Watercolor Painting for Relaxation

It’s summer here, and I don’t know that I ever feel more joyfully alive than when I’m out in my own yard & garden space.

Better yet, barefoot.

There’s all kinds of scientific evidence that describes the health benefits of grounding oneself by being outside with bare feet, especially in the early mornings. It gives our mitochondria a boost! Not that I think about that when I’m enjoying myself. It’s purely justification for messing about in the out-of-doors.

Here I am, working on a garden painting.

I am more at home with oil paints than water medium paints, so this is a bit of a deviation for me to paint plein air in something other than oils.

Truthfully, I wanted to sit down while I painted, and how well the art turns out or how saleable it is, is secondary to the pleasure of the process this time. I don’t want to sell the painting, anyway. It’s my way of enjoying the garden.

  1. Watercolor does dry quickly and is better in many ways for light, high-key colors.

  2. Watercolor is less fuss to set up and take down and clean up.

This is how it turned out…

Important! It is NOT finished yet! I went out this morning to sit in the chair and dab at it some more.

I was fairly unhappy with the artwork yesterday when I put it away, although I was happy with the experience of being in the garden. It was another confirmation of a reason that I paint/create things….

I paint as part of genuine inquiry. If there’s something I’m entranced by, I try to capture its essence in my humble way.

Like the next person, I am wanting to keep body and soul together as long as possible. This takes $, maybe even $$$ now that inflation is rising (LOL!). I have discovered though, that I am personally incapable of making art based on popular motifs, or “what’s selling” and keep my self-respect. Kudos to those who sincerely have art tastes that match the trends! In some ways I’m jealous.

I’m in it for inquiry’s sake. I self-soothe with art-making. I make artifacts for myself… and for you.

That being said, changing mediums is a great way to refresh.

Tips for Watercolor and Gouache Painting

  • Watercolor and gouache may be used together, but since gouache is an opaque paint, you will want to begin with watercolor, switching to gouache only when you feel you need opaque and/or deeper, darker colors.

  • I find it pleasant to work on gessoed watercolor paper. I like how I can add a little water and reactivate an area and move it around.

  • I like to use an aesthetic set up… a real glass (not plastic), a plate, a wooden support board, a pretty rag.

  • Use better brushes than I have:-)! I may spend a little money to upgrade both my brushes and gouache quality soon.

  • Be sure you have a rag and paper towel handy. The rag is softer and will pull out color more delicately, while the paper towel can be twizzled to a sharp point or used when you want harder edges in what you lift from the paper.

  • Think in terms of light to dark. Begin with a thin wash of color to get the overall tone started, then let it dry (a few minutes).

  • I like to alternate between painting with deeper, darker color where I can in the negative space, and painting the main features, closer to the front of the picture.

  • Reserve your white/lights! If you lose them, you can be very pro about it and buy Miskit (like rubber cement, it preserves a section that you can paint over and rub off later), or do what I do and scrub it out. White gouache is also useful, but know that it tends to look blue or cool unless it’s wet, straight out of the tube.

  • The main thing is to enjoy yourself and RELAX. Listen to the wildlife around you! Even if you end up with a green blob, remember there are ways to artistically justify that, too! Have fun!

I stood in the shade for the first session, but no shoes!

I sat in a chair this morning to work on it a little more. I feel it’s good to show you a piece that I am not confident about. I don’t think this is amazing. For me it’s more of a mental health time and a way to enjoy the brief blooming time of my hollyhocks, which I adore. There was a fine misty rain spraying down on me and the picture. I think there are tiny droplets speckling the picture. Wonderful!!

It’s still not finished. I can’t truthfully say that it’s even attractive yet!

I quit for the day as soon as I feel tired of observing. I’ll add a photograph of it when it’s done in the near future.

I’d love to hear about your boredom busters!!!

Do you switch mediums often?

For the Grapes' Sake... ("October" by Robert Frost)

October

BY ROBERT FROST

O hushed October morning mild,

Thy leaves have ripened to the fall;

Tomorrow’s wind, if it be wild,

Should waste them all.

The crows above the forest call;

Tomorrow they may form and go.

O hushed October morning mild,

Begin the hours of this day slow.

Make the day seem to us less brief.

Hearts not averse to being beguiled,

Beguile us in the way you know.

Release one leaf at break of day;

At noon release another leaf;

One from our trees, one far away.

Retard the sun with gentle mist;

Enchant the land with amethyst.

Slow, slow!

For the grapes’ sake, if they were all,

Whose leaves already are burnt with frost,

Whose clustered fruit must else be lost—

For the grapes’ sake along the wall.

“Watermelon and Grapes” (inquiries welcome)

Thoughts on the Cezanne Exhibit (Chicago 2022)

Bay of Marsaille from L’Esaque by Cezanne

I don't count Cezanne amongst my top favorite painters, but I saw a landscape-focused show in Florence, Italy years ago and was surprisingly moved by it. The memory of that exhibit made me determinded to get to this show in Chicago of a wider range of his works, including his bathers and still lifes. After attending two, I can say that the viewing experience in Italy may have added to my pleasure. It was not very busy the day I was there. I could get really close to the art and was able to really feel the lightness. I remember being moved to tears. It was wonderful that didn’t feel the breath of someone queued behind me in a hurry for their one minute maximum turn with a painting. As someone who feels guilty inconveniencing others, I felt very rushed in Chicago.

The Opening Piece of the Cezanne Rooms at the Art Institute of Chicago! I like his landscapes best of all so this I felt was a stunning beginning. This show was very busy!

Unless an artist violates all my sensibilities, it's hard for me not to delight in seeing a body of work together. It gives me kind of a shivery sense of another artist’s visual perceptions, their favorite places and their contemporaries. Sometimes I boldly wonder how my work would look in a show with art as well lit and as well framed as these top calibre exhibitions…. Lighting can really upgrade art! Just saying…

https://www.nationalgallery.org.uk/paintings/paul-cezanne-bathers-les-grandes-baigneuses

As a painter myself, I watch scholarly reviews with a somewhat skeptical eye. I feel like some art historians like to look at artist's work as though everything, even technical misteps, were intentional and I don't think that's true. I watched an excellent YouTube on Cezanne's (big blue) Bathers on loan to the show from The National Gallery in London, and I find it interesting at how far experts will go in reading into pieces, suggesting it took years for Cezanne to paint it because his emotions, trail-blazing skills, and high concepts were so…. profound (pronouce in a breathy whisper, please), and not because he struggled with getting his concept to be passably pleasing. I also sort of roll my eyes at the Cezanne quote about how he felt so deeply. I would hazard a guess that most creatives feel this way. It doesn’t mean that his art come from deeper in his heart than did others’. Not trying to be mean or tout my ignorance here, it’s just that as much as I enjoy the art as human, sometimes naive, sometimes brilliant, we’re not dealing with gods, here (or are we?).

My blunt opinion is that Cezanne struggled for grace in his figures. His academic figures were laboured and stiff and as a student of a rigorous French Academic tradtion myself, I know that he would have worked on those student pieces for many hours and would have had critiques and corrections suggested. They still weren’t anything to write home about. To me, his only figure with true musicality to it, true grace in the forms is this one, “Scipio” which was in Claude Monet’s collection.

Scipio by Cezanne from my onw photo 2022 Chicago- This is by far my favorite portrait or figure of his.

It didn’t escape my notice that when Cezanne needed money, his art dealer suggested he make and sell prints of some nude male bathers. They sold well and may have encouraged him to keep going with the bathing series. Ya know, struggling artist and all that.

image of male bathers framed painting by Paul Cezanne

Bathers by Cezanne

I’ll be making a video on composition and style and I’ll talk about Cezanne’s work there, but for now let me say that after seeing the range of his work, I still prefer his landcapes to all other subjects. My second favorite of his would be the still lifes. Maybe not too shocking of a revelation.

stoneware pitcher by cezanne photo by thimgan hayden chicago

Stoneware Pitcher by Cezanne

I enjoy the drama of his still life works. To me, it looks like he knew he was master of space and atmosphere when he approached his interior set ups, very much like a competent stage director. His use of blues and deep yellows, common in all his work, really shines in these subjects. Don’t let it pass you by that the two colors he seemed to use most were warm cyan blues, grays, yellow ochres and rosey rusts. These exact colors are widely used in movie color palettes. More on the color theories later (in the coming video).

screenshot from: https://digitalsynopsis.com/design/cinema-palettes-famous-movie-colors/

All in all, I think that Cezanne was at his best with space and atmosphere (composition), and if he was sore that his realism and sense of mass never reached the level that he might have originally hoped, he was likely pleased with the degree of fame and appreciation he earned in his lifetime. HIs work was collected by other artists (like Claude Monet) whose approval meant something as the new art, Impressionism established a path for a broader appreciation of what was meant by “good art”.

And now his work I like best…. the landscapes. His landscapes have a relaxed, airiness to them. They feel less laboured than his other pieces. As a painter always trying to loosen up, I love it when I feel the mellow calm of the artist just playing around in the colors, as it were. Maybe that is not at all how he was while painting landscapes, but that’s how I feel when I look at them. I feel like they’re a nice balance between stylization and cheerful observation. I also enjoy the fact that many are what we might call unfinished. I like to think he got to that point and didn’t have any guilt put on him by other artists or academy saying, “Make that paint thicker” and “aren’t you going to finish that corner?”

three landscapes by cezanne from my photo at chicago art institute

Thanks for reading! I’m sure I missed getting some nuance just right in this post. It’s hard to explain that I do really like his paintings, yet have misgivings in attributing him with the same kind of godlike technique accolades that some give him.


watercolor by Paul Cezanne pic taken at Chicago Institute of Art

Man in a Blue Smock by Paul Cezanne

The artist’s father, reading. Hanging in the Art Institute of Chicago.

Still Life Inspiration from Sir William Nicholson (1872-1949)

Still Life Inspiration from Sir William Nicholson (1872-1949)

 I almost have the feeling that he would set about to paint something and honestly not know how he was going to pull it off. I don’t think he had any doubt in his ability to pull it off, it’s more that he was unafraid of different techniques and even rather unconventional points of view- odd angles, even including rather odd items or compositional elements. His unique perspective makes his work feel fresh to me.

Featured Pieces November 2015

This is a quick blog entry here, to post pics of some recent pieces and

one piece

that is shockingly NOT SOLD that should be!  Look below!!

Several of the newbies make good pairings..

September Pastoral l (Trees), 20"x16" oil on panel $2400 framed

September Pastoral ll(Path), 16"x12" oil on panel $1400 framed

Snapdragons, Peaches, Pear, 16"x12" oil on panel $1400 framed

The Grassy Slope, 8"x10" oil on panel, $800 framed

Summer Pastoral with Grazing Cows, 12"x16" oil on panel, $1300 framed

Hill in High Summer, 13"x14" oil on paper, $250 unframed

First Light Over the Lake, 9"x12" oil on paper, $200 unframed

inquire through my website here

  if you'd like to ask about any painting above!  Already have a Thimgan?  Collector's discount honored.

  Maybe I shouldn't tell -in case I can get it back- but

IT'S A PAINTED BOX

 that I did last year, it's only $300 and it's

AMAZING

for keeping cell phone chargers and other oft used ugly items.  The box is available at the Water Street Gallery.  Tell them you saw it on my blog if you buy it:).

 

 

Wet Paint June 2014

I think I'm still working on this piece.  I want to work in the foreground especially.  I'll re post an image when it's truly done.  I'd love to sell this one before I invest in the frame.  There are so many choices.  The one I like the best is a heavy, antique style gold.  It looks like a 200 year old painting in it, but that's not everyone's taste!

A plein air piece from last Friday.

Peonies with Green Glass and Apricots, 20x16 in. oil on panel, on hold

Beach Box Pastoral

Living Above The Clouds In Montefiascone

1st painting of the trip, the view from the window

I am really late in blog posting....I am going to start where I left off and add a few more as I get to it.  This summer was a whirlwind of travel, house buying, Chicken Pox, and dachshund woes.  There was a lot of change in a small space of time- a lot of "living".  

My family and I went to Montefiascone in May for me to learn and enjoy a residency with Artegiro Contemporary Fine Art.  Our hosts and friends, Damien and Renata Summo-O'Connell and their dear children, were gracious to help with settling us in and supporting the project.  

Montefiascone is on a hill, a mountain.  The weather changes often and quickly.  Sometimes the clouds were far above you, and sometimes below you.  The people of Montefiascone are justifiably proud of their town.  We stayed right next to the Cathedral-the Cattedrale di Santa Margherita ( which has the 3rd largest dome in Italy) and just below the breathtaking view from the Rock of The Popes.  This tiny town had Slow Food member eateries and a wonderful enoteca called "Volo di Vino". 

Returning to Italy after a few years absence was exciting.  I'm always surprised that my Italian (such as it is) hasn't shriveled completely in the meantime.  I'm also surprised at how much pleasure I get from working on the language. I feel actually exhilarated when I am able to communicate successfully and build relationships- to understand and be understood!  I was happy to trade the initial shock of being in a different country for the slower, comfortable feeling of returning "home" in a way.  After living in Italy- part of me changed forever and not a day goes by that I don't think about it.  I think everyone who has spent a decent amount of time in another country has that same feeling.

This little painting is just under 8x10in. and is painted near the  center of town.

Outside Regula's stone studio

 One of the definite highlights of the trip were all the wonderful people I met.  The studio was out of a dream-complete with artists in and out and a talented sculptor owner-Adrianna.  She gave me roses from her garden which I painted one rainy day.

 Angelo, a photographer, 

www.artegiro.com

, took me on more than 1 memorable excursion, patiently hearing me out in Italian.  Simone and Gabriele are the owners of Volo di Vino and a talented duo of taste and writing.  Quinto gave us a book he's written about figures in a fresco in one of the ancient churches and enriched our experience.  Not to mention sculptor, Regula Zwicky,  who inspired me, Rosanna, who invited me to her home and took me landscape painting in a nut tree grove, and  Renata, my dear host, who is always an inspiration and herself an aesthete and cultural artist.

Painting Yindi in the studio

The night view from my window