Aix en Provence Madonna & Child progress, Step 4

36" x 24", pastel-in-progress of the corner niche ornamenting a building on the square in Aix-en-Provence

Aix en Provence Madonna & Child progress, Step 3

36" x 24", pastel-in-progress on Wallis paper

White Madonna & Child Niche, Aix-en-Provence, progress

36" x 24", further progress with my pastel on Wallis paper

I made some further progress on Wallis paper and I'm feeling better about it, but still exploring options.

White Madonna & Child Niche, Aix-en-Provence

two views of the 36" x 24" pastel-in-progress on Wallis paper

Experimentation is an important aspect of being an artist. I've made a start on the white Madonna and Child on a pastel surface that is new to me, Wallis paper, and I'm struggling a bit to get used to it since I'm learning that it has a more abrasive, less smooth texture than La Carte, and it doesn't 'grab' the pastel in the same way. I also wound up showing more of the Madonna than I had plotted out, simply because it was such a large sheet.

In reading about these two pastel surfaces, I learned that Wallis paper has an abrasive made with white aluminum oxide, while La Carte is coated with finely ground vegetable flake and cork, giving it a more velvety feel to the touch.

If can locate some La Carte tomorrow, I may start another version, cropped as originally planned. I'll probably give both versions a whirl until I see what feels the most comfortable to me for this subject matter.

White Madonna & Child Niche, Aix-en-Provence

photo © Mona Diane Conner 2008

I've made three drawings in my effort to start a new pastel of a beautiful white Madonna & Child niche statue that I photographed in Aix-en-Provence during my trip to France in 2008. It has taken three tries to decide what part of it I want to include for a large pastel painting. Sorry for an extraneous, uneven tone in my digital shots of my drawings, (strictly practical compositional sketches, rather than artworks themselves), but you can see how I started off wanting to show most of the niche structure at first, and then began to zero in more.

Since I also really like the idea of portraying part of the lamp, as in my photo, I am doing a fourth drawing for a miniature painting of this same scene (which will roll out on my miniature painting blog). My miniature version will include the lamp and give me an opportunity to show the entire structure of the niche that surrounds this statue. But for my pastel I want to dramatically zero in on the Madonna & Child itself, so the drawing at the top of the post shows you how it will be composed.

I had a search to locate a certain color of the pastel surface I wanted, only to get it home and discover that I got the color I want but the surface is defective. As a result, I may try doing this on a darker color than I would have liked just to get it started. With all this preliminary action going on, I'm asking Mary to please support my effort to paint the White Madonna & Child!

I was very charmed while in Aix-en-Provence to discover these niche statues of Mary and other saints which seem to adorn every building corner there, making it one reason that Aix-en-Provence was my favorite spot in Southern France. It's going to be a fun, too, painting more niches like the White Madonna & Child over a period of time.

The Difference Between Modeling Mary and the Mary Within

Thanks to all of you who visited here and commented on my progress with "The 'Mary' in Kimberly" while I was completing miniature paintings for several competitive shows. I do love painting large just as much as I love my work in miniature! Having given it my all during two key months when many of the miniature show deadlines overlap, it was important to rest and revitalize for a bit, but I've been looking forward to getting rolling again with my portrait series. I have two pastel portraits awaiting completion, and a new piece I'd like to begin, but first, here is an interesting comparison that I hope might stimulate some spiritual discussion:

Detail of my Madonna and Child drawing using Karen as a model

My drawing for a Madonna and Child painting using Karen as a model.

"The 'Mary' in Karen" miniature portrait in egg tempera

The first "Mary" portrait in my series---the one that I began this blog with---was "The 'Mary' in Karen" (above, the only miniature in this series). But as some of you know by now, I also love to paint Mary herself, and it was in that spirit that I used Karen as the model for Mary in the above Madonna and Child drawing, one that I did a while ago, but still plan to use as the basis for a painting.

So I've drawn Karen as Mary, and have also attempted to paint the 'Mary' within Karen, but in my mind, as well as in my creative intent, these are not the same thing. And I wonder, does it come across as I intend? Apart from the fact that in the Madonna and Child drawing I've taken some liberties with Karen's likeness and hair, and given it a Renaissance feeling, do you see and feel the difference between one effort and the other?

Update

I'll be returning soon to my large portrait work, but September is quite a busy month for me as I prepare for several miniature shows during this period of time. So, until my next post, you might enjoy seeing what I'm working on in miniature, including a miniature portrait in progress at this link: The Ruby Slippers

"The 'Mary' in Kimberly," panel painting progress

I'm overdue for a progress report on "The 'Mary' in Kimberly" egg tempera panel painting, (my computer keyboard wasn't working, but I'm back in action), so this update represents several painting sessions since I last posted on it. I began to under paint the veil and worked on various areas of the painting.

Alex Garcia's Portraits in Egg Tempera

"El Boricua," by Alex Garcia (self-portrait), 6" x 8", egg tempera on panel

"Be Still," by Alex Garcia, (portrait of the artist's wife, Carmen)

20" x 16", egg tempera on panel

"Little Linda," by Alex Garcia, 8" x 6", egg tempera on panel (Alex's daughter)

"Little Puppet," by Alex Garcia, 8" x 6", egg tempera on panel (Alex's youngest son)


Alex's lovely family!

Generous artist and friend of mine, Alex Garcia, does so much for other artists, I'd like to thank him with a post, if it's just to show you how special his own art is. The example on top of this row of portraits shows how irresistibly Alex manages to get a spiritual quality in his portraits which is both iconic, and icon-like.

It's so inspiring to see how Alex does his egg tempera paintings. I recommend a visit to his website to see his step-by-step portrait of Carmen, his wife, and how beautifully he has also portrayed two of his children, shown here, as well as many others. I can't wait to see the finished portrait of of his oldest son, which is currently in step-by-step progress on his blog.

I believe it has been partly out of his respect and admiration for other egg tempera painters, such as Andrew Wyeth, and his willingness to take the time to study and to appreciate how others have worked with the medium that Alex has so finely tuned his own skills as a tempera painter. And it's easy to see also, from these family portraits, what a loving father and husband he is!

An Online Review of My Portrait Series

Sorry for announcing this late because I've been out of town, but this week my spiritual portrait series has received a lovely review from Alex Garcia on his new website: "Artists I Like". To read it, please visit this link: Mona Diane Conner - Spiritual Beauty

Thank you Alex for your very kind words about this series which is so close to my heart!

Progress on "The 'Mary' in Terry #2," & "The 'Mary' in Unni"

"The 'Mary' in Terry #2," (in progress) 19 1/2" x 15 1/2", pastel on La Carte pastel board

"The 'Mary' in Unni," 11 1/2" x 8 1/2", pencil drawing

(click images to see them larger)

Apart from her talent as an artist, fine art photographer, and musician, my friend Unni's wonderful spirit has been an inspiration to me. She has made an amazing recovery from major illness for the second time. In the summer of 2005, around the time I first began to dip into the idea of trying to make spiritual portraits, I met Unni at a religious art show where we were both participants called "Spirituality in the Arts" at the Pacific School of Religion in Berkeley, CA.

When I showed Unni one of my first studies (the one which is also the masthead for this blog) and described my series to her, she was so enthusiastic about it that she posed for me right on the spot, and this drawing is based on her pose at the art show. I haven't forgotten how her enthusiasm has energized my effort with this series. Just wish I'd done it sooner for Unni's 'Mary' portrait, but at least this drawing is a start.

Unni credits her recovery from illness in part to the practice of a gentle flowing form of hatha yoga, which she now teaches. Please take a moment to read more about Unni, at her website: Unni's Healing Yoga

"The 'Mary' in Terry," #3, further progress

"The 'Mary' in Terry #3", (more progress) blue and white pastel on colorfix pastel paper

I have a little more work on the dark blue robe and general fine-tuning, and I want to try something special for the background which entails a trip to the art store, but more soon on this limited color pastel. Next I'll resume my progress on "The 'Mary' in Terry #2".

"The 'Mary' in Terry," #3 in progress

"The 'Mary' in Terry #3", blue and white pastel on colorfix pastel paper

Sorry for my absence here while I've been preparing for another miniature show. There are always lots of details to handle and wrap up when preparing to ship a show, but it also inspired me to bust out and try something different before I resume completion of "The 'Mary' in Terry #2". I'll post the final version of this one tomorrow.

Portrait of Lauren

"Lauren at Twenty-two", 4 1/2" x 4", graphite drawing

My niece turned twenty-two today, and here is a drawing I made for her birthday! Happy Birthday Lauren!

The 'Mary' in Terry, pastel #2, step 2

(pastel in progress on La Carte pastel board, 19 1/2" x 25 1/2")

My thanks to all of you who commented on my blog while I was taking a brief break!

Early Influences

In my early life there was only one occasion when I got to stay up late in my jammies and watch two painters....when my Mom decided to sit down alongside my Grandma Conner and try to learn from watching her how to paint. I thought it was very exciting, their paintings thrilled me, and I will always remember it as a time that was an important influence upon my early life as a painter.

Money Matters

Read this article: Finding Money For Your Dreams

I got sick on my 'vacation at home' and it slowed me down enough so that just when I needed some connecting information on the topic of artist grant applications, this excellent article caught my eye. Thanks Mira of Mira's List!

Returning to blogging soon, but I'm in the midst of a two-week break for re-organizing, hosting several special guests who I'm really looking forward to seeing---some old friends and my Florida cousin are coming to town, and this week to enjoy the three days of festivities when Amma, my Indian guru is here in NYC, including darshan (she offers hugs to thousands throughout the three day period), pujas (religious ceremony), live music, chanting monks, clothing & jewelry bazaar, vegetarian Indian food, and Devi Bhava.

Attending Amma darshan is a fascinating, internationally flavored experience. No cameras are permitted, so I can't share it in photos, but to give you a few highlights, so far I sat next to a woman who flew in from Paris (where Amma also tours), watched darshan taking place while Hindus intermingled with people from many religions and cultures, and while Voices of Unity, a large choir from Unity Church in Manhattan simultaneously stood behind Amma singing some rousing gospel songs after the swamis did a round of bhajans (devotional music). I even saw Iggy Pop milling around.

If it sounds like something you'd like to try out, it costs nothing to attend, and Amma is probably coming to a town near you. Here's a link to the North American part of her annual world tour.

"The 'Mary' in Terry," pastel #2 in progress

(detail)

"The 'Mary' in Terry #2" (in progress), 19 1/2" x 25 1/2", pastel on La Carte pastel board

"Mary in Kimberly" Panel Update

My progress is somewhat gradual because I photograph this egg tempera painting after every 3-4 hours work, but over several sessions you can see what is happening. For this session I was working in the same (and a few additional) areas. I have further blending to do on the skin, particularly on the right side of the face, once the paint has set more.

Hoping to also post the start of my new pastel of Terry later tonight.

"Mary in Kimberly" panel update

This session I worked further on her hair, beginning to define it's rhythms, and on blocking in some shadow in areas on the skin near the hair.

"Mary in Kimberly" egg tempera panel update

In this session I worked on some subtle layering on the hair on top of her head, softening and shaping the eyebrows, and on giving the forehead more dimension.

A few more tips about working with egg tempera. If you try the suggestion in my video demo below about substituting gouache or watercolor, of the two, gouache is your best substitute option of the two, but I mentioned both if you don't have gouache on hand.

Choose a rigid support. The ideal surface for egg tempera is a rabbit-skin glue gessoed panel. (Acrylic gesso will not absorb as well or adhere the paint as well). Other surfaces I have used are Strathmore or Crescent rag illustration board (without gesso), something with a smooth tooth. I recommend this for beginners to try, but choose four-ply, not bristol, and avoid getting the board too wet to avoid warpage.

Apply the paint very thinly, and in layers. A common mistake most beginning egg tempera painters make is to apply the paint too thickly in one individual layer. Build your paint gradually and remember that the principle is translucency. You are building layers to create an illusion of a color, for example a layer of green, with a layer of vermillion on top would make a warm shadow on a face.

For any other questions that may arise I recommend this great online forum about egg tempera: Egg Tempera Forum

"How to Mix Egg Tempera Medium," my video demo

I want to mention that my work from my recent post on miniature eye portraits has moved over to my newest blog, "Eye Portraits in Miniature," so please feel welcome to visit there to see further paintings by me on this topic in the future.

I hoped to post this video last weekend, but I went briefly out of town, so here, as promised, is my demonstration showing how I mix my medium for egg tempera painting, the medium I am using for my panel painting-in-progress of Kimberly, and which I have used for most of my paintings since my first introduction to it in 1976.

Obviously a demo like this can only scratch the surface, but I hope it may tempt you to try this wonderful medium! For more information on working with egg tempera I also highly recommend a visit to the Society of Tempera Painters website and it's informative discussion forum about the medium. Also, see my additional tips in the post above this one, and in the comments column.

Pencil drawing for the next pastel of Terry

(In the process of transferring this onto the pastel board.)

For Terry

I've started another pastel of Terry, and hope to post an update on it's progress later tonight or tomorrow; however I want to let everyone know that Terry's mother, Mary, passed away on Sunday.  I send my love out to you, Terry, and express thanks to everyone who prayed for Terry, her Mom and family members during a tough time for the Sebastian family.  I appreciate condolences on behalf of Terry in the comments column this week.

"Terry's Left Eye" miniature eye portrait

"Terry's Left Eye", (actual size) 3/4", egg tempera on vellum

enlarged view of miniature eye portrait

Prayers continue for Terry's mom, Mary.  Terry's prayer:

Dear God,

Thank you for Mary and the beautiful life you have given her and us by being a part of this wonderful family.  Countless prayers have been sent on her behalf.  My prayer for her today is that she has the courage to let go and focus on that part of her that will never die.  That she see with her spiritual eyes that she is whole now.  That she remembers part of her is a part of You; that she is able to love and accept herself unconditionally right now exactly where and how she is - cancer and all.  Amen.

Peek at my progress on Terry's eye

(enlargement of 3/4" diameter original in progress)

egg tempera on vellum

Miniature Eye Portraits of Terry and Kimberly

sketch for Terry's left eye portrait 

(shown larger - actual dimension is 3/4" diameter)

sketch for Kimberly's #1 left eye portrait (3/4" diameter)

sketch for Kimberly's #2 left eye portrait (3/4" diameter)

On my miniature blog this week I am painting miniature eye portraits of my friend, fellow artist and blogger Kathleen Coy and her husband Jason, (thanks Kathleen!!) so I thought it would also be fun to try some miniature eye portraits of several of the women I have been doing spiritual portraits of, especially because of how our eyes,---even just one eye,---are an expression of our spirit.

Above are three sketches I have prepared to paint.  I'm trying two portraits of Kimberly's left eye, from two different photo references, because it's very interesting to see how much one eye can change with just a shift in the angle, lighting, or facial expression.  See my posts on the Ruby Slippers for more information about the charming tradition of miniature eye portraits or "lover's eyes".

"The 'Mary' in Terry," and Terry's Prayer

"The 'Mary' in Terry", 25 1/2" x 19 1/2", pastel on La Carte pastel board

(detail view)  (click on the images to see them larger)

Terry's transition prayer for her mother, Mary Miller:

Dear God, 

Thank you for Mary and the beautiful life you have given her and us by being a part of this wonderful family.  Countless prayers have been sent on her behalf.  My prayer for her today is that she has the courage to let go and focus on that part of her that will never die.  That she see with her spiritual eyes that she is whole now.  That she remembers part of her is a part of You; that she is able to love and accept herself unconditionally right now exactly where and how she is - cancer and all.  Amen.

Over these past weeks my friend Terry has been taking care of her mother, Mary Miller, who has been very ill and will soon be making her transition.  So I am putting out a heartfelt request at this time to please surround her and her family in love and light with your thoughts and prayers.  It's fine if it's in your own words, but my suggestion is to use Terry's own words in the prayer above which she wrote for her mother.  It's inspiring and joyful in how Terry views this transition time in her family's life.

I'm also aware that a number of you who follow this blog have parents who are seriously ill, and two that I know of are Liz Holm's Mom and Deb Kierce's Dad, so let's keep all of them in our prayers.

"The 'Mary' in Terry" in-progress, Step 5

Just a bit more work remains to be done here on the skin tones and robe, and at this point in the portrait I will also add in the background color so that I can see any light and value adjustments that may be necessary on the figure.

Video Demo on Egg Tempera

Thanks so much to everyone for your supportive comments about my website improvements!  It's really helpful to receive some feedback on it.

I've mentioned it on my other blog, but will also be posting to both blogs in two weeks a brief 5 minute demo on how to mix the egg tempera medium I use for my panel painting.  I am also scoping out the possibility of creating a more in-depth DVD instructional video, or series of videos on how to paint with egg tempera which would sell from my blogs and website.  So, if anyone tuning in has an interest in additionally having a more in-depth DVD on painting with egg tempera, please let me know. 

Passion Award

First, just a word about my progress......I had hoped to wrap up my pastel of Terry last weekend, but I also really felt the need, after working on it over the past weeks, to wrap up my website expansion.  It felt great to get my web work done, but as you might guess, I'm a bit tapped out, so have just been resting before resuming my progressive portrait posts.

Meanwhile, I want to thank Dean Grey for again honoring me with the Passion for Painting Award, and for recognizing my work on Grander Joy of Spirit with such kind words on his blog. I invite you to check out Dean's beautiful work.  There are some surprising and exciting views of Chicago to see through his photographs, a pet portrait I love called "Velvet", beautiful still-lives, sketches and paintings.  Apart from his technical skill as an artist, and passion for painting, Dean is also a very creative thinker, as even the name of his blog--Exploding Donut, and the story behind the name, reveals.

Website Expansion

"Nelson Mandela," 6" x 4 1/2", head study from a friend's photo, egg tempera on Strathmore board

"Old Friend," 5 1/2" x 4 1/2", egg-oil emulsion over egg tempera on panel

I'm posting an update on the pastel of Terry tomorrow in order to let you know first that behind the scenes over the past several weeks, website expansion has been my weekend project.  There are approximately 25 newly posted images, including several additional portraits, such as the two posted here, and a retrospective of my career as an illustrator in the "Illustrations" and "Nature, Animals and Flowers" categories.  Not even my family members have seen all of these images, so I hope it will be a source of enjoyment for friends, colleagues, and family as well as prospective clients, that the website is more rounded out now.

The topics I've been asked to paint as an illustrator in particular have been quite various, and if you've enjoyed my work as a portrait painter, you may also enjoy seeing this other side of my work when you have time to take another look at monadianeconner.com

The 'Mary' in Terry, in-progress, step 4

Here you can see the area toward the bottom right and in the shadow area of the arm where I am blocking in the colors that will eventually blend a little more.  It's moving along, so I anticipate adding another post on my progress tomorrow.

*P.S. on Wed. post:  It turns out my modem is only functioning at 60% capacity, so the cable company is visiting me again tomorrow, plus am taking care of behind the scenes details.  Hopefully I can fit another post in either later tomorrow or on Friday.

The 'Mary' in Terry, in-progress, step 3

(click on image for a larger view)

Just adding some information here on my pastels, at Liz Holm's request.  Although I started off with a small set of Rembrandts and Othello pastel pencils years ago, I avoid sets in general,

and favor building my palette gradually as I go.  I use Sennelier and Schmincke for their rich colors and application.  Senneliers get used up quickly because they are smaller sticks and very soft, but I feel they are worth it.  I also treasure Diane Townsend pastels, which cost more (hand-rolled), but are also worth it.  All of these brands can be purchased online. 

In pastel pencils I've experimented with various brands, and it also depends on the texture of the surface you are working on, but my favorites for the La Carte surface are Cretacolor and Generals, with a few Conte's thrown in.  (General's white charcoal pencil and black charcoal pencil are especially nice).  

Safety procedures are very important with pastel.  More about safety in another post.

The 'Mary' in Terry, (pastel-in-progress, step 2)

A close-up view of the area I've been working on.

The 'Mary' in Terry (pastel-in-progress)

(click on the image for a larger view)

25 1/2" x 19 1/2" pastel in progress on La Carte pastel paper

Panel Progress

Panel Progress, "The 'Mary' in Kimberly"

I'm working behind the scenes to enter two portraits in a competition, but here's a small progress report on my panel painting, working further here on the hands.

"Spirit of Aretha"

"Spirit of Aretha," 4" x 4", egg tempera miniature portrait on Kelmscott vellum, (available from my website) (c) Mona Diane Conner 2009

My portrait of Aretha Franklin is posting on my miniature blog, but it shows the "Mary" in Aretha; it's her shining moment, so it's placed here too.

Interrupted internet

Just a note that my internet connection went out this weekend, but I'm happy to be back with a new modem today.  I'm preparing the post intended for the weekend for later today, and sorry for the slight delay.

Commissioned Portrait

"Katie's Childhood Memories," 10" x 10," pastel and charcoal on toned gessoed paper

I have a small surprise coming up right before my panel update, and I'm working on the start of the pastel of Terry, but here is just one example of the commissioned portraits I do.  I enjoy doing both commissioned and non-commissioned portraiture.

Mentors of My Art

original art (c) Fred Wessel 2008

"Contemplating Fibonacci's Spiral," by Fred Wessel, 34" x 27", egg tempera with gold, silver, and palladium leaf 

detail showing the red jewel in her hand in "Language of the Birds"

original art, (and detail of original art) (c) Scherer & Ouporov 2008

"Language of the Birds," by Suzanne Scherer & Pavel Ouporov, 24" x 18", egg tempera, semi-precious gems, and gold leaf on poplar panel

I wanted to include these examples of Fred's art, and Pasha & Suzanne's art, with my post on their opening, but it was a long post, and meanwhile I have been busy behind the scenes on three paintings myself.  In each artist's life there are those who offer helpful information and encouragement at just the right time, which somehow becomes absorbed and translates itself uniquely into aspects of one's own artistic journey.  Fred, Pasha, and Suzanne have played this roll in my life.  

When Pasha & Suzanne lived in Brooklyn before moving to Florida, they shared advice on icon painting, and the spiritual symbolism in the applications of water gilding.  They recommended lessons from a Russian master, Vladislav Andrejev, in whose icon writing studio I later studied for one year, and they also referred me to Pandora, makers of icon panels, who is still my valued supplier.  I recently learned from Fred Wessel about a kind of Japanese silver leaf which is dyed pink. Can you see it in his painting at the top of this post? Now I'm thinking about trying out some of this pink silver leaf on one of my "Mary" series panels.

From both artists I've learned about the value and beauty of non-commissioned portraiture, and felt spiritually and artistically enriched by their art.  Thank you Fred, Suzanne, and Pasha!

The 'Mary' in Kimberly, one more drawing with reference pictures

I'm working on a larger version of this drawing, but I wanted to post it with it's reference photos to show how I'm putting this one together.  I'll be doing a study of this pose from her head to her lap, and I'd like to later do a panel painting of the full figure including the rose petals on the floor.  

I also have at least one other pose I'll be doing of her wearing all white, with pale pink rose petals, but next will be an update on my panel painting, and the first installment of the pastel of Terry.

Two More Great Openings

Diane Savino (at left), curator and egg tempera artist, discussing her work at Tabla Rasa Gallery in Brooklyn

original art (c) Diane Savino 2009

Diane Savino's daughter, Brielle, was the inspiration for her egg tempera portrait, "Not Out of the Woods", one of her beautiful paintings on display at Tabla Rasa Gallery

Fred Wessel discussing his egg tempera portraits with patrons & friends at ACA Gallery in Manhattan

Pavel Ouporov & Suzanne Scherer share a smile with Diane Savino and friends at ACA Gallery

I'm working on two more drawings--- a pastel of Terry, and one more drawing of Kimberly, and hope to post progress on both soon, but I wanted to share a few photos from two more openings I've attended this month involving some of my egg tempera colleagues.  On April 4th I attended the opening at ACA Gallery of  "Layered Luminescence:  The Art of Egg Tempera," featuring the work of Robert Vickrey, Fred Wessel, Suzanne Scherer & Pavel Ouporov, and Doug Safranek. 

Robert Vickrey's great book, "New Techniques in Egg Tempera" gave me my first exposure to egg tempera painting in 1976.  The opening was packed, and colleagues in attendance were husband/wife painting team, Suzanne Scherer and Pavel Ouporov, Fred Wessel, and Diane Savino.

It was great that Diane & her family came back to New York this weekend for her participation in the group show "Pioneer Women" at Tabla Rasa Gallery in Brooklyn, and afterward she visited with me in my studio to see some of my latest work.  Diane curated a great group show that I participated in called "Egg Tempera:  An Enduring Tradition" which travelled the east coast to various college and museum venues. 

New Drawing & Art Opening at DFN Gallery

new drawing for the 'Mary' in Kimberly series

(detail of drawing, scanned version)

Silhouettes surround "Smirk,"48" x 64", oil on linen, by Alyssa Monks at DFN Gallery opening in Manhattan

Alyssa Monks chatting with friends and patrons at the opening

I've been working on some more drawings of Kimberly, and a new one is posting here on top. 

I also wanted to share with you a great art opening that I attended last week in Manhattan,---a dual show for Alyssa Monks and Dozier Bell.  Dozier Bell was not present in person because she had another show opening simultaneously in Maine, but I was fascinated by her miniature drawings which are done in charcoal on mylar, so much so that I'm going to try out working on mylar too!  A link to some of the drawings by Dozier that I enjoyed seeing at DFN are here.

I've followed the inspiring work of Alyssa Monks via her website, and have attended a few shows featuring her work, but this was my first opportunity to meet her in person.  She was lovely to meet, and her new paintings are wonderful!  Alyssa teaches a special course in 'flesh' painting, and some of her work involves self-portraiture.  When seen firsthand her paintings are large and surprisingly loose.  It was a real treat to enjoy the work of both Dozier and Alyssa at DFN, a great combination of very large and very tiny artwork which dramatically demonstrates how both formats can have great emotional impact.

"Mary in Amma in Kimberly" (final version)

"Mary in Amma in Kimberly," 19 1/2" x 25 1/2", pastel on La Carte sanded pastel paper

(click on image for a larger view)

Congratulations Marcia & Harry!

I painted this miniature study, "Tulip Garden at Giverny," which was posted on my miniature blog, The Ruby Slippers, and was purchased by my sister, Peggy, as a wedding gift for my Mom and her new husband Harry.  Last year when my Mom and Peggy travelled to France with me, they gave me a ticket to see Giverny Gardens and to take photos, so this was a great idea come full circle.  Thanks for thinking of it Peggy!

"Tulip Garden at Giverny," 1 1/4" x 3 1/4", egg tempera on Kelmscott vellum

During their honeymoon visit to NYC I had lunch with Mom & Harry at Asiate, on the 35th floor of NYC's Mandarin Oriental Hotel

This is the first photo I have of the happy couple, my Mom & her new husband Harry

L to R:  my sister Peggy and 2 of her 4 sons, David & Daniel, with Harry.  Since my brother is a qualified justice of the peace, he performed the ceremony.

Wedding

Thanks everyone for your comments on my pastel portrait.  I've really enjoyed working on it, and in answer to your questions, it's mostly done, but I'm adding a background.

My Mom is getting married again tomorrow (at age 83!), so I'll be away from blogging for just a few days.  Back on Thurs. April 9!

"Mary in Amma in Kimberly" (more progress)

(pastel on Sennelier La Carte pastel paper)

Mary in Amma in Kimberly (progress)

Mary Herself

"Mary Contemplating the Life of Christ," (in progress), 20" x 24," egg tempera

"The First Night," 11" x 14," egg tempera


"L'madone et L'Infant de Remy de Saint," 4 3/16" x 5 13/16", egg tempera miniature on vellum

"Avalon Madonna with Yellow Flowers," 1 7/8" x 2 5/8," egg tempera miniature on vellum

"Mary & Jesus, Aix en Provence Exterior Wall,"small miniature study, 

1 1/4" x 1 1/2," egg tempera on vellum

More on the pastel tomorrow, but I realized that along with my portrait series where I try to show the "Mary" within each of us, I enjoy painting Mary herself, and because of this, I thought it would be meaningful to share with you the various ways in which I've attempted to portray her so far. 

One of the special aspects of Mary was her life as the mother of Christ, and at the top of the post I have included a painting in progress.  I've been working on this painting of Mary where in an introspective moment she is contemplating the future of Jesus's life, almost seeing it in advance. Behind Mary and Jesus in the background are scenes from the future life of Christ.

"Mary in Amma in Kimberly"

my Indian wedding sari

I had some errands today, including a trip to the art store for a few new pastels and pastel pencils, so I'll try for adding another photo of my progress on the pastel of Kimberly later tonite, but I promised to talk a little about my decision on it's title.  When we did the photo-shoot of Kimberly for the series of works I wanted to do of her, I had a number of white fabrics I used as veils, but I also tried putting my Indian wedding sari on her as another kind of Mary veil, and we wound up using this special sari in about 50% of the photographs I took.  I love my Indian wedding sari, and it hangs in the doorway of my studio these days.  I was told when I bought it in a small shop in the East Village that this particular kind of wedding sari is from the 1970's and is not made anymore, since the beads were sewn on by hand.  

It felt apropos for Kimberly to wear it, because it was Kimberly who introduced me to Amritanandamayi Ma.  In fact, Kimberly and her husband were honored to be married in 2003 with Amma performing the wedding ceremony.  

This was one of the poses that to me is a portrait of both the 'Mary' in Kimberly and the 'Amma' in her also, and since I've explained how, for me,  Amma is a kind of living manifestation of Mary, it feels like both in that way also.  Hence the somewhat mystifying title of "Mary in Amma in Kimberly".  It feels just right somehow.

I want to thank Kathleen Coy who yesterday was the third person to honor me with the "Passion for Painting" award.  It's truly an honor each time it is passed, and since I've recently responded to this award, and will be responding to it again for my miniature blog, (on April 5 after my painting sale), I'll simply recommend that you check out Kathleen's beautiful dog portraits, paintings and photographs.  Apart from appreciating Kathleen's creativity, I'm a little in love with her sweet dog Cloud too!

More on the pastel of Kimberly

pastel in progress (detail view)

I'm still working on this, and may post again on it's further progress tonight.  It's an Indian wedding sari that Kimberly is wearing here, and for several reasons I've been debating over what I wanted the name of this painting to be.  To find out the name I chose, check back in tomorrow.

More pastel in progress ~ Kimberly

pastel in progress (working right to left helps me avoid smudging, since I am left-handed)

*I'm also honored to receive an award, created by Kim Ratigan, which is being passed from artist to artist in honor of their passion for painting from Akiko Watanabe.  The receiving artist is asked to acknowledge the artist who passed on the award (please check out Akiko's wonderful art by clicking on her name), name 7 loves, and pass it forward to 7 artists.  (I received this same award for my Ruby Slippers blog too, from Deb Kierce this week, and will post in response to that on The Ruby Slippers following the end of my spring sale on April 5.)

7 loves:   1) water  2) the color viridian green  3) the color coral melon  4) Mary  5) Amritanandamayi Ma  6) Mother Meera  7) God

Most of the artists I'd like to acknowledge have received this award, but there are 3 I would like to pass it on to:  my friend Bill Mundy, a great miniature portrait painter, and my friends 

Wes and Rachelle Siegrist a very special husband and wife team of wildlife miniature painters.

Pastel in progress ~ Kimberly

(pastel on van dyke brown Sennelier La Carte pastel paper)

P.S.

Just a little postscript on my last post, since fellow artist, Todd Bonita, and I were talking about how his father-in-law, David Baker, who passed away very recently, and my father were both smokejumpers.  My father only spent 2 or 3 summers smokejumping, during the summers of 1948 - 1950, but he was very proud of being a smokejumper.  While Dad smokejumped, Mom worked in the ranger station as a clerk.  Although Dad went on to study law and become a businessman, later in life he would often state that his favorite job was still smokejumping!  He belonged to the National Smokejumpers Association and a few years ago they produced the book Smokejumpers, in which Dad recounted his experience in the 1950 Hell's Canyon Snake River fire.

Also want to say, thanks Peggy, for buying an early miniature, right before my Ruby Slippers blog sale!

"Surprise Daddy!"

"Mona & Ben" 5 1/8" x 6 3/4", charcoal and pastel on gray sand-grit pastel paper (NFS)

I forgot that I wanted to do this post on both of my blogs:  My father passed away in April '07, and March 18 of this week would have been his 86th birthday, and it is still a tough week for me.  I wanted to honor his memory with one post, since my blogs began after he passed.  I love knowing that if he were still here, he would be on his computer checking them every day!  I'm sure he is enjoying them in spirit anyway.  This is drawn from my favorite photo of Dad and I, and the photo-version is also my screensaver.  I have a post coming up for my Mom within the next month also, but this one's for you Dad.  Love you always! 

"Session on the Ruby Slippers" with Mona Diane Conner

"The Ruby Slippers," 3/4" x 1 3/8," egg tempera on Kelmscott vellum

in Venetian glass frame

I've posted a new video clip today on my other blog, "The Ruby Slippers." In it I discuss more about what motivates me as an artist, including my motivation to work on this series of spiritual portraits.  If you'd like to watch it, just click on my Ruby Slipper painting.  

I've also started a new pastel portrait, and I hope to post some progress on it here for you soon.

 

Artist Statement & Bio

This past week I took some time out to write my artist statement.

Click on my eyes and scroll to see it.

Panel Progress, "The 'Mary' in Kimberly"

Gilding a Panel

I've been forgetting to mention this, but I've been gold-leafing this special panel for a mother-daughter portrait of Kimberly and her daughter Sophia, which as a painting will also be pertinent for my spiritual portrait series, and I did a video clip of myself gilding this panel.  If you haven't already seen it, check it out on my miniature blog, The Ruby Slippers, along with the other posted video clip, a 'virtual visit to my studio.'

Because a short video only allows for highlighting a few aspects of gilding, I want to be sure to mention two more things for those unfamiliar with the gilding process.  It's hard to show the difference in surfaces via online and in video, but I chose oil gilding for this panel because for this particular painting I favored going with it's less shiny, more satiny patina.  The difference between oil gilding and water gilding is that water gilding is burnished with a special tool to a very high shine.  A slow-drying size will give a bit more shine than a fast-drying size, so that's in between the other two options.  Second, I skipped an important but recommended step in my video by not priming my gesso panel first with a venetian red or ochre primer before gilding, because I wanted to expedite my process with this project, but I don't want to skip saying that traditionally this gets laid down first before fast or slow-drying size is added to the panel.  It looks beautiful if a little of the venetian red primer shows through the gold, and it saves gold.

I'll post more progress on "The 'Mary' in Kimberly" later today.

Panel Progress, "The 'Mary' in Kimberly"

Panel Progress, "The 'Mary' in Kimberly"

Panel Progress on "The 'Mary' in Kimberly"

Further work here on my panel painting in laying down the initial layer (actually two layers of egg tempera in some darker parts) for the hair, working flesh-tones over the green underpainting, and enhancing shadow areas on the skin which will be softened with further layers.

"The 'Mary' in Terry"

(click on the image for a larger view)

Recently I reconnected with a friend from high school days, Terry Sebastian.  Terry and I used to sit across from each other in art class, and we found each other again on Facebook.  Terry lives in Utah, but while spending time with family in PA, she made a trip to New York for two days to visit me before she went back home.  We had a great time, and I was delighted too that she agreed to do a wonderful photo session for "The 'Mary' in Terry."  Here is the first drawing I've done from our work together.  I hope I did justice to the photos I worked from for this try.

Thank you so much, Terry.  I'm really excited and grateful too over how we were able to reconnect with each other in this special way about art again, especially after so many years!

Terry enjoys abstract expressionist painting in encaustic.

Second try - More on the Mary in Kimberly

(click on image for a larger view)

This image was hard to capture, so here is another try with my camera, in case it's helpful.

Discovered today when I logged onto this blog that all my posts had disappeared!  Quelle nightmare!  Luckily, I figured out how to bring them back, but sorry if you logged on to find nothing at all here earlier today.  

Happy Valentine's Day to everyone!

More on the Mary in Kimberly

The next step is to add the 'apple in the cheek,' which in classical painting terms means to add a thin red glaze over the green under-painting around the cheek bones and all areas where the bone comes close to the skin---tip of nose and fingertips, etc.  I am using Vermillion in lighter areas and Cadmium Red in darker areas.   It is intentionally overdone because it will soften considerably and smooth out as I continue to build up layers of flesh tones and place cool layers on top of warm layers.  I have also begun to lay in the first layer of the hair around the face to help me perceive better whether the values on the face are approaching what I want.

"The 'Mary' in Kimberly," panel painting in progress

(click on each image for a larger view)

I have started on a panel painting of "The 'Mary' in Kimberly" using an arched icon panel made by Pandora, my main panel supplier.  I am starting my painting with an egg tempera underpainting in soft greens including a pigment called Bohemian Green Earth, over which fleshtones will be laid in.  Egg tempera is a translucent painting medium used by icon writers of icon panels, and I use it overall for it's luminous effects.  Luminosity is built through the application of many thin translucent layers of paint.

"The 'Mary' in Kimberly", Two Versions

Study for "The 'Mary' in Kimberly," 19"W x 25"H, pastel and gold leaf on pink paper

Sketch for "The 'Mary' in Kimberly," 19"W x 25"H, charcoal and pastel on grey paper

Both of these pastels were done in preparation for portraying the 'Mary' in Kimberly, and the study with gold leaf has already been purchased by its model.

preliminary drawing for "The 'Mary' in Me"

I've started this sketch to begin exploring the 'Mary' within me, by drawing myself from looking directly in the mirror.  Did you notice that before I posted this I also flipped the image so that I could be seen as others see me also?

The 'Divine' in Arlynne

"The 'Divine' in Arlynne," 25"W x 19"H, pastel and charcoal on blue paper

Next I did a study, "The 'Divine' in Arlynne."  I discovered, once I had made this pastel, that the the Divine aspect I see within Arlynne is actually the Hebrew character of Ruth.  Although it's much more complex in terms of scriptural interpretation, and it's only part of what I see in Arlynne, one example is that in Ruth's life she faced difficult situations by delivering strength with hesed, or lovingkindness. 

It occurs to me underneath it all that if lovingkindness is genuine, it's actually our lovingkindness, our compassion, that helps us to be strong in the face of our difficulties, and not the other way around, but what do you think?  Do you see the 'Ruth' in it's dual nature as it expresses itself through Arlynne in this drawing too?

"The 'Mary' in Karen"

"The 'Mary' in Karen," 6"W x 4"H, egg tempera on panel miniature

I'd like to begin sharing with you my journey of working on this spiritual portrait series with what I have done so far, with the idea of posting continually on my progress.  So far I have portrayed three women, and here is the first painting I have done.  The Divine Feminine within Karen, as I see it, is Mary.

I thought I knew what the 'Mary' in Karen was, but when I painted this painting I found out that God had a better idea than I did, and it spurred an entire series from this one tiny miniature.  More on God's idea later,--- but do you see, if it is inherent in Karen's spiritual nature, what the 'Mary' within Karen is?

Happy New Year and Please Check Back

I wish all of us a more joyful year in 2009!

I will be posting soon on this unique portrait blog, so please visit again to watch it as it unfolds. Thank you.