert, Monhegan, Deer Isle and various other locations.

Tyng has had solo shows in Maine, New York and Philadelphia. She was selected as one of Maine’s outstanding artists by Maine Home+Design in 2008. Her Maine landscapes have been featured in “The Art of Monhegan” by Carl Little, and in art magazines, including “Fine Art Connoisseur” and “International Artist.”

Dodds was born in the small fishing town of Brightlingsea, which is nestled on the east coast of England. He trained as a shipwright in the nearby town of Maldon before moving to London to study painting at both the Chelsea School of Art and the Royal College of Art in London.

Dodds, who is a frequent visitor to Maine, has exhibited paintings and prints of boats throughout England and here in Maine at the Dowling Walsh Gallery.

All Arts in the Capitol events are free and open to the public, however, exhibitions are self-guided and may only be viewed within prescribed times. For information on this and all programs available through the Maine Arts Commission, visitMaineArts.com.

http://bangordailynews.com/2011/10/27/living/new-art-exhibit-unveiled-at-maine-capitol-complex/

Honorable Mention in The Artist's Magazine Annual Competition

2011-11-22T10:37:00.000-08:00

Many thanks to juror Richard McKinley and the editors of The Artist's Magazine for awarding my painting Morning Sun over Monhegan Village an Honorable Mention. A photograph of my work was included in the magazine's December 2011 issue. This year, my work was also awarded finalist status in the Portrait/figure category.

To order a copy, go to:

http://www.northlightshop.com/product/print-issue-the-artists-magazine-december-2011-ta1211

Painting the Story of your life

2011-11-02T08:23:00.000-07:00

I was just reading a post in my friend Terry Strickland's blog about how and why artists (including herself) paint in series, and I thought it was so interesting I felt like continuing her thought in a post of my own.

I definitely do paint in series, and like Terry I have several running at once, simultaneously, and they continue on for years. I go back and forth between themes.

When I started painting in the 70s, it was fashionable for artists to paint in "series." They would do a series for a certain show, then move on to the next series. I just didn't get it. It seemed boring to make a whole show about one theme. And then, to leave the theme, never to return--well, that seemed artificial. I knew artists did it, and enjoyed it, but it just wasn't for me.

Then I started realizing that I actually was already working in series, that I had my own series to paint. I liked painting the rustic architecture in Maine, the exteriors and interiors of these old camps, and I also enjoyed painting panoramic landscapes from mountaintops. Suddenly I saw all these paintings as part of the same series. Rather than a linear examination of a subject, it was more of a hierarchical approach, seeing and understanding certain places from different levels of distance. I had always wanted to fly over these areas to see them from even farther away, to see how everything related to each other from the air, so once I got up my courage to do so, my particular approach to a series began to reach another level, so to speak.

My fascination for certain subjects is long-running. I still paint camps and now also lighthouses and islands in Maine. Even the people who inhabit these places have become incorporated into my series. There are other themes that interest me, too. Who knows--they may run for my whole life, since series are really themes of an artist's life. If they are major themes, they will sustain the artist's interest over a long period of time.

A couple of years ago, I heard artist Mary Whyte speak at the Portrait Society of America Conference about inspiration. She said something that resonated with me. To paraphrase: "Think about the things that you were interested in drawing as a child. These are likely to be still the things you want to paint, the things that make your paintings unique." Then and there, I asked myself if I was doing that. The answer was yes. I'd been doing it unconsciously, but now I do it much more consciously. These things are my themes, my series.

We all have themes in our lives--it's just a matter of living long enough to begin to see all our experiences not as a collective jumble of "things that happened," but as interrelated groupings. We give meaning to these groupings by remembering things in a certain way, according to what is most important to us, and how we perceive life. These meaningful themes become the "stories" of our lives. Authors use this stuff to write books. Artists use this stuff to make paintings and sculpture. It's our visual language.

So if we are painting series that really mean something to us, they will never really end because they are the major themes of our lives, and getting in touch with them is crucial to getting to the root of our artistic inspiration and expression. If you want to know what makes artists tick, all you have to do is look at the ongoing themes in their work.

Some Paintings from the Monhegan Trip

2011-10-29T18:28:00.000-07:00

Gull Cove To Whitehead, oil, 16" x 11.5"

Face-to-Face Trucks, oil, 11" x 18"
Houses Down the Hill, oil, 12" x 18"

Dawn Prenumbra, oil, 8" x 10" (this was a fifteen-minute sketch of the sunrise color)

Monhegan Madness Again

2011-10-29T17:22:00.000-07:00

The MLG Painters 9/17-9/24, Clockwise From Left: Judy Carducci, Sue Braswell, Linda Brandon, Greer Jennison, Alex Tyng, Diana Cobb Ansley, and Carrie Lewis.

In September I headed back to Monhegan Island, off the coast of Maine, to paint for a week with the Maine Landscape Guild. The Guild has expanded: Linda Brandon flew in from Phoenix Arizona, Sue Braswell came from Virginia, Judy Carducci and Carolyn Lewis from Ohio, and Greer Jennison all the way from Nevada! We also split into two houses plus a few staying at the Monhegan House. And to make things even more complicated, another group of MLGers (Eliza Auth and Mary Walsh) came the following week.

Judy and Greer painting outside the Red House.
Diana and Sue painting on the rocks at Gull Cove.
Linda painting Manana from our front deck.
And here I am at Gull Cove, trying to figure out how to salvage my fog painting.
Another one of Diana and Sue from where I sat on the rock.

The weather wasn't always "drop dead gorgeous" (as Diana Cobb Ansley is fond of saying), but the varying weather patterns made for some interesting cloud formations and even some days of fog. I tried to paint the fog at Gull Cove, but made a miserably dull mess. The master of fog painting was Judy, who produced some wonderful pastels, one from inside the hotel during the worst weather. We all got together for dinners, wine and cheese, critiques, and some great conversations.

One foggy afternoon, Linda and I decided to try painting each other. We each posed for half an hour.

Linda's painting of me--what a speed demon!
My painting of Linda. Sue and Diana were amazed at how differently we mixed paint and approached the work.

There was a propane shortage on the island when we got there, and people were eagerly awaiting the next shipment from the mainland. We had to conserve fuel, which meant no hot showers for the first couple of days! Boy, were we glad when the delivery man arrived to hook up a full tank!

Sue, Diana, and I were up on Horn Hill behind our house painting when the delivery truck arrived. YES!

We walked up to the lighthouse museum, and again the curator was kind enough to show us the wonderful portraits by Alice Kent Stoddard. In all it was a truly wonderful week, a perfect ending to the summer's painting adventures.

Some Plein Air Paintings from the Summer

2011-09-05T08:25:00.000-07:00

Rocks at Lake Edge, oil, 8" x 10" (This is a study for part of a very large painting I'm working on. . . stay tuned.)

Rocks, Indian Island II, oil on board, 9" x 12"

Rocks, Indian Island I, oil on board, 9" x 12"

Nan's Pots, oil on linen on MDF, 13" x 18"

Lake Edge in Shadow, oil on linen on MDF, 13" x 11"

Lighthouse in Early Morning, oil on linen, 16" x 14"

Article in August 2011 American Art Collector Magazine

2011-09-01T10:11:00.000-07:00

This is old news already, since the September issue has been out for a while now, but I'm very pleased to have my recent show at the Dowling Walsh Gallery reviewed by AAC Editor-in-Chief Joshua Rose for the August issue of American Art Collector. It's such a nice long article with so many photos-thanks, Josh, and all the staff at AAC!

Painting on an Island in Maine

2011-08-29T17:48:00.000-07:00

Last week, I and two other artists, Ellen Cooper and Alyce Grunt, were marooned (not really, but it was fun to pretend) on a small Island off the coast of Maine, We had our painting supplies, of course, and some food, and all the necessities.

It was a very small island. If you like lots of distractions, it probably wouldn't suit you. If you can't be without internet service, it would definitely not suit you. But if you like to paint, there's almost too much to do. Everywhere we turned, there was a painting waiting to be painted. As the light changed, or the weather, the possibilities multiplied. I've visited this special island many times over many years, and I've never been so constantly busy.

I've always liked painting both landscape and architecture, and when the two are combined I think the tension between natural and man-made forms makes an especially interesting painting. On a technical level, I am interested in how different brushes, and brush-marks, can be used to express these forms. Walls are straight yet a structure can feel organic; tree branches grow in curves and forks, yet the patterns are predictable. A rock and a tree trunk can be painted using almost the same color, but what makes them look like what they are?

Color makes a fascinating study. There are many colors in nature, but an artist can mix them with few colors on the palette--or many. I especially enjoyed painting the white buildings on the island, because the different facets of a white object are the best and purest indicators of the color of the direct light and the halftones at different times of the day. A photo will only approximate the colors you see in real life.

When we weren't painting, we cooked, read books, talked (a lot) and just hung out. We even went to the mainland and visited some galleries and the Farnsworth Art Museum. Being in Maine, even for a short time, gave us a break from the stresses of work and everyday life, and put us in touch with what is really important in life. Hopefully as we head into fall we can carry with us memory of our island trip to help us put things in perspective.

Catalogues Available

2011-08-10T06:51:00.000-07:00

The Aladdin Lamp, oil on linen, 20" x 30"

The Dowling Walsh Gallery is offering a 22-page color catalog of my show Right Here: New Maine Paintings for the very reasonable price of $5. You can pick one up at the gallery, or contact Jake Dowling at 207-596-0084 or at info@dowlingwalsh.com if you would like one sent to you via mail.

The catalog includes 20 color reproductions and an essay by Carl Little, author of Edward Hopper's New England and other books. His article on Fairfield Porter and James Schuyler appears in the 2011 Island Journal.

Right Here: New Maine Island Paintings

2011-08-10T05:50:00.000-07:00

Last Friday, on August 5th, my solo show Right Here opened at the Dowling Walsh Gallery in Rockland, Maine. It was a busy night for the arts in Rockland--First Friday Art Walk with gallery openings all over town and in nearby Thomaston, The Farnsworth Museum open late with free admission, and the famous annual Lobster Festival all coinciding--so I met lots of art lovers that evening! Jake Dowling and his talented team never cease to impress me. The work was hung beautifully. And the food (thanks to Hilary) was out of this world. If you are tired of gallery openings at which only wine is served, go to Dowling Walsh for a multi-sensory experience.

I first met this couple a few nights before at the CMCA Auction.

Suzette McAvoy, Director of the CMCA and former Curator at the Farnsworth, and my long-time friend and painting partner, Diana Cobb Ansley. Suzette wrote the essay for the catalog for my 2009 show at Fischbach Gallery in NY. She has known Diana since she interned for her at the Smithsonian.

Artist Lea Colie Wight flew in from Philadelphia to check out the Maine art scene.

Becca in front of Overlook.

Julian in front of Elemental Balance.

Here I'm standing in for Nancy Bea Miller in front of Star at the Edge.

Artist Richard Ranck and Cartoonist/author Tony Auth.

If you are in Rockland, or anywhere on the coast of Maine, in August, please stop by and see the show.

Show dates: August 5th-28th, 2011

Gallery Hours: Tuesday-Saturday, 10-5

Dowling Walsh Gallery

352 Main Street

Rockland, ME 04841

207-596-0084

info@dowlingwalsh.com

More Good News for The Franks Playing Mozart

2011-07-01T10:09:00.000-07:00

I'm so pleased that my painting The Franks Playing Mozart (oil, 52" x 46") was awarded finalist status in The Artists' Magazine 28th Annual Art Competition! This painting was shown in the Inspiring Figures show at the Butler Institute last year, and was featured in The Philadelphia Magazine and the University of Pennsylvania Gazette blog, so it has had quite a year!

Many thanks to the judges and the editors of The Artist's Magazine for recognizing this work. I also want to thank musicians Claude and Pamela Frank, without whom this painting would never have come about. When I look at the painting I can still relive the sights and sounds of watching them make music together.

Star at the Edge

2011-06-16T08:26:00.000-07:00

In response to those who ask me about how I create a painting, from the beginning stages to the finished work, I'm posting a step-by-step description of the process of one painting, Star at the Edge.

Every painting I do evolves a little differently. Sometimes I am painting on location and I know right away that my plein air sketch will need almost no compositional changes to turn it into a larger studio painting. Or the small oil sketch might become part of a larger painting. But in this case, I was working in Gull Cove on Monhegan Island, ME, and I had a vague idea of painting a figure with the trees and rocks as the background. The only problem was, I wasn't sure exactly what part of the scenery, and what angle, I would use. I didn't even have a clear idea of who was going to paint, or the idea behind the painting. So I decided to just focus on some trees and rocks that would make a pleasing composition, and worry about the larger painting later. Here is my oil sketch, Rocks and Trees, Gull Cove, 14" x 11".

While I was in Gull Cove, I also took some photos of the rest of the scene.

You'll notice that the oil sketch gives me an accurate idea of the color and value range, while the photos provide some additional information, but certain things are washed out, like the sky. Even with Photoshop you can't bring that back, so I often take more photos of just the sky. It's better to have too much information than not enough.

A few months later, a friend of mine, Nancy Bea Miller, came to a turning point in her career. After many years of working as a professional artist, she decided to go back to school and get an MFA. I decided to paint a portrait of her at this turning point. We had been discussing the idea of "star quality" in art, and how much was determined by popularity, publicity, and connections, as well as talent and hard work. I thought of the starfish, a sea creature with five arms, i.e. a five-pointed star. Here are some symbols associated with the star/starfish: the eternal, the undying, constancy (the Pole Star), aspiration, education (five-pointed star), spiritual wisdom, and divine guidance.

I was also "playing" with the tidal zone between ocean and land, where the waves churn up things that are beneath the sea and throw them onto the shore. To me this brought to mind the border between unconsciousness and consciousness. If we can go to this "zone" we will find all sorts of treasures that can lead to a fuller, richer life.

One thing that I wanted to convey was the uncertainty of finding a star and wondering what to do with it. Because we can find a treasure and use it in many different ways, or not use it at all! So in Nancy Bea's expression I wanted to convey some of this uncertainty.

Since Nancy Bea didn't have time to pose, couldn't hold the expression very long (the sideways look led to dizziness), and the weather was becoming too cold, I took photos of her and worked from them. I made sure that the lighting conditions in the photos were the same (time of day and direction of sun) as they were in the setting.

Now to the nitty-gritty of painting. I decided it was important to show just a bit of the ocean. There were a few days of tremendous surf that created a golden haze (visible in the distance), and this added a feeling of mystery and excitement to the "zone" between water and land. So I decided to set NB's figure against the long view. My oil sketch of rocks and trees was just to the right of the composition, but nevertheless it came in handy for nearby colors, values and brushstrokes, and also the color of the sky and clouds.

When I plan out a composition, I like to print out photos, paste them together, and move borders in and out until I like the balance. I also print out photos of the figure, and play around with size and position in the same way. Making a polished reference in Photoshop doesn't interest me. I'd rather do this cut-and-paste stuff, because the motley-looking photo-pastiche that results from this process is just a compositional guide. I don't want to just "copy" a finished-looking photo with every detail already worked out. I also have my oil sketch to refer to. The real synthesis is in my head.

Here are some progress shots:

I stretch my own canvases with unprimed Belgian linen, prime them with acrylic gesso, and tone them with a warm neutral wash of black, burnt umber and white. First I drew a grid on my photo-pastiche and a corresponding grid on my canvas. Since I work large, the grid helps me to place complex things like rocks. I keep the grid very large so I don't feel like I'm connecting the dots, and I am still drawing freehand.

Here I'm starting to fill in the dark trees behind NB's backlit head--the focal point and area of greatest contrast.

Starting to differentiate light and shadow areas and put in a color mosaic.

More "puzzle-pieces" of color."

Adjusting values, colors and refining the figure.

Further refinements and adjustments.

The finished piece, Star at the Edge, oil on linen, 34" x 42".

Here are details of the head and hands.

This painting, along with 30 + others, will be in my upcoming show, RIGHT HERE: NEW MAINE ISLAND PAINTINGS, opening August 5th at the Dowling Walsh Gallery in Rockland, Maine. The gallery is located on 357 Main Street, right across from the Farnsworth Art Museum. Catalogs include an essay by author Carl Little, and will be available through the gallery.

Painters Painting Each Other

2011-06-08T08:43:00.000-07:00

Nancy Bea Miller and I have reciprocal portraits in the Painters Painting section of Outdoor Painter! Both our paintings were done on the same trip, one year ago when we went on a "business trip" to Maine and stayed with Diana Cobb Ansley(who appears in my piece, too) on Mount Desert Island for a few days. Click each image to enlarge and read the article by Steve Doherty.

What a fun and fruitful trip that was! For a time at least, you can see the piece online by clicking here.

Art Makes Life at the Butler

2011-05-28T04:39:00.000-07:00

I'm very pleased to announce that my portrait of Marina Dieul, Art Makes Life, was selected for inclusion in the 75th Midyear Exhibition at the Butler Institute of American Art.

If you haven't been to the Butler, it's worth a trip to Youngstown, Ohio to see this small gem of a museum full of truly magnificent examples of work by American artists of all eras of this country's history. The Midyear show is a lot of fun to see. There will be 100 works on display, selected from over 1,000 entries. You might see some artists you know there. Last year at the opening reception I met Jeff Gola, Stanka Kordic and Leslie Adams, all of whom had work in the show.

75th NATIONAL MIDYEAR SHOW

The Butler Institute of American Art

524 Wick Avenue, Youngstown, Ohio

Meet the Artists Reception and Awards Ceremony, Sunday, June 26th, noon to 3 p.m.

Show Dates: June 26th--August 28th, 2011

Color, Light and Shadow Workshop Update

2011-05-17T05:08:00.000-07:00

Color study in warm light

Color study in cool light

There are still places available in my Studio Incamminati workshop, June 20-24.

Do you follow the maxim, "Paint what you see?" Do you ever stop and wonder WHY you see certain colors in the various planes of the face, or objects, or whatever you are painting? Understanding how the light generates color, even in the shadows, takes the mystery and struggle out of color mixing.

Call 215-592-7910 if you need information or you would like to register for this 5-day workshop.

Vision to Hand awarded PSA Certificate of Excellence 2011

2011-04-19T07:31:00.000-07:00

I'm happy to announce that Vision to Hand (oil on linen, 36" x 26") received a Certificate of Excellence from the Portrait Society of America this year!

It's what I call a "figurative portrait" because it is both a portrait of artist Diane Feissel, and also a figurative work that conveys an idea that is relevant to the subject, and also goes beyond the subject. I guess you could say that I "use" the subject to explore a theme, but she's not just a model, a tabula rasa onto which I project that constellation of ideas; she's an individual who is also partly the source of these ideas.

Matthew Inness asked me to describe my thoughts about this painting, and he posted the painting and description in his wonderful blog Underpaintings. (If you like realist art and you haven't yet read Matt's blog, check it out. You won't want to miss all the interesting news and commentary.) Thank you, Matt, for including my work along with all the other Portrait Society award-winning entries. Congratulations to all these exceptional artists!

Realism: Legacy and the Gene Pool

2011-04-02T08:54:00.000-07:00

I look around at all the schools of realism today and marvel at the diversity of styles and viewpoints that are emerging out of the teaching of highly respected artists. To name a few off the top of my head, there are the Putney Painters, the Water Street Atelier artists, the Novo-Realists, and here in Philadelphia, the Studio Incamminati artists and the "Direct Painting" heritage at PAFA. Of course there are many more. All of them have different approaches, and the artists emerging from them are doing exciting work.

I've noticed that these groups tend to stay together and show together often, for obvious reasons. The artists share a common teacher, of course, and they know each other very well from learning and painting together. Sometimes there is a painter whose style jumps out from the group as markedly different, but more often the uniqueness is consistent but more subtle. It's easy for these painters to get a show together because just the distinction of belonging to a school of realism is in itself a valid reason for a show.

But what if we mixed things up a little? What if artists, galleries and curators organized more themed shows that reached across these different schools of realism and invited artists from all kinds of different backgrounds?

There is a lot to be said for the "legacy" that is passed down from one artist to another. The legacy idea is not really stylistic, although artists may be initially drawn to study with an artist (or one who studied with that artist) because they are attracted by the style of the work. The legacy has more to do with learning that artist's way of seeing, methods of working, and putting conceptual understanding into practice. The best "masters" (I use that word although it has a slight cringe factor for me) are those who would not want students to copy their style, who would help students become the kind of artists they are meant to be. So if "masters" do not want artists to copy them, that's all the more reason for artists to look beyond their own inner circles and appreciate, even embrace, what other artists are doing.

Then there are all the artists--myself included--who do not belong to a specific school. There are so many realists working today who add fuel to the fire of the realist art movement. We need more and different shows. We need to widen the gene pool a bit, shake up the mix, and try new combinations. I can think of so many people I'd like to show with--and the list varies with the themes that I come up with in my head. And I'm also thinking of all the wonderful accomplished artists I know who do not have the advantage of belonging to a group, but have the strength of their own artistic voice. Just think if we all raised our voices together in a single group that transcended our various allegiances!

A few years ago, I was asked by the director of a local center to help organize a portrait and figure show of Pennsylvania artists. I wanted a variety, so I suggested artists from across the board stylistically. At the time, I didn't know any artists from Studio Incamminati. For some reason, I thought of that school as separate from the rest of the Philadelphia art scene. Right after the show was over, I started meeting some of these really exceptional artists, and I wished I could have turned back time and included them in the portrait show.

But fortunately there are always new opportunities. Last year I served on the exhibit committee, helping to put together the "Inspiring Figures" show at the Butler Institute, in which some of these artists participated.

If realism is to thrive, we can't just stay within our safety zones. We can make a much greater impact on the art world in general if we hang together and help each other. We are working toward a common goal to see representational art, in all its traditional and contemporary permutations, achieve widespread acceptance and validity.

Studio Incamminati Workshop in June

2011-02-08T12:41:00.000-08:00

Head study in cool light

Head study in warm light

Color, Light and Shadow: Painting the Figure

June 20-24, 9 a.m. to 4 p.m.
$550.

Using complementary colors to paint people and objects as they "turn" into shadow involves creating a unified color ramework for each painting, based on the color of the direct light source, which determines how we see the ambient (indirect) light and shadow.

Join me for five days of intense fun as we paint white plaster casts in warm and cool light, then progress on to live models in full color setups. I'll also be doing a power-point presentation, examining the "turning plane" in detail.

For further information or to sign up, check out Studio Incamminati's website.

Incorporating the "Odd" Object in a Portrait

2011-01-27T10:37:00.000-08:00

When my husband Steve started working at Temple University eleven years ago, little did I dream I would ever be working with his boss. After all, Steve's work is in medicine, mine is in art. But last fall, Dr. Robert Fisher, Chief of Gastroenterology, asked me to paint his portrait, and I was honored to accept the commission.

From the very beginning of our collaboration, there was one thing Dr. Fisher was adamant about: he wanted the portrait to include a painting he owned of the G.I. tract. Now this seemed logical to me considering Dr. Fisher's specialty, and I when I paint portraits I like to incorporate evidence of people's professions and interests. But, then, a painting of a G.I. tract--well, that could be tricky to say the least! Dr. Fisher said his brother, a sculptor, wasn't keen on the idea. My husband told me people at work liked to joke about it. At this point I had never actually seen this famous painting, but I was getting a little worried.

So much buzz was circulating about this G.I. tract painting hanging in Dr. Fisher's office that when I actually saw it, I was relieved. I could kind of see why Dr. Fisher liked it so much. It was also a landscape. And if you squinted, you could also see it as a jolly face. A very clever painting--metaphorical rather than graphic. It would actually be fun to include it. And I like a challenge.

We also ended up including books, family photos, a college football, and other objects, visual clues that tell a story about Dr. Fisher, his history, his personality and character. These things, when they are chosen and arranged carefully, can add to the visual interest of a portrait. On the other hand, it's always important to make sure the parts are subordinate to the whole. A portrait can contain many things, but the artist can make sure the focus of the painting remains on the person, by controlling the composition, edges, lighting, and massing of light and shadow. In this way, a portrait containing many elements can be brought together in a unified, simple whole.

By the same process, the "odd" object can also be brought into the whole. It has to first be thought of and fully accepted by the artist as an integral element in the composition. When I first saw the painting of the G.I. tract, I had to contemplate it and envision how it would be placed in the composition, what level of importance (i.e. what value and level of detail) it should have, in relation to the subject. The end result is that it should not "stick out like a sore thumb" or be banished to obscurity in the dark background. As the artist, I've got to go so far as to even embrace it as a necessary part of the symphony that will culminate in the celebration of the subject.

Two Honorable Mentions in the Portrait Society Members' Showcase

2011-01-11T15:14:00.000-08:00

Many thanks to the Portrait Society of America for awarding Honorable Mentions to two of my paintings in the 2010-11 Members' Showcase Competition! The categories were lots of fun this year for a lot of artists like me who not only paint portraits, but also other genres, including landscape and still life.
The Porcupines From Cadillac, 28" x 42"--!st Honorable Mention, Landscape

Louis I. Kahn, 52" x 36" 5th Honorable Mention, Noncommissioned Portrait

The "Outside the Box" category was a great idea--it was a lot of fun thinking about what to enter, and I'm curious to see how some of the other artists interpreted the idea and what they entered.

Alice Kent Stoddard at the Monhegan Museum

2011-01-09T08:10:00.000-08:00

View from the lighthouse tower.

Looking back over the last few months' posts, I realized I hadn't blogged about my annual trip to Monhegan with the Maine Landscape Guild. Every year for the past four years, my artist buddies and I have carved out time for a week-long stay on this very special island nine miles off the coast of Maine. Last fall, our stay coincided with "Lighthouse Day," a fundraising event for the recently restored Monhegan Lighthouse. We got a tour of the buildings and we were able to climb up the iron staircase to the top of the lighthouse tower--very exciting for me because not only do I love lighthouses and towers, but also I love to paint views looking down on the landscape from an elevated viewpoint. Needless to say, I took a lot of photos from the tower looking out over the village and neighboring island of Manana.

After the tour, I was walking through the Keeper's house, also known as the Monhegan Maritime Museum, and I noticed a wonderful portrait by Alice Kent Stoddard. I had seen some of Stoddard's work in Philadelphia, in the Drexel Collection, and this portrait of a former lighthouse keeper was among the best I had ever seen of her work! I asked the curator about it, and she said, "Oh, there are some even better ones in the vaults! Would you like to see them?" Of course I said yes. She took me to the "vault," which on the outside looks like just another white clapboard building in the lighthouse complex. But inside was rack after rack of incredible paintings, including a staggering collection of paintings by Alice Kent Stoddard! I thought she painted men especially well-and here are three of my favorites:

Portrait of the man who built the Island Inn, by Alice Kent Stoddard
Portrait of landscape artist Andrew Winter by Stoddard
Another Stoddard portrait

I highly recommend the Monhegan Museum to anyone interested in seeing a star-studded collection of work by well-known artists who painted in Maine. Both the keeper's house and assistant keeper's house have been made into exhibition spaces. And if you happen to get there on Lighthouse Day, you'll get to climb the tower and get a 360 degree view of this artists' island.

A Portrait to Enhance the Arts

2010-12-17T12:44:00.000-08:00

If you love music and art, and would like to make a charitable contribution to the Curtis Institute of Music in Philadelphia, please consider this proposal:

For several years, through my project Portraits For the Arts, I have used the power of portraiture to make monetary contributions to the arts in my home town of Philadelphia. My painting of renowned musicians Claude and Pamela Frank, who are father and daughter, was recently in an exhibition at the Butler Institute of American Art. (The head study of Mr. Frank, pictured below in my last post, was used as the cover art for Mr. Frank's new CD.) The large painting is oil on linen and measures 52" x 48".

This is how the donation can be accomplished:

Whoever buys the painting would donate 40% of the purchase price to the Curtis Institute of Music. The other 60% would be paid to Portraits, Inc., and divided according to its usual practice.

Anyone interested?

Music and Art in a Single Package

2010-12-02T15:52:00.000-08:00

For the last few days I've been enjoying pianist Claude Frank's new CD as I paint. It's such an amazing experience to hear how he plays Schubert, Mozart and Schumann. I keep getting caught up in the way he interprets the music, like a storyteller thoughtfully infusing the story with a certain characteristic inflection and emphasis.

I'm honored and thrilled that my head-and-shoulders oil sketch of Mr. Frank was used as the cover art for this CD. Mr. Frank will be celebrating his 85th birthday this year, and by contributing in this small way, I feel as though I'm participating in the celebration. Happy birthday, Mr. Frank!

Portrait Unveiling

2010-11-23T07:39:00.000-08:00

One of my recent portraits, of businessman R. John Chapel, was unveiled at Drexel University's LeBow School of Business. Mr. Chapel and his wife Jinny have been generous donors to the business school, giving scholarships to deserving students through a foundation they have established. I especially love the multi-generational photo of the Chapel family standing in front of the portrait. I enjoy unveiling parties because I get a chance to share in the joy of the occasion, and contribute to it, but stay on the sidelines and watch someone being honored in a special way.

More Thoughts on WPW

2010-11-18T10:49:00.000-08:00

Since returning from that wonderful week in Charleston and Sullivan's Island, SC, I've been feeling strangely pensive, not my usual energetic self. I've been musing over all my experiences and observations and interactions, and I realized that the wide age span of the 12 artists in our group--24 to 66--allowed the opportunity to see a microcosm of a life in art.

One thing that struck me is how trendy the culture of selling art is. The gallery scene in Charleston is lively and varied, yet it was not obvious to me where my work would fit into it. Some of the best galleries claimed to only show work of artists who were formally trained, and although I am so glad the younger artists I know have had the advantage of formal training, I know from experience that one can learn without it if one is determined to learn. So formal training has become not just a viable opportunity, but a selling point for gallery owners! How different I feel now, more sure of my own work, yet less sure of where I "fit in" to the gallery scene. Maybe the whole point is that I don't need or want to fit in, I just want to keep doing my own thing, and that is the driving force. I'm still processing my Charleston experience, but it sure has been interesting so far.

If you are interested in reading about the experiences of some of the other artists in our painting expedition, here are links to their blogs:

Sadie Valeri
Diane Feissel
Mia Bergeron
Terry Strickland
Linda Tracey Brandon
Alia El Bermani

Women Painting Women

2010-11-16T09:44:00.000-08:00

My plein air painting in the park, Woman Painting Women Painting Woman! Our model was artist Stanka Kordic, who volunteered to fill in for the model who cancelled and stoically posed in the cold, blustery weather.

This past week in Charleston, SC was amazing one, staying with 11 other artists (Alia El Bermani, Diane Feissel, Sadie Valeri, Catherine Prescott, Mia Bergeron, Linda Brandon, Stefani Tewes, Cindy Procious, Kate Stone, Rachel Constantine, and Terry Strickland) in a large beachfront house on Sullivan's Island. We were there to paint, get to know each other, be inspired by each other. . . and to attend the opening reception of the Women Painting Women show at the Robert Lange Studios in Charleston.

This show had its origins as a blog started by artist Sadie Valeri. Sadie had noticed that many major exhibitions, gallery shows and events featuring women as subject matter were painted overwhelmingly by men, so she began collecting images of women painted by women. High quality submissions began pouring in from all over the world, and the blog grew so rapidly that Sadie enlisted the help of fellow artists Alia El-Bermani and Diane Feissel to handle the postings. Some of the artists featured were represented by Robert Lange Studios, and it wasn't long before gallery owners Megan and Robert Lange had the idea of curating a show based on this theme.

Even though we knew the show had generated a lot of great press coverage, we were thrilled at the reaction of the people who were walking around the art district on the evening of the opening. I was with Linda Tracey Brandon when a woman told us, "Oh, you MUST see the Women Painting Women show--it brought tears to my eyes!" That was pretty much the general reaction, and it was like a huge groundswell of energy.

To read more about our adventure, check out Sadie Valeri's description. She says it a lot better than I possibly could.

Opening night at Robert Lange Studios: Alia El Bermani in front of her beautiful painting Space Between.
From left: Me (Alex), artist Mario Robinson who shows at Ann Long Fine Art, and Linda Brandon.
From left: artists Kate Stone, Diane Feissel, and Rachel Constantine.
Stefani Tewes, Cathy Prescott and Alia El Bermani painting the model in Magnolia Plantation.

Cindy Procious at work in a Charleston cemetery.
Oyster roast at the home of artist Shannon Runquist--an evening of wonderful hospitality and southern cuisine.
At our house on Sulivan's Island, painting from the model.

"A Day in the Life. . ."

2010-09-30T08:25:00.000-07:00

When artist Wende Caporale asked me if she could come to my studio to interview me for an article, I was surprised and honored. to say the least. Wende has been writing a very interesting series of articles in the Portrait Society of America's section of International Artist Magazine, and I always enjoy reading her articles. First of all, she picks a variety of artists to write about, second of all, her way of following an artist through a day's work is original, and she always reveals things about artists that don't come to light in a more formal type of article or interview. Actually, as the day approached, I was little nervous, wondering about what she would say! (My fears were unfounded.)

What resulted was a very intricate and sensitive description of the work I have been doing towards my upcoming show at the Dowling Walsh Gallery in Rockland, Maine. The show will combine my landscape and figurative work, ranging from large aerial landscapes to intimate scenes of particular places and the people who inhabit them. The gallery hasn't firmed up the date yet, but it will be sometime in the summer of 2011.

The other result of this experience was that I got to spend a day with Wende, who is a delightful, insightful and empathetic person. I'm so glad to have had the chance to get to know her a little better and spend several hours talking about a variety of things!

Women Painting Women

2010-09-29T18:25:00.000-07:00

I'm pleased that my painting Right Here (oil on linen, 36" x 28") will be included in the Women Painting Women show at the Robert Lange Studios in Charleston, South Carolina, Friday, November 5, 5:30-8:30 p.m.

Women Painting Women was started as a blog by artists Sadie Valeri, Alia El-Bermani and Diane Feissel. The blog is an ongoing and ever-growing collection of "Figurative Paintings of Women by Women with a focus on Contemporary, Living Artists." Over an amazingly short period of time, the founding artists have taken their idea further by creating an exhibition by the same name, and finding a venue for it. They are now exploring ways to take the WPW idea even further.

This is going to be the second show of women's art in which my work is included--and to think I used to swear I would only enter shows that were not women-only! I think something changed for me when I observed how the realist movement, more specifically the realist figurative movement, had become focused on and dominated by the work of male artists. I am hoping people will make an effort to see the quantity of highly accomplished work by women that is out there in the art world, because I would like to see more of a gender balance, more of a mutual respect, less of a boys' club.

A word about galleries: I would like to see gallery directors think twice about the way figurative art is marketed. I believe that the way it is pitched to potential collectors has a lot to do with the type of art collectors are buying--or not buying. Here are a couple of issues that could be addressed:

The AGE of the artist. Why is a young artist such a hot commodity? Doesn't a middle-aged artist still have room to grow? Doesn't age bias eliminate many female artists whose career trajectory takes a different path?

The WAY the figure is depicted. Do male and female artists see the figure differently? Why is the female figure so popular now, how is the female figure depicted in the most sought-after realist art? Would you paint the female figure differently? Would you like to see more art showing male figures?

After being represented by a highly respected New York Gallery since 1994, being one of a group of male and female artists who have been treated with equal respect and whose work sells equally well, I am puzzled by the existence of galleries that only represent men, or claim that only men are financially worth representing, even though they say they give women a chance. I'm hoping that, in the near future, there will be more galleries that showcase the figurative work of male and female artists equally.

2011 Tuscany Workshop Announced

2010-09-22T16:51:00.000-07:00

ALEXANDRA TYNG
TUSCANY PLEIN AIR WORKSHOP
September, 2011

I will be leading a workshop in Tuscany for the week beginning September 17, 2011. It will take place at Pieve di Caminino, a privately-owned 1,000-acre estate located approximately about 45 minutes (south) by car from Siena. The main feature of the property is an 11th century Romanesque church that has been renovated and made into a home for the owners and apartments for guests. Each apartment is unique, and has a minimum of a living room, bedroom and kitchen facilities. Two of the apartments will accommodate four people, while the others accommodate two each. The workshop is limited to 12 or 13 painters. Pieve di Caminino will accommodate a maximum of 24 people, which would include the use of the “tower” in Roccatederighi (a lovely three-story home built into one of the ancient towers in the walls), and all the apartments on the estate.

Most painting will take place on the grounds of the estate. We my also paint in the nearest town, the medieval walled village of Roccatederighi, with narrow streets, archways and winding stone stairways. I will be doing three demonstrations and I will have three critique sessions. I will walk around and make comments on your progress if you are painting nearby and would like comments on your work in progress.

The cost is $1,500 for those taking the workshop and $1,200 for those not taking it. The price includes the workshop and accommodations only.

For more information, or to sign up for the workshop, please contact Steven Stern at:
Email: ststernlaw@juno.com
Phone: 215-732-4200

"Inspiring Figures" at the Butler Institute

2010-09-21T11:07:00.000-07:00

On September 12 my husband and I made the 6-hour drive to Youngstown OH to attend the opening reception of "inspiring Figures" at the Butler Institute of American Art. I know it sounds self-serving to say I was inspired by an exhiit that includes my own work, but I have to spread the word and say this was one of the most exciting shows I've been to recently, for several reasons. First, the artwork, by 30 living artists (ten invited and 20 juried) and ten historically significant artists, was impressive in its quality and variety: second, this was an unusual show in that it showcases the work of contemporary and traditional realist (or representational) figure painting in a museum venue; third, although women are drastically under-represented in museum collections, this was a show solely of art by women; and last, the concept of mutual inspiration that underlies this show is different from the concept of linear "legacy."

Inspiring Figures is the brainchild of the Cecilia Beaux Forum of the Portrait Society of America, and it was a good five years in the making. It is an exhibit that explores the roles of American women artists as innovators, sources of inspiration, and mentors.

Here is a list of the artists in the show: Leslie Adams, Carol Arnold, Rose Bartolini, Cecilia Beaux, Isabele Bishop, Colleen Browning, Wende Caporale, Mary Cassatt, Ellen Cooper, Grace DeVito, Marina Dieul, Ellen Eagle, Cynthia Feustel, Rose Frantzen, Nancy Guzik, Lily Harmon, Jane Lund, Sherrie McGraw, Mary Beth McKenzie, Nicole Mone, Kay Polk, Catherine Prescott, Danielle Richard, Lenka Rubenstein, Kate Sammons, Laura Sanders, Leona Shanks, Rhoda Sherbell, Sharon Sprung, Laura Tilden, Alexandra Tyng, Dawn Whitelaw, Patricia Watwood, Mary Whyte, and Lea Wight

Here is my painting: Claude and Pamela Frank, oil on linen, 52" x 48"

Some photos from the opening. . .
And this is how it looked hanging on the wall.
Leslie Adams with her portrait of artist Michael Shane Neal.
Catherine Prescott with her life-sized work Legacy: Portrait of Val
Here I am with artists Jane Lund and Wende Caporale.
After the opening, Nancy Guzik, Rose Frantzen, Lea Wight, Chuck Morris (Rose's husband) and Leon Shanks stand on the steps of the Butler.
A toast at a nearby cafe.
Rose Frantzen drew quite a crowd as she talked about her work and work process.
Marina Dieul was not able to make the opeing but her work Aenor won the Grand Prize.
Ellen Cooper won Second Place for her portrait Judy.

Finalist Status in the Artist' Magazine Competition

2010-07-17T18:52:00.000-07:00

Recently I learned that three of my paintings made the "finalist" category in The Artist's Magazine's annual competition! This was wonderful news. The paintings were Lunch Break, Horn Hill and Back Yards in Snow (the same two that got some recognition in the ARC), plus my portrait of Portia.Portia: Lead, Silver or Gold, 40" x 30

Business Trip to Maine

2010-07-17T18:00:00.000-07:00

I can't think of a better place to be, especially if one's business is one's avocation and passion. I do wish Maine were a little closer to Philadelphia, though. Between gallery drop-offs and pick-ups I had ample time to paint with my art buddies Diana Cobb Ansley and Nancy Bea Miller. One lovely evening as the rain clouds were drifting away, we had a grand time painting on top of Cadillac Mountain overlooking Frenchman's Bay and the Porcupine Islands.Painting on Cadillac, 14" x 18"NB at her eaasel
Diana's lovely home in Somesville is the subject of this painting.
I painted this one during a day trip to Stonington on Deer Isle.
We also painted the beaver dam in the middle of Beaver Pond, on the Bar Harbor Road. Photo by Nancy Bea Miller

Some Recent Openings. . .

2010-07-17T16:35:00.000-07:00

It's been fun but hectic lately. At the opening reception of the Philadelphia Sketch Club's 150th Anniversary Members' Show at the Newman Galleries, I met Diane Feissel, a very talented artist who recently moved back to Philadelphia and joined the Sketch Club. Our Professional Artist meetings can't help but get better and better with Diane on board. Here I am with Diane at the show, and underneath my portrait of Nancy Bea Miller. Joe Sweeney, an artist whose work was also in the show, took the photos. Thank you, Joe, they're great.Photo by Joseph Sweeney
Photo by Joseph Sweeney

The next weekend, I, my husband, and artist Garth Herrick piled in our car for an 8-hour journey to Youngstown, OH, to the Butler Museum and the opening of the Midyear Exhibit. There we met other artists who were in the show and who have been our online friends on art forums and Facebook. It's fun to meet someone in person with whom you've been chatting about art for years and find them to be exactly as you thought they would be, or even better, in real life.My husband took this shot of the artists together. L to R: Jeff Gola, Garth Herrick, Leslie Adams, Stanka Kordic, and I
Standing in front of my painting Teamwork with artist Stanka Kordic, whom I've been wanting to meet for ages.

Philadelphia Sketch Club Members Annual Show

2010-06-02T12:29:00.000-07:00

Nancy Bea at Saxby's, oil, 24" x 20"

Every year the artist members of the Philadelphia Sketch Club have been showing their work at the Newman Gallery in Center City Philadelphia. It's going to be a fantastic show, judging by the artists who belong to the club, and I'm honored to be part of this exhibit! My portrait of fellow artist and Sketch Club member, Nancy Bea Miller, will be hanging in the Newman Gallery in the company of some wonderful work (including a painting by Nancy Bea herself). Other artists whose work will hang in the show include Garth Herrick and Joe Sweeney.

On the front page of Philadelphia's City and Suburban News is an article on the exhibition. Check it out here!

Opening Reception Information:

Newman Galleries
1625 Walnut Street
Philadelphia, PA 19103

Saturday, June 12, Noon-4:00 p.m.

Arsenic Lobster , Spring 2010 Cover

2010-06-02T12:11:00.000-07:00

Toast to Lobsters, oil, 22" x 30"

Arsenic Lobster--what a strange name for a poetry journal! It does catch one's attention, though. And it's filled with a variety of work by accomplished writers. I'm admiring of anyone who can write poetry since I'm hopelessly devoid of any talent in that direction.

The editor of the journal, Sue Yount, asked me some time ago if she could use my painting Toast to Lobsters on the cover, and of course I was delighted! Here's a link to the journal, in case you would like to purchase a copy of the spring 2010 issue (or any other issue for that matter).

I'm pleased to report that the original painting, which was hanging in the gWatson Gallery in Stonington, Maine, last summer, has been purchased by a private collector.

33rd Annual Juried Exhibition at the Salmagundi Club in NYC

2010-06-02T11:33:00.000-07:00

Harriet Pattison in her Landscape, oil, 38" x 30"

People have been telling me for years that I should enter a juried show at the Salmagundi Club in New York. And I kept saying, "Okay, I will," but for some reason the deadline would pass by and I would tell myself I would have to remember to enter next year. This year I decided the procrastination had gone on for too long, so I did enter. To my surprise, my portrait of Harriet Pattison was accepted.

Juried shows would make an interesting study. Everyone says "It's a crapshoot" whether you get in or not. The decision rests in the hands of a few jurors who are human and have human preferences, though they try to be fair. (I know; i've been in that position myself.) I've been rejected many times from shows, and the rejection letter or email always says something about how they received a huge number of entries and how difficult it was to choose. Because of these factors, we artists know we shouldn't be too disappointed if we don't get in. I've been entering shows for several years now, but I can't avoid being disappointed, even angry and frustrated, when I don't make the cut. Conversely, each time my work gets in I'm so thrilled I feel like jumping up and down.

Anyway, I'm very happy that my portrait of Harriet will grace the walls of the Salmagundi this summer! For those who find themselves in Manhatten, Here are the show details:

33rd Annual Painting and Sculpture Exhibition for Non-Members
Exhibition of original oils, watercolors, pastels, acrylics, mixed media, and sculpture
July 12th through July 23rd, 2010

Awards Reception: Friday, July 23rd, 6:00--8:00 p.m. (open only to exhibition artists and their guests)
EXHIBITION OPEN TO THE PUBLIC: 7 days a week, 1:00-5:00 p.m., July 12th through July 23rd, 2010

Butler Midyear!

2010-05-04T12:37:00.000-07:00

Teamwork, oil on linen, 24" x 36"

Persistence pays off! This year my painting Teamwork was accepted into the 74th Annual Butler Midyear Exhibition, at the Butler Institute of American Art in Youngstown, Ohio. Several other artists I know also got in. (congratulations to Stanka Kordic and Jeff Gola!) This is a large national juried group show with a wide range of work. Here is the information on the opening reception:

Exhibit opens: Sunday, June 27th
Exhibit runs June 27th-August 22

The Beecher Center
524 Wick Avenue
Youngstown, OH 44502

Hours: Tues-Sat, 11-4; Sunday noon-4 p.m.

Views from the Air

2010-04-19T19:40:00.000-07:00

What do portraits have to do with aerial landsapes? You might well ask!

If you are planning to attend the Portrait Society of America annual Art of the Portrait Conference, and you happen to have signed up for Calvin Goodman's first breakout session on Friday afternoon, you'll find out. I'll be giving a power-point talk on my aerial landscape paintings and how I go about getting reference material for them. I will also try to explain how these large panoramas are related to my other landscape paintings, my figurative work, and my portraits. Copies of my essay "The sky is Not the Limit," will be available.

Hope to see you there!

ARC Awards

2010-04-19T19:21:00.000-07:00

Lunch Break, Horn Hill, oil, 24" x 40"
Back Yards in Snow, oil, 22" x 44"

This morning I was pleased to open an email from the Art Renewal Center and find that I won awards for two landscapes. They are: Honorable Mention for Back Yards in Snow

Top 100 Finalist for Lunch Break, Horn Hill

Spring Class: Portrait Painting in Oils

2010-04-05T06:23:00.000-07:00

Wayne Art Center, Wayne, PA

PORTRAIT PAINTING IN OILS--ALEXANDRA TYNG
5 Weeks: April 26 to May 24
9:30 a.m. to 12:30 p.m.

$130/ model fee included

Students will explore the art of portraiture through painting from the model in a series of long and short poses. As in the fall semester, we will approach color in terms of the relationship between direct light, ambient (indirect) light, and shadow. We will continue to focus on proportion, brushwork, values, and edges. In the spring we will be concentrating more on the idea or concept behind each painting. Students can continue to focus on the head, or they can include more of the figure in their portraits. Drawing experience is highly recommended; some experience working in oils is useful.

My Palette

2010-03-27T14:38:00.000-07:00

Recently a few people asked about my palette, so I decided it would be easier and more helpful to post a picture of it and a list of colors. This is my full palette--I don't always squeeze out all these colors if I don't think I'm going to use them all.

From lower left, clockwise:
Cadmium yellow light
Cadmium yellow deep
Cadmium orange
Cadmium red light (Gamblin)
Perylene red (Gamblin)
Permanent rose
Permanent alizarin crimson (Old Holland or Vasari)
Sap green
Chromium oxide green
Viridian or Pthalo green
Cerulean Blue
Pthalo blue
French ultramarine blue
Ultramarine violet
Ivory black

Around the center:
Yellow Ochre or raw siena
Raw umber light
Yellow Ochre half burnt (Old Holland)
Venetian red or transparet earth red
Burnt Siena
Burnt Umber (sometimes raw umber)

In the center:
Titanium White

I would gladly use any Vasari color, but I usually buy W&N because it is lower in price and I like the colors and consistency.

The warm colors are arranged along the left, the cool colors along the right. Warm and cool colors are arranged so that complementary colors are opposite each other on the palette. I make all grays using complementaries.

Landscape Workshop in Maine

2010-03-22T09:12:00.000-07:00

Otter Cliffs, Ocean Drive, oil, 14" x 18"
Eagle Lake from Cadillac Mountain, oil, 11" x 17"
Echo Lake from Beech Mountain
Long Pond from Beech Mountain
Painting on Cadlllac Mountain

Mount Desert Island Plein Air Workshop
June 27-July 3, 2010

Location: Acadia National Park

Those of you who have never been to Mount Desert Island (Acadia National Park) are missing out on some of the most dramatic scenery on the East Coast. If you've been there before, you'll know what I'm talking about.We will be painting outside in groups for approximately 3-6 hours a day in various locations around the 10-mile diameter island. For those new to plein air painting, the basics of how to have a successful outdoor painting experience will be covered. Daily critiques and discussions will be part of the workshop. I will also do demonstrations for those who want to watch, and I hope to paint alongside the other artists in the group whenever I have time.

Participants will stay in Somesville, in the historic Abraham Somes House built in 1800. The accomodations are comfortable and homelike.The workshop has been organized once again by Diana Ansley, who has figured out every detail from the best views to the best restaurants on the island.

Tuition: $600

Lodging & Fees: $ 675

Talk and Demo In Alexandria, VA

2010-03-19T15:18:00.000-07:00

My model, Ishin, was exceptionally beautiful and interesting to paint.
Here I am pretty far into the demo. I only had a total of 50 minutes to work on it there, so I finished it in my studio.

Yesterday I went down to Alexandria, VA to give a talk and oil-painting demonstration at the Belle Haven Country Club. It was actually just the first part of an art-filled day for the participants, who then went on to tour the studios of several artists in the neighborhood.

I had a lot of fun. The event was so well organized and yet the atmosphere was relaxed. I met lots of great people, and I even got to visit for a while with my friend and fellow artist, Diana Cobb Ansley, whose studio was on the tour.

An article about my work in O & S (Poets and Artists)

2010-02-19T17:26:00.000-08:00

O & S is a magazine featuring artists and poets, beautifully designed by Didi Menendez, I'm very pleased to say that I'm in the latest issue, right next to an article on Mario Robinson whose work I admire very much. In fact, O & S is full of good art and poetry, and the exceptional design alone is a visual treat. You can now view the publication online here, and soon you will be able to buy it at selected newsstands and bookstores.

I'll be giving a Workshop in March

2010-02-15T19:15:00.000-08:00

Here's the info:

PAINTING PEOPLE FROM PHOTOGRAPHS
Wayne Art Center, Wayne PA
www.wayneart.org

Co-instructors: Alexandra Tyng and Nancy Bea Miller
Saturday, March 13, 2010
10 a.m. to 2 p.m. with a lunch break

$100 members/ $125 non-members

Although slavish copying from photos is discouraged by most well-known portrait and figurative artists working today, many of these same artists use photographic references in the process of creating exceptional work. Through power-point presentation we will look at many examples of art painted from life and at least partially from photos. We will compare and evaluate a variety of reference photographs and discuss the pros and cons of different kinds of lighting. We will also have time for hands-on experimentation as we practice taking our own photographic reference shots. Participants are encouraged to bring a digital camera with cable attachment or card-reader, and a laptop computer.

Lunch is not provided so please bring your own lunch and snacks.

Judge and Jury

2009-12-12T20:41:00.000-08:00

Photo by David Lee

The Parkland Art League, a large and active organization in Pennsylvania's Lehigh Valley, asked me and Nancy Bea Miller to jury and judge their Annual Juried Show at the Allentown Art Museum last Thursday. It took more than an hour to drive there, which made me realize the long commute a couple of my students have who live out in that area and belong to this art league.

Since Nancy Bea and I have slightly different styles and different taste in art, we wondered on the trip up to Allentown whether our difference would make the selection process more difficult--but it actually went smoothly, though it took a lot of thought. There were so many good paintings! Going through this experience makes one appreciate what jurors go through, and how tough it is to decide.

Here I am with Nancy Bea on the steps of the museum.

A Semester of Color

2009-12-12T20:13:00.000-08:00

Ellen in cool light
Ellen in warm light

For the past three years I've been teaching a class in portrait painting at the Wayne Art Center. This class has been rewarding in so many ways. When I was in my twenties I never imagined that I would like teaching, and I couldn't understand how my parents, both architects, could enjoy it so much. But my attitude gradually changed. I began to take on private students, then a friend asked me to take over his portrait class, and the rest is history.

I have a wonderful group of students (some of whom are professional artists) who ask such great questions. Last spring I noticed they were asking a lot about color, so I decided to devote a few classes to painting with a limited palette. The few classes turned into a whole semester of painting with six colors--two reds, two yellows and two blues, plus white--and it has been a real learning experience for me as well, since I normally paint with lots of colors on my palette.

Our last exercise was to paint the same model twice, once in warm light and once in cool light. My friend Ellen Cooper, a portrait painter, posed for us. I was able to do very quick oil sketches of her in each light. At the end of the class we all compared our paintings in warm and cool light, and the results were exciting.

Star-Studded Cast

2009-12-12T19:17:00.000-08:00

James Toogood and I standing in front of our paintings.
Outside/Inside, oil, 42" x 50"

The Philadelphia Sketch Club is celebrating its 150th year with an exhibit of paintings by past and present members. As one of the present members, I was invited to be in the show, and I have to say it really knocked my socks off to see my painting hanging in the same room with an N.C. Wyeth, a Thomas Eakins, a Rockwell Kent, a Daniel Garber, a Thomas Moran. . . the list goes on and on. A humbling and awe-inspiring experience!

You might notice something about these illustrious past members: they are all male. That's because the Sketch Club just started admitting female members very recently. think I'm one of four women artists in the exhibition.

The show comes down tomorrow, and I'll be sad to see all those amazing works go back to their permanent homes.

Beaver Farm Opening at Rosenfeld Gallery, Philadelphia

2009-11-06T06:22:00.000-08:00

Garth Herrick in Fedora delivering calendars, Lynne Campbell on right.
Carla Tudor and Eliza Drake Auth trying the delicious food
Ani and Guy Alma, who live at Beaver Farm and run the program there, with Nancy Bea Miller
Giovanni Casadei and Marianne Mitchell talking
Here I am with my paintings.
I'm still coming down from the euphoria and excitement of a packed gallery, enthusiastic crowd, and brisk sales--an unusual sight these days. Tuesday evening was the culmination of our Plein Air Day at Beaver Farm event. Nancy Bea Miller organized the painting events and the one-day group show at the Rosenfeld Gallery in Philadelphia. At least 25% of the sales went directly to benefit the Camphill Special Schools, and some artists donated the entire purchase price of their work to the school. The energy in the gallery was palpable, all the more so because the space was packed to the gills. I wish I had better photos to show of the crowd. There was a man with a TV camera who hold to hold the camera high to get through the crowd.

As we packed up the remaining work the following morning, the gallery owner Richard Rosenfeld was answering calls from more people interested in buying art! In all, over 50% of the work was sold and more is expected to sell. Not bad for a recession! Some of the best artwork is still available, so check out the online gallery if you are interested in seeing it. Garth Herrick and I made calendars which will be available for purchase. They contain lots of images of the work, and of artists hanging out together and painting at Beaver Farm. Information on how to purchase the calendars will be posted on the school website.

Beaver Farm Paintings: Exhibition and Benefit

2009-10-17T09:16:00.000-07:00

PLEIN AIR AT BEAVER FARM EXHIBIT

Please join us for a reception and sale featuring art created en plein air inspired by the landscape of Beaver Farm, home of Camphill Special School's Transition Program for young adults with special needs.

Tuesday, November 3, 2009, 5:00-8:00 p.m.

The Rosenfeld Gallery
113 Arch Street
Philadelphia, PA 19106

www.therosenfeldgallery.com
215-922-1376

Encore for "The Duet!"

2009-10-17T08:38:00.000-07:00

I'm going to have to stop teasing one of my artist friends (he knows who he is) for getting so much mileage out of a painting (it was a very good painting), because for some reason I'm getting more mileage than I expected out of my painting The Duet.

This painting was chosen for a show of figurative work at Susquehanna University, north of Harrisburg, PA. I don't want to bore anyone by posting the painting again. . . but here's the information:

FIGURATIVE DRAWING AND PAINTING JURIED SHOW

Lore Degenstein Gallery, Susquehanna University
Show Dates: October 24th--December 21

Opening Reception and Awards Presentation: October 24, 7-9 p.m.

Painting at the Red House

2009-10-17T08:01:00.000-07:00

Sunset from the Red House
The cemetery in fog
Nancy Bea at Lobster Cove
Mary painting on the porch
At the Barnacle
Two Houses
Edges in Light
Ferry Dock in Afternoon
This was the Maine Landscape Guild's third summer on the island of Monhegan off the coast of Maine. We stayed in the Red House, famous for its bright color and its connection with artist Rockwell Kent. The view from the house was magnificent in all directions, and we were tempted to just stay there and paint, but the cold wind drove us to find good painting spots in other, more sheltered corners of the island.

Our system of meal preparation and chore-sharing, which we planned out beforehand, worked beautifully, allowing us a hassle-free week of painting, delicious food, and good company. We met a few other artists, but due to the fact that we came later in September we missed the crowds of artists that we encountered all over Monhegan last year. I'm not sure which I like better: solitude or artist-mania!

Here are some shots from the trip, and a couple of paintings.

Painting at Beaver Farm

2009-09-28T16:43:00.000-07:00

A few days after returning from Maine, I was off to Beaver Farm in Pennsylvania for a day of painting outdoors with a group of artists from all over the area. My friend and fellow artist Nancy Bea Miller organized the event. Her son Henry attends the Camphill Special School, and Beaver Farm was recently purchased by the school. Upon visiting the farm, Nancy Bea was struck by its particular beauty and thought it would be a great place to paint. I drove out there with her early in the summer and agreed wholeheartedly. The idea of holding a fundraising event for the school began to take shape, and evolved into "Plein Air Day at Beaver Farm," with around 30 artists participating.

I was one of the first to arrive, and I got down to work painting the barnyard and side of the huge red barn. On my way to lunch I saw a green tractor parked in the doorway of the barn and whipped out another painting before the tractor had to be driven out to do the haying. Then on to a delicious lunch. My afternoon painting was not as fruitful but I had time to take a bunch of photos. The day ended with an incredible dinner of organic food straight from the farm! Many, many thanks to Guy and Ani who run the program at Beaver Farm and hosted the event.

Our day at Beaver Farm was mentioned in several national publications including the October Issue of American Artist Magazine!

To see a selection of paintings by participating artists and photos of the day, check out the online gallery on the Camphill website.

Week-long Workshop

2009-08-07T06:52:00.000-07:00

I wanted to share some photos from my workshop on Mount Desert Island, Maine, that ended last weekend.

This summer in Maine has been WET! It has rained almost continuously since June-- a worrisome sign of climatic change. The ponds and lakes of Mount Desert were full to the brim, so full that the water level is just under the trees, and hardly a rock is visible along the shore from a distance.

Apart from being concerned about the implications of this weather, I had more immediate concerns that the workshop week would be one long rainstorm--but luckily there was enough sun to give some variety to the weather. One completely sunny day allowed us to paint in two prime locations, Ocean Drive and Cadillac Mountain. On cloudy, foggy, damp days we painted at the Beaver Pond across from the north end of Eagle Lake, and Somes Landing. We painted at many of the key locations on MDI.The talented and dedicated participants worked hard and we all had a lot of fun.

I'm so glad I was able to work with my painting partner and long-time friend Diana Cobb Ansley in planning the workshop.We stayed in her historic home in Somesville, and she provided hospitality and made sure things ran smoothly. Every day for lunch she ordered delicious gourmet sandwiches from Mother's Kitchen which we brought along for picnics on location. She also knew the best restaurants on MDI for dinner. By the time I got home, I actually felt that I had had my fill of popovers!

We're looking forward to doing this again next year. There are so many themes for plein air landscape workshop, and so many more painting locations on MDI.

Where the Action is

2009-07-22T07:14:00.000-07:00

Last week I went to the Dowling Walsh Gallery in Rockland, Maine, to the opening of the Monhegan show. Looking around at the crowd, it was hard to believe this country is in the middle of a recession!

First of all, I must reiterate that this gallery space is worth seeing--and it keeps getting better. There are three rooms (each as big as an average storefront) downstairs, and now there is an equal amount of space above it, on the second floor. This means the gallery can hold several exhibitions simultaneously. The crowd poured in the door and went every which way depending on which shows they were interested in. The artists range from N.C. Wyeth, George Bellows, and Andrew Winter to Peter Poskas, Jon Redmond, Connie Hayes, Colin Page--famous artists to emerging artists. Wine, cheese and delicious finger food was served. I had a great time chatting with other artists, art lovers, and collectors. Maine artist Mary Cupp traveled two hours to the event--it was nice to see her there.

Here I am beside one of my paintings in the show. This one is of Monhegan village and the Island Inn, from the lawn of the Monhegan House. The photo was taken by artist and friend Diana Cobb Ansley.

Unveiling at Mutter Museum

2009-07-06T09:41:00.000-07:00

There have been so many landscape-related happenings lately, I totally forgot to mention a significant portrait event in early 2009. These days there are too many blogs, Facebook posts, and newsletters for an absent-minded, un-tech-savvy person like me to keep up with! I know, I shouldn't be making excuses, but it's all too true.

On January 9th, 2009, the Philadelphia College of Physicians (which houses the famous Mutter Museum of medical artifacts) hosted a party to celebrate their 150th anniversary. I had been asked to paint the portrait of the museum's former director, Gretchen Worden. It is a posthumous portrait of a dynamic, humorous, and compassionate woman who devoted her career to the museum. You may have seen her on the David Letterman Show; she appeared on the show three times over the course of several years.

The Mutter Museum is a medical museum founded by Thomas Dent Mutter in the 19th century with the donation of his collection. The collection, studied by medical students of the day, includes human skulls and skeletons; preserved body parts showing evidence of various diseases, conditions and abnormalities; and old medical instruments. A plaster cast of Chang and Eng, the original Siamese twins, resides there. The purpose of the museum is to preserve knowledge of, and to educate the public about, human pathology and medical history. Personally I have always found the museum to be a fascinating place, and I was thrilled to be asked to paint its director.

In the background of the portrait is the skeleton of a 7' 6" giant and the skeleton of a 3' 6" achondroplastic dwarf. Ms. Worden is holding a lithotrite, an antique instrument used to crush bladder stones!

everyone loves GOOD NEWS

2009-07-06T09:19:00.000-07:00

This is the title of the Fischbach Gallery's summer group show. What is good about the news? you might ask. Well, your glass can be half-empty or it can be half-full. Some aspects of the economy seem to be showing a glimmer of hope--art, for instance. It could be that people just get tired of doing without all the luxuries that make life more than just subsistence. . . or it could be that people are actually feeling that the stock market is on its way up and they can start spending again. Whatever the reason, collectors are venturing out again.

Some of my work will be in the show, namely Maine landscapes. My work ranges from sweeping aerial vistas of the Maine coast to smaller, more intimate views of places, and some in-between.

everyone loves GOOD NEWS
June 2 - August 14, 2009
Fischbach Gallery
210 11th Avenue at 25th Street,
New York, NY 10001

Tel: 212-759-2345

info@fischbachgallery.com

www.fischbachgallery.com

Consider the Lobster!

2009-06-16T09:58:00.000-07:00

Toast to Lobsters, oil on linen, 22" x 30"

Maine and lobsters. An obvious connection, maybe too obvious, but Ron Watson, owner/director of the gWatson Gallery in Stonington, Maine had the brilliant idea of putting a new creative spin on this universally recognized connection. He asked a group of artists, including some well-known ones, to participate in a show all about lobsters. Anything goes, as long as the Maine lobster is the theme. The response from the artists--and the public--has been overwhelming!

The exhibit will open June 26th and run until July 11th. There will be an informal reception on Friday, July 3rd, 4-7 p.m., along with First Friday Night event at the Stonington Galleries.

Another great thing about this show is that it has become a benefit for the local lobster hatchery! There will be an event connected with the benefit, tentatively scheduled for July 10th. Check with the gallery for updates.

Special Delivery

2009-06-16T09:26:00.000-07:00

Last week, my artist friend Nancy Bea Miller and I managed to carve out a time to make a trip to Maine. Not a vacation, but a business trip! We delivered paintings to a total of three galleries and then headed home. The weather was not exactly cooperative. It varied between blue skies and torrential downpours, but we made it without mishap.

Highlights of the trip included walking and driving around Portland, where we visited galleries and saw the wonderful old brick buildings in the downtown area. We went to Stonington where Ron Watson, owner/director of the gWatson Gallery, treated us to a delicious lunch, ice cream, and coffee for the trip. Then we headed to Rockland and the Dowling Walsh Gallery where we enjoyed the artwork in the expansive new gallery space. The food was great, too. We found a Thai restaurant in Brunswick whose ingredients come straight from an organic farm--an artistic and culinary delight. On the way home we stayed overnight with Nancy Bea's relatives who run a restaurant, Bella Luna, in Jamaica Plain, MA. Her brother-in-law made us a gourmet breakfast that could only have come from a man who knows food.

Even though it would have been nice to stay longer in Maine, it was not so bad for a business trip!

"Monhegan" Show at Dowling Walsh Gallery

2009-06-08T08:54:00.000-07:00

For the second year in a row my work will be included in the summer group show, "Monhegan," at Dowling Walsh Gallery in Rockland, Maine. Starting this year I'll also be one of the artists represented by the gallery.

This can't help but be a good show. The island of Monhegan is a microcosm, a jewel of a place. It offers rugged and varied terrain, and a fascinating combination of architecture and natural beauty. No wonder so many excellent and accomplished artists have painted there in the past, and are still painting there. I can't wait to go back there in September to paint for a week with my fellow Maine Landscape Guild-ers.

The Dowling Walsh Gallery is located on the main street of Rockland, just across from the Farnsworth Museum.

There will be an opening reception on Wednesday, July 15th, 5 - 8 p.m. Please come if you can!

PLEIN AIR PAINTING WORKSHOP on Mount Desert Island, Maine

2009-05-02T09:56:00.000-07:00

PLEIN AIR PAINTING WITH ALEXANDRA TYNG
MOUNT DESERT, MAINE, JULY 26th to AUGUST 1st, 2009

Thomas Cole and Frederic Church First popularized Mount Desert in the mid-1800s. Their works inspired families from New York and Philadelphia to make the journey by steamer to "rusticate" and enjoy the untouched beauty of Mount Desert Island. Artists will be painting outside in a group for approximately 3-5 hours a day. Sites will vary from the spectacular summit of Cadillac Mountain to the rugged shores and quiet lakes and ponds of Acadia National Park. The group will focus on plein air painting techniques and strategies. Participants will stay in the Abraham Somes III house built in 1800. Daily critiques, individual instruction, and demonstrations will be provided. Alexandra Tyng and Diana Ansley will lead the group.

Tuition is $500.
Lodging and lunch is $575.

For further information on the lodging, travel arrangements, and the daily schedule, or to enroll, contact organizer Diana Ansley at 703-960-0612 or at DianaAnsley@aol.com.

Painting at Valley Green

2009-05-02T09:26:00.000-07:00

Valley Green is a spot on the Wissahickon Creek in Philadelphia's Fairmount Park. The creek flows through a steep wooded gorge, and Valley Green Inn is an old, historic inn where travelers stopped to refresh themselves while traveling the dirt road along the creek. Now this road has become a popular trail for walking, riding bicycles and horses.

A few weeks ago, I went there to paint with my artist friends Alyce Grunt and Garth Herrick. It was a spectacular mornng. I have rarely seen the sky such a deep blue. Spring had not yet sprung, but the tips of the maple trees were slightly reddish. I love the winter color of the woods in Pennsylvania so I was glad of the chance to try and capture the subtle colors. We had a great couple of hours in which I produced this oil sketch of the creek valley and stone bridge, then we went out for lunch in Manayunk.

Portrait Painting Class at Wayne Art Center

2009-03-25T18:24:00.000-07:00

My portrait painting class is starting up again at the end of April, and it will run for five weeks. Here is the class description and information:

PORTRAIT PAINTING IN OIL

Students will be painting portraits with a consistent color framework using complementary colors. We will study the relationship between light, atmosphere, and shadow; and work on creating the feeling of "air" and depth around the figure. We will also focus on value relationships, edge quality, and composition. All work will be from the live model. Drawing experience recommended; experience with oils helpful.

MONDAYS, 9:30 a.m. to 12:30 p.m.
$130. for 5-week session
Class runs from April 27 to June 1
No class on May 25 (Memorial Day)

To register for the class, or to obtain more information, please contact the Wayne Art Center in Wayne, PA

email: info@wayneart.org
Website: http://www.wayneart.org

Tyng Portraits in The Artist's Magazine

2009-03-07T17:11:00.000-08:00

In the April ("Portrait") issue ofThe Artist's Magazine is a feature article on my portraits entitled "In Their Element."
The writer, Christine Proskow, interviewed me a few months ago, and I was impressed with her intelligent and thoughtful questions and insights. I was even more impressed with the article she wrote, and with the editors Maureen Bloomfield and Chris McHugh. Working with these three women was an experience of cooperation, respect, and creativity. It was very exciting to see the article. The reproductions are excellent, too.

Above you can see the cover of the issue, which features the work of David Wells.

To read an online excerpt from the article (about a work in progress), click here.

Visiting a Collector

2009-03-02T06:22:00.000-08:00

On a recent trip to the West Coast, we visited the home of one of my most faithful collectors. I can't believe it was about twenty years ago that she first commissioned me to paint a portrait of her granddaughter. Soon after that, I painted her two grandsons. That was in the '80s. By the '90s she had two more grandchildren, and she commissioned a double portrait of them. A few years ago I painted a full-length portrait of her youngest granddaughter.

It was almost overwhelming to find that she and her husband had decorated an entire room to showcase the portraits. Of course this is not really about my artwork--it's about her grandchildren--but nevertheless I did not expect to walk into a room and be surrounded by my own artwork. I suspect I am not alone in feeling embarrassed by this. Artists are notoriously self-critical, especially about their own work, and if it was painted 20 years ago the feeling is more intense. At the same time, it was like seeing an abbreviated version of the development of my style, which can be a very enlightening experience. I think the most important thing about seeing ones artwork in someone's home is realizing that art isn't completely frivolous, that the opportunity to create something that brings happiness to someone else has a value.

Opening Night at Fischbach Gallery

2009-02-08T09:29:00.000-08:00

To backtrack a bit, I wanted to post some pictures from the opening of my show, "Above and Beyond." Yes,this is really late because the show has already closed, but it was such a fun evening. I want to thank all my family, friends and fellow artists who attended. Your presence was very much appreciated. And I want to also thank Larry DiCarlo and the people at Fischbach who worked so hard to pull the show together.

Four-Way Strategy: Fourth-Place Winner

2009-02-04T17:57:00.001-08:00

This portrait was a lot of fun to paint. It is of four children who live in London, commissioned as a gift for their grandparents. Recently I was very pleased to find out that it was awarded Fourth Place by the Portrait Society of America in their Members' Showcase Competition, "Mulitple Figures" category.

There is a really nice story behind this painting. My first contact with this family was when I painted the children's grandfather, author and presidential speechwriter, around 1995 or 6. There was an unveiling party at the Union League back then. A few years ago, his daughter commissioned me to paint her four children, which became the portrait you see here. After that, both the children and their mother, and the grandparents have visited my studio on separate occasions. I feel blessed to know these wonderful people. This kind of ongoing relationship with families of clients probably sounds familiar to most portrait painters--and it's one of the best things about painting portraits.

Three to Watch!

2009-01-03T07:28:00.000-08:00

The January/February issue of Fine Art Connoisseur Magazine should be hitting the newsstands about now. I'm excited about it because my Maine landscapes are featured in this issue, in an article entitled "Three to Watch: Artists Making Their Mark."

The section about me is by Nancy Bea Miller, who not only is a talented artist, but also a fine writer.

The editors chose to reproduce a painting of one of my favorite subjects, Isle Au Haut, one of the lesser known areas of Acadia National Park. Isle Au Haut is smaller than Mount Desert but has similar geological features including comparatively high mountains (hills) and long, glacially carved troughs between them, one of which is a lake. Because it is not accessible by car and is quite far from the mainland, it is still relatively unspoiled. From the air it has a lonely, dark, mysterious feeling, which I've tried to capture in this painting.

Above and Beyond

2008-12-03T06:43:00.000-08:00

Please come see my most recent Maine landscapes at an exhibition at the Fischbach Gallery in New York! Here's the pertinent info

ABOVE AND BEYOND

January 8 to January 31, 2009

Reception for the Artist: Thursday, January 8th, 5:00-7:00 p.m.

Fischbach Gallery
210 Eleventh Avenue at 25th Street, New York, NY 10001

Tel: 212-759-2345
Fax: 212-366-1783

email: info@fischbachgallery.com
www.fischbachgallery.com

The painting pictured above is called Jigsaw Coast (oil on linen, 36" x 70").

A catalog will be available through the gallery. It includes 16 color images and an essay by Suzette McAvoy. Ms. McAvoy was the chief curator at the Farnsworth Art Museum in Rockland, Maine for many years and now does freelance art consulting and writing. She also shares an art column with Carl Little in Maine Home + Design Magazine.

Cover Contest Finalist

2008-11-11T05:57:00.000-08:00

This is the third achievement for my little figurative painting The Duet. Recently I was surprised to learn that it was chosen as one of ten finalists in American Artist Magazine's annual cover competition. I almost didn't enter, since the cost would limit me to one entry and I thought it was a long shot to say the least. But at the last minute I changed my mind. I'm very glad I did.

Dead Trees on Monhegan

2008-10-23T10:44:00.000-07:00

While I was on Monhegan in September, I became fascinated by the groves of dead spruce trees that can be found in the woods and on the eastern ocean-facing headlands. There is a "witch's broom" disease that kills many trees when they reach maturity. Not a happy situation ecologically, but an interesting one artistically. There is an "aliveness" in their "deadness." The bleached skeletons can look as if they are dancing, twisting, gesturing, and striking various poses. While I was there, I spent a few hours making some pencil sketches of the trees, and since I've gotten back to my studio I have been painting some of my favorite compositions.

Some paintings from the summer

2008-09-18T16:42:00.002-07:00

Here are a few of my favorite plein air paintings from my Maine trips.

1) Fish Houses, Monhegan, oil on canvas, 11 x 14

2) Orange Glow on Manana, oil on canvas, 11 x 14

3) Trees, Bass Harbor Marsh, oil on canvas, 11 x 14

Maine Landscape Guild on Monhegan!

2008-09-18T16:42:00.001-07:00

Here we are, the Maine Landscape Guild, a group of six artists who love to paint in Maine. From left to right we are: Mary Walsh, Carla Tudor, Alex Tyng, Nancy Bea Miller, Eliza Auth, and Diana Ansley. In the background is the neighboring island of Manana.

Last year some of us spent a few days there and it was such an inspiring experience that we decided we needed to be there for longer. So this year we rented a house for a week. We had a great time hiking around the island, painting the scenery, eating delicious home-cooked meals, and enjoying wine and cheese with other visiting artists.

There is such a wealth of subjects to paint on Monhegan. For one thing, this small island has a variety of terrain, from open moor to deep woods to rocky seacoast. The buildings in the village can keep an artist occupied for a while, not to mention the lighthouse and accompanying buildings on the hill overlooking the village. It's a true microcosm, jewel-like in its beauty. You can watch the sun rise over the open sea on one side and watch it set over the sea, behind the next-door island Manana, on the opposite side.

Leaving Monhegan was especially hard because the return to the workaday world coincided with the end of summer.

Painting on Mount Desert Island

2008-09-18T16:42:00.000-07:00

Once again I and my painting buddy Diana Ansley turned our beloved vacation spot into a part-time outdoor artists' studio. I had a week to devote to art, then another two weeks of family time with plein air painting sessions fit into our schedule.

We've honed our gear down even more this year. Our easels are light aluminum Stanrites with tripod supports that open into flat shelves when the easels are open. I retrofitted a plastic office organizer tray onto the platform by poking holes in three places and threading wire through the holes. The wire can then be attached to the legs and supports of the easel so the tray stays secure in a high wind. A camera or backpack can also be hooked to the platform and hung from it, giving the easel further weight.

This year I also bought a backpack with a rectangular shape and bottom cooler section to hold my lunch. The plastic tray, my palette, paints (in a gallon zip-lock bag), brushes, medium, solvent, denim apron and paper towels all fit into the pack. The pack is made by Kelty. It also has side pockets that can hold insect repellant and sunscreen.

Here is Diana painting the Ripples (Long Pond) while canoers talk to us. My easel is set up next to hers but I stepped back to take this shot. That was a beautiful clear morning with lovely cloud formations.

Monhegan Show in July

2008-07-01T05:57:00.000-07:00

Two of my paintings are to be included in a show, "Monhegan," at the Dowling-Walsh Gallery in Rockland, Maine. The opening coincides with the grand opening of the gallery's new space. Please stop in if you are driving through Maine along Route 1--it's right across from the Farnsworth Museum on the waterfront side of the street.

Opening: July 18

Dowling-Walsh Gallery
357 Main Street
Rockland, ME

90th Birthday double portrait

2008-06-28T18:55:00.000-07:00

My dear friends Beth and Joe Krush recently agreed to let me paint their portrait, and I am thrilled!

The Krushes have illustrated many books including some of the most well-known children's classics of the '50s and '60s. You may know them through their marvelously detailed drawings in The Borrowers by Mary Norton, The Gone-Away Lake books by Elizabeth Enright, several classics by Beverly Cleary, and many, many more.

When I was a child I adored their illustrations. They had a way of melding with the written word in my imagination. Not only were the people wonderfully lifelike and detailed, but also the settings were equally well-drawn, descriptive, with interesting perspective angles. In addition, the Krushes' illustrations faithfully followed the text, never using "artistic license" to go against the author's intent. The combination was irresistible to me. I used to trace their drawings to try to understand how they did them! Little did I realize then that I would need years of practice drawing the figure. Somehow I learned that they lived and taught in the Philadelphia area, and I got the idea that I would love to meet them. I even had questions planned out. The first question I planned to ask them was "How do you work together without getting into arguments?"

But it wasn't until a couple of years ago that I had the opportunity to meet them through another illustrator/mural painter friend. Interestingly, they are just as I imagined them to be.

Here they are at their 90th birthday party. Happy Birthday, Joe and Beth!

Summer Show at gWatson Gallery

2008-06-28T18:32:00.000-07:00

If you are in Stonington, Maine this summer, please consider stppping by the gWatson Gallery to see the summer group show. Three of my new aerial landscapes of the Deer Isle/Isle Au Haut area will be in the show.

The gallery is a charmingly renovated old building right on Main Street in the center of town. The owner, Ron Watson, has recently purchased the entire building to create a lovely street level gallery with storefront display windows, and two gigantic new condos on the upper floors.

One of 43 Maine Artists

2008-04-28T17:24:00.000-07:00

The April issue of Maine Home + Design Magazine is called the "art issue" and, among other articles on art collecting and living with art, it features a short article by Carl Little on five Maine artists. There's also an article entitled "Art. Extraordinary artists whose work reflects Maine's timeless mystique." I'm happy to report that I was somehow (we won't ask how) chosen to be in it. I was not aware of this new publication before the editor called me to ask if I would participate, but now I'm telling everyone about it!

Painting in the Brandywine Valley

2008-04-28T16:47:00.000-07:00

Well, we weren't exactly in the valley. More like on top of a hill overlooking the valley. It was a very warm spring day, and no shade was nearby, so we broiled a bit. I went with my friends and fellow artists Nancy Bea Miller and Garth Herrick. Here we are in the middle of setting up. Nancy Bea has spotted a bird and is taking a photo of it, Garth is unloading his equipment, and the horses are looking on.

And here's a closeup of the view I was painting. It's great to get outside, stand in the middle of a landscape, and try to replicate the real colors and the excitement of exeriencing the moment.

Speaking in front of 800 people!

2008-04-20T19:22:00.000-07:00

Last weekend I unveiled my portrait of George A. ("Frolic") Weymouth at the Portrait Society of America's annual conference. This year it happened to be held in Philadelphia, and the Leadership in the Arts Award was given to Mr. Weymouth, a landscape and portrait painter who also founded the Brandywine River Conservancy and Museum, and is the museum's present director. The Portrait Society asked me to paint a portrait of Mr. Weymouth as part of the award. There was an unveiling ceremony and I had to "say a few words." Well, I have to say that the anticipation of standing up there in front of 800 people was far worse than the actual experience!

I should add that I actually envisioned this as an opportunity to combine the genres of portrait and landscape into one painting. It was lots of fun to paint!

Here I am up there at the podium...and here is the portrait.

Portrait Brokers of America

2008-03-14T07:15:00.000-07:00

This year I signed on with Portrait Brokers of America. This was a big step for me, because for about thirty years I've been my own representative, getting my own commissions. I can still do that, but I'm hoping that my association with PBA will bring additional work. PBA is the largest organization of its kind in the United States. It is based in Birmingham, AL, but it has representatives all over the country. Last month I went down to Birmingham for the annual seminar. What an experience! It was three days jam-packed with all kinds of activities, from information sessions, to painting from a live model, to exhibits of sample portraits, to lavish entertainment. The southern hospitality was truly impressive, and everyone was warmly welcomed and treated royally. Here I am at the live painting session with my friend Michele Rushworth, otherwise known as the "Gubernatorial" Portrait painter because she is fast becoming known in the western states for her paintings of governors. The photo was taken by another friend, portrait painter extraordinaire, Chris Saper.

More Recent Awards

2008-01-23T13:45:00.000-08:00

I just learned that my portrait Nan Talking received an Honorable Mention from the Portrait Society of America in their 2007 Members Only Competition, entitled "Taking it Outside: The Figure in an Outdoor Environment." Among others, Garth Herrick and John Ennis, also received Honorable Mentions!

The Juror, Edward Jonas, says the following: "The criteria {for judging] are . . . based on drawing, composition, color, light, and use of pictorial space. . . .artists needed to show special sensitivity and attention to temperature and light source. Often challenging for artists is the need to adjust their palette to compellingly and accurately capture direct light, ambient light and the overall temperature of light in color and atmospheric effects."

For some reason I don't see too many awards of any kind placed on portraits of middle-aged or older women. It's a different story with portraits of older men, especially if they are "characters" in some way--if they have a long, flowing beard, for instance. But unfortunately women can't grow beards (at least we aren't supposed to).

In this portrait of Nan, I tried to capture visually her accent, which is mostly German and maybe slightly British. That was the motivation behind this, and also showing the liveliness and character of her features in the bright sunlight.

On another note, The Duet, the painting below, received a Top 100 Award from the ARC, excellent and very unexpected news! For a review of the ARC show, click here.

Butler Insitute Award

2007-12-21T07:05:00.000-08:00

A few weeks ago I attended the reception of the Allied Artists of America Exhibition in New York. It was held at the National Arts Club, a former private mansion on Gramercy Park in Manhattan. For a Victorian house buff like me, just seeing the interior of the building was a treat: lavish woodwork, sumptuous wall coverings, huge plate glass windows, and generous rooms. I was in Victorian heaven.

I felt very honored to receive the Butler Institute of American Art Award for my painting The Duet. An exciting moment for me, though there were many prizes given away, and mine was a minor one compared to quite a few. Here I am next to my painting.

Allied Artists of America Exhibition

2007-11-10T09:35:00.000-08:00

My painting "The Duet" is my first figurative work ever to be accepted into a juried show, and I'm very excited about it. Here are the details of the show:

ALLIED ARTISTS OF AMERICA 94th ANNUAL EXHIBITION

National Arts Club,
15 Gramercy Park South,
New York, NY

Reception and Awards Ceremony on
SUNDAY, DECEMBER 9th, 2007, at 1:00 p.m.

Gallery hours are Monday, Wednesday, Thursday and Friday 10-12 p.m. & 3-5 p.m.; Tuesday 2-5 p,.m.
Saturday and Sunday: must call ahead.

Portrait demo

2007-11-10T09:29:00.000-08:00

In conjunction with the portrait show, Garth Herrick and I did a two-hour demonstration at the Wayne Art Center. The event was well-received; I think we had about 40 onlookers who asked interesting questions and kept things lively. I painted a lovely 12-year-old girl while Garth painted the chairman of the Board. Here we are with the results after the two hours were up.

Portrait show opening reception

2007-11-01T08:23:00.001-07:00

Twelve artists ended up participating in the exhibit, and here is a group shot of most of them (L to R); Catherine Prescott, Addie Cooper, John Ennis, Ellen Cooper, Nancy Bea Miller, me, Garth Herrick, Ernie Norcia, Jennifer Frudakis, and Glenn Harrington. Missing from the photo are Rachel Constantine and Jimm Scannell. The opening reception went very well, and we had a nice review in the Main Line Times.

Portraiture seems to be at the center of a major clash in the art world these days. On one extreme there are those who defend the Modern and Contemporary art movements and categorically despise any art that hints of traditional methods or subjects. On the other extreme are artists whose work is strongly reminiscent of the past and who despise Modern and Contemporary art. Critics like Blake Gopnick of the Washington Post have made some accurate criticisms of traditional portraiture, yet seem unable to distinguish between the more subtle differences between artists, labeling it all as schlocky. Part of the reason portraiture is taking the heat is that, for a long time, it existed as a reactionary enclave of the art world. The main avant-garde art scene did not recognize realism, and especially portraiture and figurative painting, until very recently. You may read this and think, "Alex is not an art historian--she doesn't know what she is talking about," and that is okay with me. I only have an undergraduate degree in art history. But I've been observing and experiencing big changes in the art world recently, and this is my opinion. Personally, I appreciate both contemporary and traditional art. I consider my own work to be somewhere in the middle; maybe "contemporary realism" would be the most accurate description. Why should we dismiss an expressionistic figure by saying the artist obviously painted like that because he/she didn't know how to draw? Why should we dismiss a realistic portrait that shows great skill, expression and soul because it is not painted in a cool style? I will be interested to see what the press says about portraiture in the next few years. Will it be ignored? Villified? Praised? What styles will be considered "true art" or "commercial" and why? This show is only a minor one compared to the Mancini show or the Cecilia Beaux show, but I hope it will raise some questions about these issues.

Portraiture: A Philadelphia Tradition

2007-10-10T05:48:00.000-07:00

I'm delighted to announce that the Wayne Art Center will be hosting a group portrait show! It will run from October 24 through November 16. This area is home to such a lot of talented portrait painters and it is wonderful that the Wayne Art Center thought to offer a venue in which to showcase their work.

The participating artists are: Rachel Constantine, Addie Cooper, Ellen Cooper, John Ennis, Jennifer Frudakis, Bill Hanson, Glenn Harrington, Garth Herrick, Nancy Bea Miller, Ernie Norcia, Catherine Prescott, Jimm Scannell, and myself.

The opening reception will be on Sunday, October 28, from 3-5 p.m.

There will be a group portrait demo on Thursday, November 1, at 7:00 p.m.

There will be an informal artists' gallery talk on Thursday, November 8, at 12:30 p.m. Lunch will be served.

We have such a long and venerable tradition of portraiture in Philadelphia that includes Charles Wilson Peale, Cecilia Beaux, Mary Cassatt, Thomas Eakins, and Alice Kent Stoddard. Even John Singer Sargent can be included in this list because his parents were from Philadelphia. More recently we have Andrew Wyeth, Jamie Wyeth, Bo Bartlett, and Nelson Shanks. And that's just off the top of my head, so please excuse me if I missed some important artists. I'm hoping that this kind of show will happen again before long, and that we will be able to include more artists next time.

Landscape Workshop coming up in October

2007-09-23T17:36:00.000-07:00

I thought I'd better get a head start and let people know about my one-day landscape workshop. We'll be enjoying and painting the fall foliage at a location outside Philadelphia.

VALUE AND COLOR MASSING IN LANDSCAPE PAINTING

Friday, October 19 (raindate Saturday, October 20)
10:00 a.m. to 3:00 p.m.

Observing landscape while working outside is a great way to push your skills to the next level. Working in oils, we will begin with small, quick oil sketches in order to establish major areas of light, shadow, color and value. We will then develop two paintings, one in morning light and one in afternoon light. Basic knowledge of oil painting is required. Participants need to bring all materials and a box lunch.

For details, or to sign up, contact the Wayne Art Center at:

info@wayneart.org

Hope to see you there--plus, you'll get to see me wearing this very fashionable hat.

Portrait Class at Wayne Art Center

2007-09-23T17:22:00.000-07:00

Wow, time flies! I'm a little late getting this out since my portrait class starts tomorrow! Here's the scoop:

PORTRAIT PAINTING IN OIL
Mondays 9:30 a.m. to 12:30 p.m.
Fall semester, Wayne Art Center, Wayne, PA

Students will learn how to construct portraits with a consistent color framework based on the relationship between light, atmosphere, and shadow. We will work on creating the feeling of "air" as the figure emerges from the background. We will also focus on the control of values, edges, and level of detail. Drawing experience is recommended. Previous experience with oils is useful, but not necessary.

We will be working from live models, and the model fee is included.

The photos are from last year's portrait class. We had a lot of fun.

For information, or to sign up (there may still be room left), try:

info@wayneart.org

And to get more detailed information, take a look at the WAC's fall schedule:

http://www.wayneart.org/classes/adult-classes-m.php

Painting Trip

2007-09-23T17:00:00.000-07:00

I recently returned from yet another trip to Maine, this one devoted entirely to painting! My friends and fellow artists Nancy Bea Miller, Eliza Auth, and Diana Cobb Ansley and I went to Mount Desert Island and Monhegan for a week of blissful immersion in art. We painted the Beehive from Sand Beach during what began as cloudless weather and swiftly changed as a fog bank rolled in from the ocean. The next day was rainy so we painted the Seawall from under a friend's porch roof. Then on Monhegan we had perfect jewel-like clear skies and hardly a breeze--perfect painting conditions--and I was able to complete two canvases and still hike around the island and take photos. We took a boat ride to Manana, an island adjacent to Monhegan. It was open, tundra-like terrain, wild and uninhabited. All in all, we had a wonderful trip and it was hard to return to civilization.

Working vacation in Maine

2007-08-30T18:51:00.000-07:00

I could have called this a "busman's holiday" but it sounds un-artistic. Plus, I had too much fun to claim that the work overtook the play. Most of my two weeks was spent on Mount Desert Island. Here I am on top of Beech Mountain with my friend Diana Cobb Ansley. Diana and I have known each other since our early teens, and we actually met in Somesville, a small village in the center of MDI that was settled by our common Somes ancestors. Diana is a painter, as you can see. Yes, I know my eyes are closed AGAIN--but you can't ask a passing hiker to take tons of photos just to get one of me with open eyes.

When I am in Maine I pay a pilot to fly me around in a single-engine plane to take reference photos that I later use to develop my aerial paintings. This year I flew over Rockport Harbor, Vinalhaven and North Haven, Deer Isle, Isle Au Haut, and Mount Desert. The weather was beautiful and it was exciting to see the light, the colors, and the endless forms of land and water.

Sometimes I fly out of Bar Harbor, but my favorite pilot is Sandy Reynolds of Maine Scenic Airways. Besides being an expert pilot, he understands artists and photographers. He operates out of the airport in Belfast, ME. For anyone who is interested in flying wth Sandy, his website is: mainescenicairways.com. You can reach him by phone at: 207-338-4736.

This year I also fit in a short visit to Indian Island, off Rockport, with my lifelong (and multitalented) friend Linda Vizi. This was Linda's second visit to the island; we had gone there together after graduating from high school in 1971! On the island, Linda worked on her applique while I painted a portrait sketch of my brother's mother Harriet and a plein air sketch of the lighthouse and house.

Altogether it was a great two weeks, and it has been a difficult transition back to the regular work schedule.

Summer Show at Gross McCleaf Gallery

2007-08-02T11:41:00.000-07:00

If you are in Philadelphia in the next few weeks before Labor Day, the Gross McCleaf Gallery is having a summer group show of works with a summery theme. The air-conditioning is great, and lots of galleries are closed, so it's a perfect place to stop in when you are suffering in the heat and humidity of downtown Philadelphia and you want to look at a refreshing variety of art that reminds you of the nice things about summer. I've got two paintings in the show (photos soon) and there are a lot of wonderful ones by all the other artists in the gallery.

The gallery is located on 16th Street between Sansom and Walnut Streets. Their summer hour are Monday through Friday, 10-5.

Their website is:

http://www.grossmccleaf.com

Artist's Magazine finalist

2007-08-02T11:26:00.000-07:00

Just heard that one of my portraits, Young Harpist, was named as a finalist in the Artist's Magazine 24th Annual Art Competition. The actual winners have already been chosen, so this means it has no chance of a prize, but hey, I'm happy with this much. A couple of years ago another painting of mine, Becca in Prom Dress, was a finalist in the same competition. It sure seems as though the judges are preferential to my paintings of young women in long, flowing, formal dresses! I'm not sure whether that's a good or a bad sign, because in both cases the concept of the portrait was not really about the dress or about young female beauty.

Opening Reception in Stonington ME

2007-07-10T20:04:00.000-07:00

Here I am with artist Nancy Morgan Barnes at the opening reception for our two-person show at the gWatson Gallery in Stonington, Maine. Yes, I know my eyes are closed, but it was the best of the photos. At least it's a good one of Nancy. It was great to finally meet her and some of the other artists and collectors at the reception. By the end of the evening, we had both sold paintings of the same bridge, very different viewpoints--hers was a ground-level view of recent construction activity and mine was an aerial view--but there is something appealing about the subject, a graceful suspension structure spanning Eggemoggin Reach and connecting Little Deer Isle with the mainland. Every time I visit Stonington I'm struck anew by its spectacular setting, interesting architecture, interesting and welcoming people, and abundance of artists and galleries.

Portraits for the Arts

2007-06-17T07:15:00.000-07:00

Some of you may know that I've been working on a portrait project for a couple of years called "Portraits for the Arts." It grew out of a desire to explore ways of giving portraiture more exposure, a wider audience, and a greater role in the art world. Portraits are usually commissioned works, but I wanted to think of other possible roles for the potrait. So I created a way of using portraits of people in the arts to give back to the art world with the help of generous individuals and organizations.

A couple of weeks ago, "Portraits for the Arts" was featured in the Philadelphia Inquirer. The article, by Karen Heller, tells the basics of my project and mentions that I am looking for nominations. So if anyone can think of a well-known artist-- painter sculptor, musician, writer, dancer, filmmaker, actor--and wants to donate the portrait, or funds, to an art-related organization in Philadelphia, please write me an e-mail through the "Portraits for the Arts" section on my website. There are several ways this can work, so If you have questions, I'll be glad to answer them.

Portrait Unveiling

2007-06-11T20:15:00.000-07:00

Last week my portrait of Dr.Constantine Papadaks, 11th President of Drexel University, was unveiled. The portrait was commissioned by the Board of Trustees of Drexel and will be a gift to the unversity. Here we are at the unveiling: from left, Dr. Papadakis, me, and on the other side, Mr. Jacovini and Mrs. Papadakis. Missing from the photo is the Papadakis' dog Honey, who attended the event.

Before the official unveiling, I entered this portrait (with the proper permission, of course) in the Portrait Society of America's annual international competition, and it was awarded a Certificate of Excellence!

Here's a better photograph of the portrait. I should mention that most of the photos of my artwork, includng this one, are taken professionally by Karen Mauch.

2-Person Landscape Show in Maine

2007-05-23T06:56:00.000-07:00

Beginning on June 15 I'll be showing my landscapes with another Maine Artist at the gWatson Gallery in Stonington on Deer Isle. Included in the show will be a few aerial views of the Deer Isle and Stonington area, some "regular" landscapes, some small plein air paintings, and a few figurative pieces that could also be described as landscapes with figures in them.

There will be a reception at the gallery on Friday, July 6. For details, visit the gWatson Gallery's website and send your question in the "contact" section. There's also a map showing the location of the gallery. (I'm not sure myself of the time, but I will post it as soon as I find out.) If you are near Stonington in June to July, please stop by. The gallery owner, Ron Watson, shows work by a variety of well-known artists so it's really worth the trip.

Workshop: Landscape Painting in Oils

2007-04-11T08:24:00.000-07:00

Do you feel like painting out in the fresh spring weather? I'm conducting a two-day workshop on a property with old barn and farmhouse, plant nursery, and arboretum. We will loosen up by doing a couple of small, very quick oil sketches just to establish major areas of light and shadow, color and value. Then we will develop two paintings, one in morning light and one in afternon light. You will need to bring all materials and a box lunch.

Dates:

May 11, 12

(rain dates: May 18, 19)

Please contact the Wayne Art Center for details.

http://www.wayneart.org

Small works show

2007-04-09T08:44:00.000-07:00

Recently I entered a landscape and a portrait into the Philadelphia Sketch Club's Annual Exhibition of Small Oil Paintings, and both were accepted.

This may not seem significant to most people, but to me it was curious because I've always heard artists are supposed to develop a "label" or a "brand," which means painting the same thing over and over until you are recognized for it. Sounds boring to an artist. Why shouldn't we paint whatever moves us and be appreciated for it?

Up to this point I've had two separate careers as a landscape artist and a portrait artist. Everything is separate: gallery representation vs. portrait commissions, publicity, and collectors. It sometimes feels as though I'm coexisting in two parallel worlds.

So that's why I find it so curious (and very exciting) that these two paintings were accepted into the same show.

One of my favorite things

2007-03-01T15:02:00.000-08:00

For the past few years I've been finding time to go on painting trips, during which time I travel around Maine painting outdoors. This is a small scene (12" x 24") painted in about an hour and a half while slapping mosquitoes at Long Pond, Mt. Desert Island, Maine.

The good news is that it was juried into an exhibition, Favorite Things, at the Atlanta Fine Arts League. The show runs from March 8 to April 2, so please stop by and see it if you are in the area.