JOURNEY I
Sea Dean
12" x 9" Cotton Canvas Sheet
Limited time offer $75 includes shipping to Canada, UK and USA - Reduced shipping elsewhere.
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Appropriately this painting marks the beginning of a journey for me. I am joining over 700 artists in the Leslie Saeta 30 paintings in 30 days challenge and this is the first day.
For a theme I've chosen to conquer my fear of abstract painting by jumping in at the deep end. I've painted many abstracts, but I feel I need to focus and develop a consistent style. I love abstract expressionism, both to paint and to purchase. When I visit a gallery it is always the abstracts that catch my attention, particularly if they have an interesting colourful palette.
So here is "Journey I", an abstract for dreaming. The lines and texture stand out from the surface. There are flecks of gold flake and transparent figuring. The painting is finished to a high shine with Gamvar, museum quality varnish.
For this series of abstracts I will ship anywhere in the UK and North America, inclusive. Your purchase will arrive ready to mount, mat or frame as you choose. Should you prefer, I can mount, mat or frame and ship ready to hang, please contact me for a quote.
Day 1 - 30 paintings in 30 days - Added to Leslie Saeta Blog #4
View my online Gallery of large works and Limited Editions at ARTFINDER
View my online Gallery of small works at DAILY PAINTWORKS
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This is an interesting painting because it has gone through a few versions. I decided it needed more movement and to create that I used the technique of "lost and found edges". The lively brushstrokes and brushstroke finish add to the idea that the black lab is excited about his treat and is whining and shuffling around, but doesn't want to change his begging position.
I'm preparing for a busy September in the studio. I've reorganized AGAIN to give myself more space. I finally got some inspiration paintings of my peers up on the wall and off the floor. I've moved my large blank canvases off my counter space into storage and purchased more paint holders to keep the tubes off my drawing table. My storage for WIP paintings is doing a great job of keeping them in action.
I went to visit "On the Vine" yesterday, which is now showing in LIGHT, the Art Walk Theme exhibition and it has a wonderful position opposite the door to the coffee shop (see second image). The works for the VET exhibition at Blenz in Westbank are waiting to be delivered tomorrow. My sculpture for the COHA exhibition is almost complete (pics later). I have new mats on the way to frame small prints for the ART BAZAAR. I feel as if I need to graft on 8 more hands.
The biggest and craziest September event I'm involved in, is the 5th 30 paintings in 30 days challenge. This is the 5th challenge I've taken part in and they've been a great way for me to rub shoulders with over 400 of my Daily Paining peers. For my theme I've chosen AFFORDABLE ABSTRACTS. I will be posting a new abstract each day on Leslie Saeta's blog and here. The works will be painted on flat canvas without frames, mats or stretchers, they are inexpensive to ship anywhere in the world flat or rolled and you can then take them to your framer or mount them yourself. I can also ship in a ready to frame mat or mounted on a panel or cradle request.
Hear the name Tiepolo and you instantly think of Venice. GIOVANNI DOMENICO TIEPOLO, son of the famous Giovanni Battista Tiepolo and brother of Lorenzo Baldissera Tiepolo created murals which figured in the rescue of art in Venice. The painting above is a huge fresco which is now on display at the Rezzonico, Museo del Settecento, Venice alongside many other repositioned murals from the Foresteria villa.
I loved the reverse psychology of this painting which was typical of the tricks of the Roccoco period. Not one of these people is interested in the viewer or facing out of the painting, even the dog. The crowd is watching a show, but the title "New World" also hints that they are looking into the future, over the ocean seen above the crowd. Christopher Columbus sailed in 1492, but colonization in the USA didn't start in earnest till 300 years later, right around the time this was painted in 1797
It's no surprise that I like this mural, because if I paint figures I usually face them away from the viewer. Perhaps I will use this as inspiration for a painting this winter. I would love paint more figuratively and I'm thinking of making that my focus in the upcoming 30 paintings in 30 days challenge. I've been intending spending time at the local park sketching people and dogs, but there are air quality warnings from smoke blowing up the valley from fires down south. I hope it will clear with the expected rain this weekend.
CHRONOLOGICAL COLLAGE OF DOMENICO TIEPOLO WORK I include collage shots not to detail the paintings, but to give a general idea of the colours and compositions of the artist's style. This is a chronological collage. See how the light in his work changed as he matured. The early works were probably influenced by his father, who he apprenticed under, but after his father's death the light flooded into his work. This is particularly visible in one of his famous murals "The Swing of Puncinella" below.
THE SWING OF PUNCINELLA by Giovanni Domenico Tiepolo 1793
Some of my figure paintings available by contacting me here.
I love the soft translucent look of Encaustic, but I don't want the smell and smoke associated with the hot wax method. Also I'm a clutz, so I anticipate that i would burn myself regularly on the hot tools. So, I'm searching for a technique that gives the look of Encausitc without challenges.
I have also been exploring the qualities of Gamvar museum quality varnish, which is matt through to high gloss when mixed with Gamsol and/or cold wax.I surmized that if cold wax was applied as a final coat without Gamvar, it would give a finish similar to Encaustic.
So I Googled it and I came across a blog by Mitchell Albala which gives some interesting tips and comments.
TIP - Mitchell is an oil painter, but, Gamvar can be used on many other surfaces including acrylics.
The blog gives contact details for Scott Gellatly, the tech at Gamblin, who makes himself available to answer complex questions about Gamvar. scott@gamblincolors.com
The answer to my musing was that Gamvar should be applied first, to create a barrier between the painting and the environment and cold wax may then be applied on top. Applying wax over dry Gamvar may offer more control than mixing them together where you need to wait for the varnish to dry before seeing the effect. I decided to try it out on a painting as you see above.
Gamvar alone adds richness to the painting and makes the colours glow as seen in the first image. You can see from the second image that the painting was dull without Gamvar. I like the high gloss, which also adds translucency and takes the painting closer to the look of an aged oil painting.
I then applied cold wax and waited for it to dry overnight. The effect was difficult to photograph, but it was similar to Encaustic without the effect of peering through deep texture. The painting reverted to the look of the second image with a little more pop to the colours.
Once dry, I buffed the wax, which also proved difficult to photograph, but basically it added shine to the raised parts of the impasto and left the lower parts foggy. It enhanced the jewel tones and added interest. I quite liked this effect, but it was quite laborious. I may add another layer or two of cold wax with drying and buffing in between, to see if I can get the look closer to pure Encaustic.
In the future I will used cold wax mixed in with oil paint for texture. Have you tried cold wax? Do you have any interesting techniques you could share? Please comment below.
One of my good cyber friends is Julie Ford Oliver, a superb artist with a solid Art School background and the inventor of fracturing. Although Julie is an oil painter, I love to read her informative blogs and when I read this one it seemed important to share.
One of the tips I use frequently (perhaps from an earlier blog of Julie's) is to keep each corner of a painting different. Because I have an engineers love of precision, uniformity often creeps into my work, so checking the corners has been a very useful trick. However, I have never heard of the trick Julie refers to in this blog and I love her illustrations. It all makes complete sense. Thanks Julie.
So I went straight to the pile I've set aside to rework and tested it out. Check out the original painting and the one based on the quartering technique at the top of the blog.
In the first version I wanted to emphasize a diagonal composition to add interest to a very centered painting. After reading the blog I noticed that each pair of diagonal corners were too similar, which made for a boring composition. First I added different colour combinations to each corner and then a Seagull and ripples to add interest and mix up the composition. I think this lead to a much more lively painting. What do you think?
Please leave a comment if blogs like this are helpful to you as an artist and/or art buyer. If you would like to share a painting where you have used this technique, I'd be happy to add it to my blog. Just contact me by email.
In
1874 a relatively insignificant exhibition of 30 Artists took place in
Paris. At the time Impressionism was a radical new idea being
explored by a small group of artists in the city of light. Because the
style bucked tradition, many were turned away by the Salon, which was
the most important exhibition of the Parisian calendar. The loosly
formed group, headed by Edouard Manet, elected to put together a non
juried exhibition, the only criteria being that the Salon had refused
your submission. As such, the exhibition included many fringe artists
that are relatively unknown today.
I like to think I
would have been one of this silent radical group, mixing with Manet,
Monet, Degas and Lautrec, meeting in the parks, coffee shops and night
clubs of 19th Century Paris, living outside convention, and involved in
the process of change. Because I feel such a connection to Belle Epoch
Paris and the Impressionist movement, I will be introducing some of
these relative unknowns over time.
SOCIETE ANONYME DES ARTISTES PEINTRES, SCULPTEURS, GRAVEURS, ETC...
____________________
PREMIÈRE
EXPOSITION
1874
35, boulevard des Capucines, 35
___________
CATALOGUE
_______
Prix : 50 centimes
L'exposition est ouverte du 15 avril au 15 mai 1874,
de 10 h. du matin à 6 h. du soir et de 8 h. à 10 h. du soir
PRIX D'ENTREÉE : 1 FRANC.
PARIS
IMPRIMERIE ALCAN-LÉVY,
61, RUE DE LAFAYETTE
-
GOOGLE TRANSLANTION 17. Toulinguet , coast Camaret (Finistère) 18. Rivare of Portrieux (Cotes- du-Nord) 19. Id . Id. 20. 4 Frames (same number) Studies sky. Pastel. 21. 2 Frames (same number ) Various studies. Pastel 22. 4 Frames (same number ) Trouville Beach. Watercolour
EUGENE LOUIS BOUDIN
As I've blogged about Boudin before, I won't bore you with repitition, however, on researching this blog I discovered several things about Boudin that are new to me, which surprises me because I've spent many happy hours enjoying Boudin's work.
1. He painted in pastel as well as water-colour.
2. He included small cloud studies in the first impressionist exhibition
3. He focused on one thing that he was really good at, namely beach and ocean scenes with big skies.
4. He painted to a winning formula and probably did very well with his slightly romanticized vignettes which still sell well in print form today.
RESERVE NOW - 16" x 20" Canvas Wrap with Elegant Expresso frame
I'm pleased to say that ON THE VINE has been accepted to LIGHT, the annual ART WALK juried theme exhibition. This is the first year that I've opted only to show at the exhibition, so I have a chance to also visit Art Walk and hopefully take in a few seminars and activities.
View my online Gallery of large works and Limited Editions at ARTFINDER
View my online Gallery of small works at DAILY PAINTWORKS
Shop for Limited Edition ACEO and printed products here
Art Cards $5 and Art Postcards $3 here
You can visit me and my latest works (still under wraps) on the gallery grounds on Saturday September 12th for Art Bazaar. I will also have some of my art prints, cards and merchandise and a few surprises with me. I may also be helping at the Lake Country Art Gallery on Sunday September 13th for the second day of Art Walk. Join me and hundreds of other artists at one of the biggest events of the year.
AlexColville lived from 24 August 1920 – 16 July 2013. He was a Canadian painter. If you would like to know more about Colville and his painting, click here. There are two things I notice about Colville's work in the selection above... 1. He had a great sense of natural light. 2. He was a master of creating interest, whether is was with a stunning angle, masterful use of space, or shocking subject matter.
I particularly like the horse galloping towards the train which is representative of so many of my life experiences. The viewer knows that the horse can veer out of the way of the train, but will it? Is it too distracted by it's fear to notice the imminent crash? Nevertheless you can't take your eyes off the impending disaster. Somehow though, you know it will all be alright.
Studying his palette, I can see he used a limited selection with violet greys and yellow ochres. It is a colour scheme that is easy to live with and quite natural.
SUMMER BOY I
SUMMER BOYS
My palette is nothing like Colville's, although I would love to experiment with his choices. The closest I can get to his subject matter in my own work are my Summer Boy paintings. The originals can be purchased with the Paypal buttons. All three are also available as limited edition ACEO.
SUMMER BOY I
SUMMER BOY II
SUMMER BOY III
View my online Gallery of large works and Limited Editions at ARTFINDER
View my online Gallery of small works at DAILY PAINTWORKS
Shop for Limited Edition ACEO and printed products here
Art Cards $5 and Art Postcards $3 here
I rise quite early in the summer to get the most out of the morning before the heat arrives. These days there is a definite snap in the air and the hint of what we hope is a mild winter to come.
These are the dog days of summer and my SUMMER BOY will soon put his swimmers away and his holiday romance will become a memory tucked away in his suitcase at the bottom of the closet. At the moment it is raw and fresh and he is so engrossed in his cyber flirting that he is missing the view. I want to give him a thwack, relieve him of his toy and say "take time to enjoy this place for soon it will be gone".
SUMMER BOY III 7" x 5" Canvas Panel
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Art Cards $5 and Art Postcards $3 here
At this time of year tourism is at it's height, the bush is dry and smouldering camp fires are a major hazzard. Today I was woken by the smell of smoke and I took a tour around the building to make sure it wasn't inside. No, it was out in the valley and as dawn broke I could see deep dense smoke everywhere.
It's times like this that I long for the arrival of fall and winter when visitors drift away and our beautiful vistas are safely wrapped in snow.
I know this painting is quirky with the boy's head at a strange angle as he looks over the railing to what is happening below, but I like it. Every time I look at this painting I wonder what has caught his attention.
SUMMER BOY I 7" x 5" Canvas Panel
View my online Gallery of large works and Limited Editions at ARTFINDER
View my online Gallery of small works at DAILY PAINTWORKS
Shop for Limited Edition ACEO and printed products here
Art Cards $5 and Art Postcards $3 here
IMPRESSION FOREST LIGHT
by Sea Dean
8" x 10" Gallery Wrap Canvas
Alla Prima
I enjoyed using colour to create the composition in this pastel like painting. I was painting along with Johannes Vloothuis, using his image for inspiration.
Version by Johannes Vloothuis
This painting has a textured brushstroke finish which makes it look more like an oil painting. The image appears rather flat here, but with the brushstroke finish and museum quality Gamvar varnish, it is far from it. Too bad I can't capture it's glow in this blog. There is also quite a bit of texture in the foreground trees
VIew my online Gallery of large works and Limited Editions at ARTFINDER
View my online Gallery of small works at DAILY PAINTWORKS
Shop for Limited Edition ACEO and printed products here
Art Cards $5 and Art Postcards $3 here
In 1874 a relatively insignificant exhibition of 30 Artists took place in Paris. At the time Impressionism was a radical new style being explored by a small group of artists in the city of light. Because the style bucked tradition, many were turned away by the Salon, which was the most important exhibition of the Parisian calendar. The loosly formed group, headed by Edouard Manet, elected to put together a non juried exhibition, the only criteria being that the Salon had refused your submission. As such, the exhibition included many fringe artists that are relatively unknown today.
I like to think I would have been one of this silent radical group, mixing with Manet, Monet, Degas and Lautrec, meeting in the parks, coffee shops and night clubs of 19th Century Paris, living outside convention, and involved in the process of change. Because I feel such a connection to Belle Epoch Paris and the Impressionist movement, I will be introducing some of these relative unknowns over time. ÉDOUARD BELIARD (1832 - 1912) French Participated in the First Impressionist Exhibition (Salon des Refusee)
Edouard was a bit older than most impressionists and his work in the first exhibition has been termed a "retrospective". He was in fact one of the artists that helped set up the exhibition in 1874. He was first exhibited at the Salon in 1862 and then spent time in London. He was influenced by Corot and painted with both Degas and Pissarro, which can be observed in some of his work.
Beliard was one of the artists that met at the Cafe Guerbois in Paris with other like minded Bohemian types like Emile Zola and most of the early impressionists. What a place that must have been on Sundays and Thursdays when you could rub shoulders with a young Monet or vociferous Manet.
SOCIETE ANONYME DES ARTISTES PEINTRES, SCULPTEURS, GRAVEURS, ETC...
____________________
PREMIÈRE
EXPOSITION
1874
35, boulevard des Capucines, 35
___________
CATALOGUE
_______
Prix : 50 centimes
L'exposition est ouverte du 15 avril au 15 mai 1874,
de 10 h. du matin à 6 h. du soir et de 8 h. à 10 h. du soir
PRIX D'ENTREÉE : 1 FRANC.
PARIS
IMPRIMERIE ALCAN-LÉVY,
61, RUE DE LAFAYETTE
-
Exposition de 1874
-
CATALOGUE
_
BELIARD (E.)
Chez M. Martin, marchand de tableaux, rue Laffitte, 52.
GOOGLE TRANSLATION13. The Fort de la Halle. Owned by Mr. D. 14. Saules 15. Rue de l' Hermitage, Pontoise 16. Valle d' Auvers
THE BANKS OF THE OISE (1875)
This is one artist that I can get close to showing you what his first exhibition work looked like. The painting "Pointoise, Vue by the locks" and "The Banks of the Oise" were finished a year after the exhibition.
The painting amongst my work that most resembles Beliard's work is Red Trees, probably because the person I was emulating, A.Y. Jackson, was working in Canada around the same time, but had studied in Paris. RED TREES is available at Daily Paintworks.
View my online Gallery of large works and Limited Editions at ARTFINDER
View my online Gallery of small works at DAILY PAINTWORKS
Shop for Limited Edition ACEO and printed products here
Art Cards $5 and Art Postcards $3 here
EDWIN HOLGATE
(August 19, 1892 – May 21, 1977)
A Canadian artist, painter and engraver. Member of the Group of Seven.
Edwin Holgate was born in Canada, but when he was 3 years old his family moved to Jamaica; they returned to Montreal six years later. At the age of 5 he was sent to boarding school in Toronto until his family returned. Those early years in Jamaica probably had an impact on his sense of colour and boarding school must have influenced the aura of solitude which is evident in his work.
Holgate played a major role in Montreal's art community including the Montreal Museum of Fine Arts, where he studied and taught. He also studied at the Art Association of Montreal under William Brymner (A. Y. Jackson's mentor) and later Maurice Cullen.
Holgate worked as a war artist during World War II and when he returned, he found that the arts scene had changed, with the arrival of the Automatistes. He retreated to the Laurentians where he worked until his death in 1977.
The National Gallery of Canada held a retrospective of his work in 1975 and The Montreal Museum of Fine Arts organized another retrospective in 2005.
THE GROUP OF SEVEN
— sometimes known as the Algonquin school
— a group of Canadian landscape painters from 1920 to 1933, originally consisting of
There are strong value contrasts in Holgate's work which is not a style I use much, but I think this painting of Gardenias is along those lines. It can be purchased here at Daily Paintworks.
I've just put in my order for Art Walk weekend. I've added another 4" x 6" matt print to my collection, a tote, flashlight keychain, USB jump drive and posters. I think my ON THE VINE painting looks amazing on these products.
MATT 6" x 4" PRINT - ON THE VINE by Sea Dean
8 GB USB - ON THE VINE by Sea Dean
FLASHLIGHT KEYCHAIN - ON THE VINE by Sea Dean
POSTER - ON THE VINE by Sea Dean
To purchase any of these preview items please contact me via comments,
or Daily Paintworks email link here.
We are still in the middle of a heat wave and that means no cooking indoors to conserve cool air. I know many are hooked on air con, but I believe it's unhealthy, drying to the skin, eyes and lungs, and damaging to the environment, so we rarely use it. We have two portable swamp coolers and I use a system of opening and closing doors and windows and using low energy extractor fans. Yup, sorry but I'm a health nut and an environmentalist.
However, a nice lad in the building who is studying to be an electrician helped me with my reno, and requested date squares as an exchange, so I've been busy with another recipe adaptation. The original was a No-bake Vegan date square recipe but I adapted it a bit. I substituted olive oil for coconut oil, added some sweetened coconut curls and ground up everything with a coffee grinder. Because I gave away my food processor, I used my fingers to rub the chopped dates well into the crust mix. I pressed it well into the pan with a spoon, covered it with the gooey date mix and a layer of crumbs and refridgerated overnight. Then I cut 12 squares and wrapped them individually for my friend's packed lunches.
Surprisingly, it did work, possibly because the water in the filling moisturizes it all when it is left to rest. However, it was very crumbly, so if I was to make this again I would pop it into my outdoor toaster oven for 20 mins at 375 degrees and then the fridge. I've made something similar before and popped them in the freezer wrapping and all to take for hostess gifts or holiday baskets and it works perfectly. It also stops you eating the whole lot at one sitting. :)
I titled this blog BARN RAISING because it's a concept I believe in.
When the Wild West was being developed the whole neighbourhood would gather to help one farmer build his barn. It was a community event with all the wives busily keeping the men fed and watered and the children helping with small tasks to suit their age. With so many hands it was quickly accomplished and heart lifting for all involved.
I have often been criticized for doing too much in the way of helping
others and volunteering, but I believe in it. I do what I can, where I
can, although I'm not a
flag waving do-gooder. I suppose part of me still lives in the past
and perhaps I hope that when I need help someone will step forward.
The lad that helped me was from rural Saskatchewan and he probably grew up helping his neighbours. It's very difficult to survive on the prairie without friendly neighbours. Some may say I'm pushy, but I believe in asking for help when I need it. We got chatting in the elevator one morning and when I discovered he was an apprentice electrician I asked if he could help me change over some light fixtures. He was happy to help and It took some doing to get him to take baking in exchange.
Likewise earlier in the year a friend picked a huge bag of cherries from her tree and gave them to me and then ran me around town because my car was off the road. She is another person that does what she can when she can even though she is very busy. Aren't friends great!
My old barn painting above is available at Daily Paintworks here. I wonder if a group of neighbours got together to raise it all those years ago?
I was reading the blog of one of my favourite mentors today. Karen Margulis was talking about her "UFO" (Un Finished Objects) pile. Read her blog here. Of course all artists have a pile of work unfinished for various reasons, and the longer you are an artist the bigger the pile grows. I'm long overdue for checking mine, and I know there are saleable gems in there that just need a couple of tweeks. I love Karen's phrase "grow as an artist". But I digress.
I've spent time lately thinking about my recurring themes. If you've followed me for long you will recognize them. Mountains - Water - Flowers. I experiment quite a lot in all sorts of areas including subject matter, but I always return to those three. Is this good or bad I ask myself?
I'm an eclectic individual with a non-traditional life, so it comes as no surprise that I have trouble sticking with one style, but is this a clue? When I'm studying the masters I like to Google their name "xyz paintings" go to the images tab and take an overall look at their subject matter and colour palette. It's a mind blowing experience that I can get lost in for hours. Of course Google will also pull up a mish mash of copies and vaguely related matter, but in general the first few lines of images are that artist's most popular paintings. I wonder if Rembrandt had Googled himself if he would say "yikes all my work is so dark, I should add some sunshine" or "Wow! I love my rich dark tones and emerging faces".
Have you tried Googling your own paintings?
"Sea Dean" brought up a retrospective look at my work, very representational in palette but not in my current, more painterly style.
"Sea Dean paintings" (pictured) gave a different view which was sweet, subtle and fresh.
"Sea Dean Artist" gave a wonderful eclectic warm and expressive collection with some really weird wild cards.
Armed with this new information about myself I was curious what image I would prefer to represent me and as you see, I chose the one with more subtle colours, expressive brushwork and a touch of sweet. Perhaps that is just what I'm craving in my life at the moment, but maybe ..... just maybe ... it's a glimmer of an emerging style.
I would be curious what your thoughts are on style, mine, yours, the masters. Please add a comment below.
Pushed now, to give an example of my emerging style, I have chosen this painting.
TOWN HOME
8" x 6" Strathmore Windpower
Available at Daily Paintworks
VIew my online Gallery of large works and Limited Editions at ARTFINDER
View my online Gallery of small works at DAILY PAINTWORKS
Shop for Limited Edition ACEO and printed products here
Art Cards $5 and Art Postcards $3 here
Antoine-Ferdinand Attendu participated in the First Impressionist Exhibition (Salon des Refusee) THE SALON DES REFUSEES 1874 In
1874 a relatively insignificant exhibition of 30 Artists took place in
Paris. At the time Impressionism was a radical new style being explored
by a small group of artists in the city of light. Because the style
bucked tradition, many were turned away by the Salon, which was the most
important exhibition of the Parisian calendar. The loosly formed group,
headed by Edouard Manet, elected to put together a non juried
exhibition, the only criteria being that the Salon had refused your
submission. As such, the exhibition included many fringe artists that
are relatively unknown today. I like to think I would
have been one of this silent radical group, mixing with Manet, Monet,
Degas and Lautrec, meeting in the parks, coffee shops and night clubs of
19th Century Paris, living outside convention, and involved in the
process of change. Because I feel such a connection to Belle Epoch Paris
and the Impressionist movement, I will be introducing some of these
relative unknowns over time. ANTOINE-FERDINAND ATTENDU (b. circa 1845 - d. circa 1908) French
Not much is known about the life of Antoine-Ferdinand Attendu. He studied under Louis Mettling and painted mainly in Paris and Neuilly-sur-Seine. He was a competent painter that had already been accepted for the Salon exhibition of 1870.
Attendu painted mainly landscape and still life which is reflected in the six paintings he chose to show at the first Impressionist exhibition. Two of the paintings were watercolour, but he also painted in oil, so he probably sketched in watercolour and worked up larger pieces in oil. A few of his paintings have come on the market in the last 20 years, but his style is not in fashion and he isn't well known, so they don't fetch high prices.
SOCIETE ANONYME DES ARTISTES PEINTRES, SCULPTEURS, GRAVEURS,
ETC...
____________________
PREMIÈRE
EXPOSITION
1874
35, boulevard des Capucines, 35
___________
CATALOGUE
_______
Prix : 50 centimes
L'exposition est ouverte du 15 avril au 15 mai 1874,
de 10 h. du matin à 6 h. du soir et de 8 h. Ã
10 h. du soir
PRIX D'ENTREÉE : 1 FRANC.
PARIS
IMPRIMERIE ALCAN-LÉVY,
61, RUE DE LAFAYETTE
-
GOOGLE TRANSLATION 7. Still Life . Owned by Mr. A. Q. 8. An end Aware. 9. Some thoughts (the 13th Arrondissement). 10. Still life: Music . Watercolor . 11. Still life: food. 12. Id . Id. Watercolors. Owned by Mr. J. D.
Finding any of the above mentioned paintings has proven difficult. The catalogue is sketchy at best and many artists didn't name their paintings or gave them a generic name. Sometimes when paintings change country their title is translated or changed, so it's a bit like looking for a needle in a haystack.
Each time I talk about a fellow painter I like to search my catalogue for a painting that reminds me of their style or has some other connection. I painted this blue enamel pot in Paris and with the cracked plaster in the background and the french blue colour, it always reminds me of a wonderful trip. It is currently on super auction at Daily Paintworks.
VIew my online Gallery of large works and Limited Editions at ARTFINDER
View my online Gallery of small works at DAILY PAINTWORKS
Shop for Limited Edition ACEO and printed products here
Art Cards $5 and Art Postcards $3 here
There's
not much known about the artist's life. He was Louis Mettling's
student; the painter mostly painted still lifes and landscapes, working
in Paris and Neuilly-sur-Seine. The painter exhibited at the Salon in
1870 and 1898; he also participated in the first Impressionist
exhibition of 1874 with six paintings. - See more at:
http://www.artistsandart.com/2011/10/antoine-ferdinand-attendu-french.html#sthash.3PmRNHdp.dpu
There's
not much known about the artist's life. He was Louis Mettling's
student; the painter mostly painted still lifes and landscapes, working
in Paris and Neuilly-sur-Seine. The painter exhibited at the Salon in
1870 and 1898; he also participated in the first Impressionist
exhibition of 1874 with six paintings. - See more at:
http://www.artistsandart.com/2011/10/antoine-ferdinand-attendu-french.html#sthash.3PmRNHdp.dpuf
I nabbed the last of the seasons big juicy apricots at the market and today I made jam. We are in the middle of another heat wave, so to keep the heat outside I cooked them in my crock pot on the covered balcony. I wasn't sure it would work, but it seems to have worked perfectly well.
2 1/4 pounds (1kg) fresh apricots
1/4 cup (60ml) water
3 cups (600g) sugar
1 teaspoon freshly squeezed lemon juice
optional: 1 teaspoon kirsch
1. Halve and chop the apricots.
2. Crack the pits and retain enough kernels (one for each jar).
3. Place the apricots in a crock pot, add the water. Cover and cook on high, stirring frequently, until the apricots are tender.
4. Put a small plate in the freezer.
5. Remove cover. Add the sugar to the apricots and cook, uncovered, skimming off any foam that rises to the surface. As the mixture thickens and reduces, stir frequently to make sure the jam isn’t burning on the bottom.
6. When the jam looks thick and is looks slightly-jelled, remove from heat and test a small amount on the chilled plate. Return to freezer for a few minutes, then if the jam mounds and wrinkles when nudged it’s done. If not, re-test the jam until done. (Candy thermometer about 220ºF, 104ºC.)
7. Stir in the lemon juice and optional kirsch and ladle the jam into clean jars. Cover tightly and let cool to room temperature. Once cool, refrigerate until ready to use. This jam will keep up to one year in the refrigerater. For long-term preservation refer to the USDA Canning Guidelines.
8. Do not reduce the amount of sugar. Apricots are tangy when cooked and using less sugar may prevent jelling. Add some lemon juice at the end to balance the sweetness. Europeans add a kernel to each jar before adding the jam. The kernel is discarded when eaten but gives the jam a subtle, bitter almond flavor.
VIew my online Gallery of large works and Limited Editions at ARTFINDER
View my online Gallery of small works at DAILY PAINTWORKS
Shop for Limited Edition ACEO and printed products here
Art Cards $5 and Art Postcards $3 here
VIew my online Gallery of large works and Limited Editions at ARTFINDER
View my online Gallery of small works at DAILY PAINTWORKS
Shop for Limited Edition ACEO and printed products here
Art Cards $5 and Art Postcards $3 here
On the Vine is my newest winery painting. It may be purchased by contacting me. $195 plus shipping.
My biggest challenge with these vineyard paintings are not the grapes, but the leaves. Green is always a very difficult colour to work with, but in this case it's not the colour, but the sense of life and dappled sunlight that I'm trying to convey. I've been working on two other vine paintings, but I needed a fresh start, so I chose an inspiration photo with a horizontal aspect and proceeded with gusto.
I'm quite pleased with this painting and I think it is captivating enough endure the jury process for some upcoming submissions.
I paint plein air through my window. I paint plein air on my balcony. I paint plein air in my car. I paint plein air at the local park 1/2 a block away.
I have a french easel. I even have a plein air kit which I've set up on a walker. I even have the intention, but it just doesn't seem to happen. One day I may get brave enough to do a plein air hike, but I'm too busy plein air cheating to get around to it.
Through my window
DISTANT PEAKS - 8" x 10"
From my balcony
LIGHT AND SHADOW 24" x 36"
In the local Park
DESTINY WAITING 7" x 5"
From the car
MOUNTAIN JASMINE 12" x 9" (unfinished)
VIew my online Gallery of large works and Limited Editions at ARTFINDER
View my online Gallery of small works at DAILY PAINTWORKS
Shop for Limited Edition ACEO and printed products here
Art Cards $5 and Art Postcards $3 here
