I tried to capture a fleeting moment in this painting start..a moment that is there and not there. The sunshine is on her shirt but she is also in a shadow....Like the new year that is here and not here ..just minutes away... Happy New Year!
I've been talking with my artist friend Katherine van Schoonhoven about applying color in an irregular way. Katherine has been making some pastels that are called "crumble colors". A "crumble color" is a single pastel that was made with several colors. A line drawn with a multi-color pastel results in some pleasant surprises. I've seen Eric Jacobsen do a similar thing with oil paint. He dips the brush into a couple of colors and then applies it to the surface--voila! ...some lively marks that are unexpected. I was thinking about all this when I did this still life. Most of this painting was achieved with two or more colors on the tip of the brush. I think all I have to do is resolve that pear on the left that is pear shaped, but a citrus color. That's the joy of oil paint..it is easy to scrape things off and adjust.
I wanted to share this nifty organizational drawing kit that I learned about watching Ian Robert's dvd about composition (scroll down for photos). Roberts is emphatic that paintings must be carefully considered before brush meets canvas. He does many sketches and thumbnails for ideas. He prefers to use loose sheets and a "storage clipboard*" instead of a conventional sketchbook. I've been doing things his way for awhile and I understand why he likes it. The storage clipboard has lots of room for completed sketches and tools. A big advantage is being able to use whatever paper you want and having all sorts of pens/erasers/pencils with you at all times. I mean to add a viewfinder tool to this kit. Roberts told us that from time to time you should sort through your planning sketches to determine which studies are worth keeping..he recommends you three hole punch the sketches you want to keep and put them into a binder. Admittedly this gear doesn't look all that arty...it's functional and convenient. *I got my storage clipboard at Office Depot. For an in-depth discussion about Ian Robert's other book Creative Authenticity visit Katherine Cartwright's blog.
Today I drove to the Columbia Art Gallery in Hood River. The trip to Hood River is always beautiful...it looked extra wintery during the late morning and the Gorge looked like Canada. The Gallery is being readied for the next show (Drawing for Drawing sake). I'm looking forward to seeing that exhibit, my painting friend Todd Smith is participating. Great News!....I learned that two of my paintings were SOLD in the Columbia Art Gallery Small Works show (thank you Columbia Art Gallery and painting purchasers)!
When I got back home I searched for a painting to paint over. You know, I really enjoy sanding down an old painting and painting a new one over it. Half the fun of it is finding some horrible old painting to "get rid of." It's liberating! I found this copy (below) that I painted a couple of years ago of Mary Cassatt's "Girl in a Straw Hat." (Really...what am I supposed to do with this thing!?) I had my sandpaper poised to sand her ..when she turned her little sad sack eyes on me. I guess I will have to find a different painting to obliterate. I just couldn't do it. Looking at it now I realize that her only crime is not enough temperature variety--(it's too golden), but I nailed her little sad expression...enough so that she got this reprieve. By the way, did you know that Mary Cassatt was a cousin of Robert Henri? I just discovered that.
P.S. I have also discovered a very cool blog for those of us who love the masters (and sometimes paint from a master painting) ..I submitted my Sargent copy for inclusion in "Challenge Nine"--there is still time for you to submit too (up to January 13). http://followingthemasters.blogspot.com/
I didn't paint today..but I resurrected one of my favorite paintings of my own vintage "John Shaft" suede coat for this post. I think when I painted it I was trying to think of ideas for the Gamblin Torrit Grey competition. I never did follow through--but I like the study I did..how can I not? Do you have an article of clothing from your past that you really really like? Believe me when I tell you nothing was more cool than the Shaft type coat. Today is my birthday!--the candles are 5+?, but I don't mind telling you that I am 59 today! Go me! Thanks to all of you who remembered my birthday. Soon all this holiday hoopla will be over with and it'll be back to the studio. I have lots of ideas about what I am going to work on. Plans! Oh! It is so great to get older.....It is exceptional to have a history that includes a Shaft coat....Advertisers want us to never get older, but there is nothing better.
Yesterday, Christmas Eve day, I drove to Urbaca Salon to get my hair trimmed (how did I ever get such a plum appointment as that?)..It was foggy even though it was late morning. I had always heard that "Big Pink" (the US Bank Tower) "makes it's own weather". It's the type of thing you hear and you say to yourself--what the heck? Well, as I crossed the Burnside bridge I saw that Big Pink had a very pretty cloud hanging on the upper floors. It was so pretty and reminded me more of Christmas than of terrorist attack.. I think. So, the tree is up and Moofie the cat guards the packages until it is time to officially open them. THANKS TO ALL OF YOU who care anything about my meanderings here in "Celeste Paints"---you know, I speak from the heart that I am very grateful for the life I have and for YOU the people who check in with me every now and then! It means very much to me that you do. May your Christmas be filled with everything you love and your New Year the best ever! Love, Celeste
Some of the painters who showed up at Gallery 2121 on Monday evening..(back row left to right): Pam Flanders, Katherine van Schoonhoven, Michael Fisher, Mark Larsen (front row left to right): Stephanie Cissna & Celeste Bergin. A big thanks to Pam Flanders and Machell Dawson for putting it all together.
This is the painting I started yesterday. Everything about it was disappointing me..but today is a new day and I see that it has possibilities. I meant for that scarf to be super-red. I lost the color relationships I set out for. I'll wait for the whole thing to dry and revisit it another day. It is a start. I may or may not finish it.
This is a painting from last summer..from my archives. It's a study, and I didn't think it was good enough to post (then). I'm reversing my decision about it because I want to post something. I painted a studio painting tonight that is REALLY bad, I couldn't post it. If I didn't have enough "canvas miles" behind me, I'd be tempted to hang up my brushes! Luckily for me, I honestly understand that feelings like that are more transitory the more one paints. Every now and then (like right after a failed painting) I remember having seen the following video. Ira Glass, host of National Public Radio's This American Life, knows a lot about turning out a polished, finished product. He also remembers turning out work he didn't necessarily want to put his stamp on. This video, part of an interview series on story telling, features exceptional advice about working through those first few attempts—or even years—where your product doesn't quite meet your standards. It doesn't matter what your creative process is..his advice is stellar. I've posted it before--and it bears repeating.
Next weekend six painters from PPASP are part of a holiday exhibit entitled "Hearth & Home" at Gallery 2121. Each artist will be contributing something unique to the mix for a show that emphasizes the beauty and comfort of our surroundings. What describes home better than it's furry member(s)? One of the things that I'll be offering is animal portraits (by commission). This is a pastel I did of "Patches". I never met Patches (because the portrait was posthumous). I heard plenty of stories about what a special dog she was...how she would sit at attention until she was given the signal to "nose-dive" for treats placed in the bottom of a tub of water. She would submerge her entire face into the tub and a steady stream of bubbles would come up to the surface on either side of her snout until she came up with her treat. I know that sounds weird, but apparently she really loved to do it! She was part of the family for years and years. I was always happy to know that my portrait of her was/is considered a treasure by the whole family.
An animal portrait takes from 3-6 weeks for completion.
Email me at celeste(at)celestebergin.com to learn more.
Gallery 2121 will be open for receptions for an exhibit entitled Hearth & Home on Saturday, December 19, 11am - 6pm and Monday December 21, 5pm-8pm to celebrate a limited time art exhibit and sale of picturesque paintings and platinum palladium photography at: 2121 SE Belmont Street, Portland, OR 97215
Six artists and one photographer reflect a broad range of representational styles and approaches that capture the beauty and diversity of our surroundings. Paintings of traditional and urban landscape, marine art, contemporary figures, animal portraits and mixed media are all incorporated into an exhibit that aims to showcase this season of hearth and home.
Nationally recognized, award winning artists include: Pam Flanders, Mark Larsen, Celeste Bergin, Carrie Holst, Katherine van Schoonhoven, and Carolyn Rondthaler along with award winning photographer David Burbach. Gallery Hours: Sat December 19, 11AM - 6PM and Mon December 21, 5PM-8PM Hours also by appointment: (503) 762-7948 2121 SE Belmont Street, Portland, OR 97215
Can you practice life drawing without a live model and without leaving the house? Yes! I found this very cool website that I want to share with you....Posemaniacs. Though nothing replaces actual life drawing from a real model--Posemaniacs is pretty good! I especially like the "hand-viewer". (Once there you have to scroll down to around #14 for the hands)
For all the sunshine and butterflies I paint (just kidding about the butterflies) I'm equally drawn to subjects that can be described as "sad". Dark is interesting. It may be confusing that I flip from daisies to despair and back again...but that's me. This marks my 500th post to my blog....thanks for paying attention to my work. It means a lot to me that you do! oil 5x7 gessoed board
I confess..I let my paints get pretty dried out. I managed to scrape together enough paint to scratch out this cat from a photo reference. I was reluctant to put out new paint for some inexplicable reason. Perhaps it was economy driving me. And you know, painting cats is much harder than it should be. They have such delicate stubby little faces and it does not take much at all to have them wind up looking like foxes or dogs. One false move and you'll have a canine instead of a feline. This is painted over a bad painting of a woman who looked more like the actor Ben Gazzara than a woman. Painting can be an altogether very funny business.
Yesterday we got to see several Warhols at SAM. Indulge me..I have to tell you this.. I actually met Warhol once...he was seated directly in front of me at a Broadway play in NYC. The play was 42nd Street. He was so recognizable with his black/white choppy hair and pale skin. He was very affable and autographed my playbill with his name and trademark heart. (Unfortunately, I have since lost it!). I did this quick sketch today from a black and white photo of Warhol taking a nap in his leather coat. The end result looks a bit ghoulish, almost like a person in a coffin..at least that is what it reminds me of. Many of my artist friends do not share my admiration for Warhol..but that's all right. I loved most everything about him. Here's something from his diary: "I broke something and realized I should break something once a week to remind me how fragile life is."
I know I am not supposed to take photos inside SAM, and I am generally respectful of the rules..but the hanging cars in the lobby were just too hard to resist. I didn't risk taking photos in the Calder or Michelangelo exhibits, however! There were quotes on the walls attributed to Michelangelo on the walls. How is it that so many of the things that he said still apply now? The Michelangelo exhibit was comprised of ten drawings that were never meant to be seen. I got to stand right in front of one and sketch FROM his drawing. How many people can say that? We also visited the Howard Mandville Gallery and ended the day with dinner with this view of a Marina. A perfectly arty day!
If you have your paints out all the time..you can paint a lot. I meant to paint something bigger than this today, but an unexpected wrench got thrown into the plan. Still..because my palette almost always has paint on it, I knew I could paint something .. albeit small--this is a color study on a business card sized support.
Have you wondered why you are creating? Have you ever thought about quitting (or not even starting)? Theories on this subject will be advanced (and answers provided) Wednesday, Sept 9, 6:30-7:30 2412 NW Raleigh St, Portland, OR 97210
OHSU Collaborative Life Science Bldg Invitation Only, Tilikum Bridge Lighting
Art Splash City of Tualatin Tualatin Commons 8325 SW Nyberg Street Tualatin, OR Reception, July 25, 2015
PACIFIC NORTHWEST PLEIN AIR 2015 Juried Competition and Exhibition (Juror: Bryan Mark Taylor) Columbia Art Gallery August 2015 Reception August 7, 6-8pm 215 Cascade Street Hood River, Or 97031
Broderick Gallery 1318 Commerce Ave, Longview, WA 98632 Reception: Sunday, June 7 1-6pm
(To celebrate its summer special exhibition: The Art of the Louvre’s Tuileries Garden) Event Dates: 8/8/2014 - 8/10/2014 Reception: 8/9/2014 Location: Portland Art Museum (503) 226-2811 1219 SW Park Ave Portland OR 97205
Alla Prima Portland First Annual Invitational Group Show 2014