On Tuesdays, after the regular breakfast meeting, we often have the "meeting after the meeting" at Carolyn's (where we sketch a few straight-forward items and have a 2nd visit). It's fun! A favorite Tuesday subject for me has become Carolyn's shoes. She always has a nice variety of shoes to choose from. I liked how these came out today....because I used that "less is more" approach. Other sketches from the "meeting after the meeting" are HERE.
Color Sketch: Celeste Bergin, Carolyn's shoes, watercolor on 6x9 gessoed paper
When I was a graphic designer it was a hard and fast rule that things (like logos) had to be created first and foremost in black and white. Color was never really thought of until everything was worked out (with no regard for color). Now I am an oil painter, but I still very much admire beautiful shapes in black and white. This is a gesture done in nearly one stroke and there is no useless detail. I wanted to emulate a Sumi-E type painting...to "capture the unseen".
Painting: Celeste Bergin, In the rain, oil on 9x12 canvas panel
Spacious! Plenty of room to view Henk Pander's two large watercolors and all the other industry art.
The lighting was gorgeous (both by fixtures and natural light). Alongside the paintings, photography and sculpture the employees of Vigor had their own show in the same building. Nice touch!
As a bonus I got to board and tour the only operational PT Boat currently in existence. PT 658 served in WWII.
Lots of things impressed me today...these stairs down to the PT boat were carpeted. I have to think that it was done just for visitors.
Here's "our" Steamer Portland, the same ship I painted from just the other day. It made the trip to Swan Island from the downtown waterfront, just for this event.
It was a beautiful day on Swan Island.... rainy but sunny too.
I hope there will be another Industry and Art show again next year. It's a great way to get people out to see places they wouldn't normally get to visit....and the art very eloquently honors those who work on the waterfront. Five stars!
This is an oil sketch based on the flesh tones lesson I got yesterday. I'm trying my best to get things right on the palette before putting it on the canvas. Always a good idea.
In other news, I saw this video today (below) and the song got stuck in my head for a good part of the day. If you are a Queen fan....you really should see (hear) this!
Oil Sketch, Celeste Bergin, Moustached man, oil on 9 x 12 canvas panel
Today I got to have a long conversation with one of my art friends about the zones of color in the human figure. Now, this is not just any art friend...he's an exemplary artist. (I'd tell you expressly who he is, but I'm concerned he could get bombarded with requests for lessons and he's not someone who teaches. I'm not sure why that is...he's good at it!) Well, he took a lot of time today, reminding me that there are distinct areas of the face and body that receive more blood than other places and that it is mandatory to play temperatures off one another. The biggest thing I took away from the discussion was that there is a lot of neutral (or gray) in the face...but many are guilty of using too much "flesh-color". While I was at his studio I painted a portrait from a photo, and when I got home I did another, mindful of what we discussed. A productive day!
Painting, Celeste Bergin, Practice portrait #2, oil on 11x14 canvas panel
Oil Sketch, Celeste Bergin, Rescue Boat on the Portland Steamship, oil on 12x9 canvas panel
Photo credit: Jerry Mack
We had another art-breakfast meeting today, this time at Bread & Ink in Hawthorne. Afterwards, some of us met up with Brooks Hickerson for the Portland Steamship paint out. I just did a couple of oil sketches, but I plan on going back in the future to do some more. It was a lot of fun to paint on the deck. The Oregon Maritime Museum is joining with the Oregon Society of Artists to put on a "tandem" exhibit of some of the Steamship paintings in 2012. You can see a slide show of our day: HERE.
See PPASP meeting HERE
See Dave McBride's reception (they opened the place, just for us) HERE
See Leaky Roof Sketches HERE
I've put off phase two of Actrice de théâtre.....for now (Thanks for all your comments).
and you...what did you do today? Tell me....I'm interested!
Painting: Celeste Bergin, Portrait with theatrical lighting, oil on 9 x 12 canvas panel
"Direct Painting" or "Alla prima painting" suits my personality. I prefer to paint all-at-once and in one sitting. Sometimes, however, it is clear that a painting requires a 2nd pass. Such is the case here! I just had to walk away from this ...consider it a good start and vow to return to it tomorrow. We will see if I really do that, because I have been known to lose interest in phase two. In any case, it is a great pose for practice.
Painting: Celeste Bergin, Actrice de théâtre, oil on 18x24 canvas panel
When I was a little kid I used to wonder why certain things were so much like other things...for example, why did the face of a mouse kind of remind me of the face of a cat? And why did cats have eyes that reminded me of the eyes of a snake? As I painted these daisies today I thought about how flowers sometimes look like honey bees or butterflies..the shapes are so similar. Maybe everything we know and can see is "connected" and closely related. Hey, have you noticed how tree branches look like the veins of a person?
Painting: Celeste Bergin, Daisies after the rain, oil on 8x8 canvas panel
I nearly did not blog this painting...but it has grown on me. Do you ever "almost not blog" a painting...because it is "too" something?.......too weird, too undone, too overdone too-too-too? Some artists never share their "too" paintings, they will only blog the paintings they feel very certain about. And, where is the fun in that?
.............What's on your art docket?
Painting: Celeste Bergin, Warm and Cool, oil on 9x12 stretched canvas
No time to paint today..so I did the next best thing... I sketched on gessoed paper with the (newly discovered) "Elegant Writers". (The Elegant Writer pens were apparently designed for calligraphy, but my watercolorist friend Carrie Holst showed me how adding water to the ink sketch results in a nifty wash). Recently I found out that "Elegant Writers" also come in assorted colors (aside from black). I bought my set at Muse.
Top photo: Sketch, Celeste Bergin, Idea for a painting, ink & water on 6x9 gessoed paper
Sketch, Celeste Bergin, People milling about, ink & water on 6x9 gessoed paper
I'm all in love with gessoing paper lately. This afternoon I gessoed some pages in my sketch books. I realize that it would probably make a whole lot more sense to gesso single sheets and then bind the pages into a sketchbook. Maybe I'll do that someday. I also cleaned my studio today and came across these works that I painted on gessoed paper. I like the freedom of paper.. If it works, fine...and if it doesn't ...it's so easy to throw away.
Sketch: Celeste Bergin, Figure, Oil painted over black Gessoed 6x9 paper
Sketch: Celeste Bergin, Spiritual Road, oil on gessoed 9x6 paper
Sketch: Celeste Bergin, Self portrait that looks marginally like me, oil on 8x10 gessoed paper
Sketch: Celeste Bergin, Girl in a hat, oil on 9x6 gessoed paper
Here is an intentionally patchy loose sketch of a woman. (Are women of ill repute still called "loose women"?) I had some fun using a liberal amount of green. See that area in the lower right corner that is light? It's not painted that way, it is the sun hitting the surface. I have never put a shade on my window in Der Bunker studio. Sunshine is certainly nice, but it is also aggravating when it is bouncing off of a white canvas. I paint outside often enough, you wouldn't think it would trouble me much. Still, as I painted this I mentally put a pull down shade on my to-do list. Hey....what did you do today?
Oil Sketch, Celeste Bergin, Color Study/Female model, oil on 9x12 canvas panel
Tomorrow "the eight+"* installs new paintings in O'Connor's. We always look forward to this, because hanging at O'Connor's gives us an reason to produce large paintings. (They have big walls and tall ceilings). We've sold a fair amount of paintings there over time too (Hooray for "alternative spaces")! This is a detail from my newest 36x36 painting.
Quin Sweetman, George Broderick and I had our reception at Broderick Gallery today. I had an exceptional time ...(even though I lost ALL the photos I took at the reception with my Sony camera, THAT was a DRAG!) Luckily, the paparazzi was in attendance, and I did wind up with enough photos at the end of the day for posterity. Best of all, I sold 4 paintings at the reception. Thanks to my art buying patrons, to all who came and to Quin and George! The show is up until September 30th.
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