Single Tulip

Single Tulip, 2011

Original Painting: oil, alkyd on 5" x 3" linen panel
Private Collection

Painting from observation is challenging and rewarding, since a simple subject matter can be radically altered by repositioning, lighting, background, and viewpoint. One need only consider Monet's 30 paintings of Rouen Cathedral illuminated at different times of day in various seasons to become aware of such possibilities.

Last week I posted the first version of this tulip in a small glass ("Tuesday's Tulip"), painted from direct observation. A couple of days later I did a second painting of the same tulip, in a little different position and illuminated in a different light. If the poor flower hadn't finally wilted, I might have done a third version. (Cathedrals don't present this kind of problem!)

Thanks for taking a look. Have a good week.
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Text and image ©2011 Carol Adamec. All rights reserved.

Studio Tangerines

Tangerines, 2011

Original Painting: oil, alkyd
on 5" x 7" canvas panel unframed

SOLD

Since there are still nice, ripe tangerines on the tree outside, I picked a few more for this studio still life painting.

I used the same palette of colors that I chose for my last painting ("Frostbitten") and again painted from direct observation. However, this time the image is infused with lots of light, giving the painting a completely different feel.

Thanks for taking a look. Enjoy your week.
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Text and image ©2011 Carol Adamec. All rights reserved.

Lunch Becomes Art

"Hard Boiled Egg" 2010

Original oil, alkyd on 6" x 8" panel
SOLD

About 20 years ago, I attended a Chinese painting demonstration given by artist Cecilia Lin in her Memphis studio. She stood at a table, a large sheet of rice paper spread before her. She became very quiet, very still, very focused, holding a brush loaded with black ink over the paper. Suddenly, with a few quick and decisive strokes, a fully alive koi splashed its way across the sheet. I was amazed.

I thought of Cecilia Lin and her masterful skill and speed while considering what to work on in my studio last week. One of my (as of yet) unattained goals is to paint more quickly, like the Daily Painters who can finish at least one small painting a day.

So, my subject matter for painting that day became the hard boiled egg I'd brought for lunch. One must work quickly when painting food items, as the heat from the studio spotlights will affect the color, texture, and even the shape of some foods—like the jalapenos that turned yellow, then red, and got so "hot" they made my eyes water after a few days under the lights.

It took about four hours to render this simple "still life" from direct observation, but I was pleased to have it completed in "record breaking time"...at least for me.

Thanks for taking a moment to visit my blog. Enjoy a great week!

PS: Many thanks to those who emailed to let me know you're glad to see my blog is back in publication. I truly appreciate your readership, support, and encouragement. It's fun to know you're out there!

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Text and image ©2010 Carol Adamec. All rights reserved

Colorful Crotons

"On Stage" 2008
8" x 10" unframed
Original,

oil on canvas panel
Contact Artist to purchase.
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My brother-in-law John is an artist and quite the gardener. With a good eye for color, texture, and design, he has created wonderful flower beds around the house, full of very attractive plantings of all kinds. When I am looking for something to take to the studio to paint, I often pinch off a few leaves or clip a few blossoms for the day's studio session.

After doing a few "tonal" paintings recently (Dry Shell; Black Purse, Red Lipstick), I was ready for some color work. These croton leaves were the perfect subject matter for some bright color work. Instead of placing the leaves in a vase, I stood them up and illuminated them with overhead "high noon" lighting. Hence, the title, "On Stage."

Crotons are tropical plants and come in several varieties, dazzling colors, and multiple patterns. There are even a couple with artistic names: The Mona Lisa and The Picasso. You can see several varieties on the Croton Society of Tampa webpage: www.crotons.org.

Crotons are also hearty. Unlike the little one-day rose I showed you Monday, these leaves held up for three days... good for artists like me who take a bit longer to get it on the canvas.

Many thanks for taking the time to look at my artwork and read this post. You are welcome to forward this blog to others, too. Please, do leave a comment!

I hope your week is going well. See you Friday.
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Text, image, and painting ©Carol L Adamec. All rights reserved.

Painting from Memory

"Rose Glow" 2008

Original, oil on panel
7" x 5"

SOLD

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This painting began as a little set up that I was painting from direct observation. I had most of it completed, except the rose. I had the colors right, but not the overlapping of the petals.

The next morning when I arrived at the studio, the poor little rose was limp and the petals shriveled. So much for working from observation!

Having looked at the rose for several hours the day before, I recalled how the rose petals looked and was able to complete the painting. Thank goodness for memory!

One could argue that an artist is always working from memory, whether painting from a photograph, a sketch, or even "live." The image still exists in the mind—not just in the eye—of the artist.

Many thanks for taking the time to look at my artwork and read this post. You are welcome to forward this blog to others, too. Please, do leave a comment!

I hope your Monday is a pleasant one. See you Wednesday.
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Text, image, and painting ©Carol L Adamec. All rights reserved.

Two Realities

"Pines" 2008
Original, oil on gessoed panel
5" x 3.5" unframed

Since returning to painting this year, I have been rethinking my past working processes.

A lot of my previous work has been "idea driven" —meaning that I had an idea and would then develop the imagery to express or embody that idea. The other component of my artwork has come from an interest in rendering the phenomena of light falling on objects. My source material for developing my artwork came from photographs—ones I took myself or photos given to me by friends to use for my paintings.

Working from photographs is very convenient and helpful...especially when painting light effects. At the same time, working from photos is also limiting, and, in some ways, boring. For me, painting was becoming the challenge of meeting or exceeding the "reality" of the photograph; and I found myself wanting to take a perfect picture to ensure that I would get a perfect painting.

Over the past few months, I have been weaning myself from relying on photographs and painting from direct observation. This has been a completely different experience. There's more looking and seeing involved, many more color decisions to make, and more "do-overs"—wiping out and scraping paint off the canvas. At the same time, unpredictable stuff happens that makes the painting and the reality I am painting come "alive." Painting has become an adventure again!

This little "mini-painting" of tall pine trees was done from direct observation, looking out my studio window.

Thanks for coming along and looking at my painting. You are welcome to forward this blog to others, too.

Have a great day. See you Wednesday!
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Text, image, and painting ©Carol L Adamec. All rights reserved.