Making an Impression

Sunset Series #16 (Monet's Sunset)
Original oil, alkyd on gessoed wood

Approximately 6" x 1.5"
SOLD

A few months ago, my sister April sent me my favorite kind of art book—one that's mostly pictures and very few words. The title is "Monet's Impressions", published by The Metropolitan Museum of Art.

Today's Sunset Strip #16 was inspired by one of Monet's paintings, Setting Sun on the Seine at Lavacourt, Winter Effect (1880), featured in the book. You would think that copying a painting would be easy; but, oh no, not so. Painted 130 years ago, Monet's painting is still striking in its boldness, color subtleties, and complex layering of brushwork, even in reproduction!

The more I looked at the picture and worked away on my version of Monet's painting, the greater my appreciation for Monet's masterful style and my growing desire to see his work again "in the flesh." Wouldn't a trip to New York, to the Museum of Modern Art to stand in front of Monet's 40-foot triptych of Water Lilies be a cool (and cooling) treat—especially for these dog days of August?

Thanks for taking a look. Keep cool...with art!
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Text and image ©2011 Carol Adamec. All rights reserved. 

Still Under the Influence

Sunset Series #15 (Homage to Albert Pinkham Ryder)

Original Painting: oil, alkyd on gessoed wood

6" x 1.5" 
SOLD

Albert Pinkham Ryder (American, 1847–1917) is one of those artists who defies easy categorization. His work is often described as moody, poetic, surreal, allegorical, and dreamy. Considered a "Tonalist"—an artist who relies on light and dark contrasts rather than color to describe form and distance—Ryder painted mostly landscape and seascapes. His work is also notable for the number of forgeries that have been done. It's estimated that over 1,000 fake Ryder paintings exist, in private as well as  museum collections!

I've been a fan of ol' Albert since art school days. I find his work mysterious, even mystical, especially his Seacoast in Moonlight painted in 1890, which inspired my Sunset Series version posted on today's blog. Other famous works by Ryder are The Race Track (Death on a Pale Horse) and The Flying Dutchman.

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

Under the Influence, Again

Sunset Strip #14 (after Winslow Homer)

Original oil, alkyd on gessoed wood

SOLD

After working on last week's Georgia O'Keeffe inspired Sunset Strip, I got curious about sunset paintings by other well known artists. I happened to come across a painting by Winslow Homer called "Crossing the Pasture" (1871-1872) shown below.

Ironically, my favorite part of the painting was the distant sky, beyond the hills. So I "appropriated" that portion of Homer's painting, modified the shapes and colors, and tinged the far clouds with color to suggest the coming sunset.

It's interesting—and quite educational to copy the work of a great artist, even from a reproduction. Within even this small segment of the painting, there is a lot going on—color variations, light changes, and spatial dynamics—all happening in the background of this larger painting.

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

Under the Influence

Sunset Strip #13 (O'Keeffe Sunset) 
Original oil, alkyd on wood panel

7" x 1.5"
SOLD


I can't deny it. I've been a fan of Georgia O'Keeffe's paintings since I was a freshman in college, standing dumbstruck in front of "Black Cross, New Mexico" at the Art Institute of Chicago.

If you take a look at that painting, you'll see that I was still under its influence this week when I did this study. Sunset Strip #13, measuring 4" x 36" is currently in progress (a lot of blending to do). I'll share it with you when it's finished.

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

Caliente!

Sunset Strip #12 (Red Rising)
Original oil, alkyd on panel
4" x 12"
$145 with Free Shipping

Contact Artist to purchase

It's hot in Florida. I guess in some subliminal way, that heat is seeping into my sunset paintings. Hence the strong reds and oranges in the lower portion of the painting.

Thanks for taking a look. Keep cool!

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Text and image ©2011 Carol Adamec. All rights reserved. 

Sunset Strip 11: Pink Fire (WIP)
Original painting:oil, alkyd on panel

4" x 12"

 

Today's post shows a Sunset Strip I worked on a few weeks ago and set aside. I want more pink in it, and instead, it's too orange and yellow. The challenge is to warm up the pinks to meet the heat of the oranges and yellows. When I have it figured out, I'll post the final image.

Thanks for taking a look. Have a good weekend and a safe Fourth of July.
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Text and image ©2011 Carol Adamec. All rights reserved. 

After Sunset

WIP: Night Palm

Oil, alkyd on panel

6"x6"

Since last week's post, I've "finished" two paintings which are pretty ugly (to use an oxymoronic description). 

Fortunately, a photograph taken by my granddaughter when she was vacationing in Jamaica inspired me to work up the painting posted for today. It's not quite "there" yet, but coming along. Sometimes 1 out of 3 is just part of the learning curve.

Thanks for taking a look. Have a good week.

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Text and image ©2011 Carol Adamec. All rights reserved. 

True Confessions

Sunset Strip #10 (Above the Storm)
Original Painting: 12" x 4"
Oil, alkyd on gessoed wood
Hanger installed on back.
$145 / Free Shipping. Contact Artist to purchase

I am always jealous of artists who are able to capture their subject matter with a few quick and sure brushstrokes. The skill of these artists give their paintings liveliness and energy, as though the work was spontaneously executed, easy to do, no sweat. I do know better than that. As Edgar Degas noted, "Painting is easy when you don't know how, and very difficult when you do." (This statement sounds better in French, too.)

Meanwhile, back in my studio, I still cling to my love of subtle blending of colors. For some reason I find it exciting to have one color transition into another. It seems magical to me, even when I am the one doing the painting! Still, I am sneaking more lively brushwork into my paintings lately, as you can see in the upper portion of today's painting. 

The Sunset Strip Series allows me to do both—brushing on some quick dashes of color and experimenting with some interesting color transitions.

By the way, Happy Father's Day to all the Dads out there. Enjoy your day!

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Text and image ©2011 Carol Adamec. All rights reserved.

Sunset Strip #9

Sunset Strip #9, 2011
Original Painting: Oil, alkyd on gessoed wood 

6" x 3" unframed

N/A

For the past three days, I thought this painting was done. The acid test seems to be putting it on the scanner. Somehow, unresolved areas are easier to detect by looking at the scanned image on the computer monitor than just looking at the painting. Go figure.

For today, I am calling it "finished."


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Text and image ©2011 Carol Adamec. All rights reserved.

Sunset #8: Eye Dazzler

Sunset Strip #8: Eye Dazzler, 2011
Original Painting: Oil, alkyd on gessoed wood
6.5" x 2" unframed. Hanger installed on back.
SOLD


Today's post features Sunset Strip #8, hot off the easel.

Inspired by a New Mexico sunset, I subtitled the painting Eye Dazzler which refers to colorful rug designs Navajo artisans began weaving in the 1870's. The Navajo Eye Dazzler style incorporates bright colors and zigzag designs. This phase in the history of Navajo weaving is also called "Germantown", referring to the colorful synthetic dyes and yarns that came from a commercial mill in Germantown, Pennsylvania, at that time.

For me, the exciting part of working on these Sunset Series paintings is combining colors I ordinarily don't use, such as the bright turquoise, magenta, and oranges. These colors definitely have a vibration, and, in this long format, remind me of a rug, too.


Thanks for taking a moment to read this post. Have a good day.
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Text and image ©2011 Carol Adamec. All rights reserved.

Ray of Hope for Joplin

Sunset Strip #7: Ray of Hope (for Joplin), 2011
Original Painting: Oil, alkyd on gessoed wood
SOLD

I have been distracted this week. My mother and I have been glued to the television, watching the aftermath of the tornado that hit Joplin, Missouri, last weekend. As many of you know, my mother is from that area, and we have family and dear friends in Joplin. Fortunately, our loved ones and friends have survived; and I am grateful to all who contacted me about their well being: Thank you.

Yesterday, I worked in the studio to complete this painting from the Sunset Strip Series. While working on the painting, I was thinking about Joplin, childhood visits with Joplin relatives in the summer, the many good people who became—and have remained—my friends, colleagues, and supporters when I lived in the area a few years ago, and how much genuine pride Joplin folks have for their town.

I was inspired to dedicate this Sunset Strip painting to Joplin's recovery with the title, Ray of Hope. It's #7, a lucky number, and bears my good wishes for Joplin's renewal.

Thanks for taking a moment to read this post. Have a safe and relaxing Memorial Day weekend.
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Text and image ©2011 Carol Adamec. All rights reserved.

Magnolia in May...framed!

Magnolia in May, 2011
Original Painting, 6" x 8"
Oil, alkyd on canvas panel
SOLD

I intended to have this painting ready for Mother's Day...and the first "version" of it was done by then. But then I was not happy with it, and kept on painting. Here's the final version (I think), along with photos of my framing process, which I mentioned in last week's post.

Photo 1 shows the finished painting on panel. What you can't see is that image extends around the edges of the panel, too. The best way to display a painting on panel in this state is on a decorative tabletop-style easel, since there is no way to securely attach any hanging mechanism for wall display. The nice thing about this display method is that the painting can be moved around, and placed on a side table, a book shelf, a dresser or other flat surface.

Photo 2 shows the 1/2"x3/4" strips that I have cut and glued along the edges to the backside of the painting panel. You can also see a screw eye on each side for attaching a wire.

Photo 3 is a corner view of the painting with the strips glued on. The wood strips are painted black for a more finished look. In this state, the painting can now be displayed on the wall, too— no frame necessary and ideal if you prefer a more contemporary look.

With the wood strips glued to the panel, the painting is also ready for mounting in a canvas floater frame. This style of frame is my favorite, since it allows the entire painting to be viewed right to the edges. Having a little space between the painting and the front face of the frame actually expands the painting's image, allowing it to "breathe." I think this is especially important for smaller paintings, where any cropping of the painting with traditional framing seems to make the image appear even smaller.

The nice thing about canvas floater frames is that they come in ready-to-frame sizes (I use the Illusions brand.) and in custom lengths for nonstandard sized framing for the do-it-yourselfer. I did use Rub-N-Buff to get the gold color on the face, since the 8x6 only comes in flat black finish.

Photo 4 shows the back of the painting, with the floater frame attached to the panel's strips. The bottom image is the painting, framed and ready to hang on the wall.

Thanks for taking a moment to read this blog. Have a good day.

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Text and image ©2011 Carol Adamec. All rights reserved.

SunSet Strip #6

Sunset Strip #6 (with Palm), 2011
Original Painting: Oil, alkyd on 12" x 4" gessoed panel
SOLD

Last week we enjoyed an afternoon shower, which made for lovely, dramatic clouds at sunset here in Florida. I grabbed my new Nikon CoolPix digital camera (a Christmas gift from my daughter and son-in-law: Thanks again, M&M!) and ran out the door to make several photos of the changing light and cloud forms. So far, I've gotten four new Sunset Strip paintings from that one evening of picture-taking. Nice!

These Sunset Strip paintings have prompted me to look for materials that provide a long skinny format. Mostly I've been painting on odd lengths of wood on hand, that I trim, sand, and prepare with gesso.

However, at the art store the other day, I came across a 12" x 4" birch panel that is ideal, and bought all they had. To the backside of the birch panel, I glue 3/4 x 1/2 inch wood strips around the perimeter, so that the panel will sit flat against the wall and a wire can be attached. I paint the edges of the painting and the wood strips for a finished look. No framing is necessary, but is still possible if the buyer would like to frame the painting. On one of my next blog posts I'll share some photos of how this all works.

Thanks for taking a moment to read this blog. Have a great day. –––––––––––––––––––––––––––––––––––––––––––––––
Text and image ©2011 Carol Adamec. All rights reserved.

Real Lemon

Real Lemon, 2011

Original Painting: Oil, alkyd on 4" x 6" panel
SOLD

I think the title says it all. Thanks for taking a look.

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Text and image ©2011 Carol Adamec. All rights reserved.

Good Friday Sunset

Sunset Strip #5 (Good Friday Sunset), 2011
Original Painting: Oil, alkyd on 6" x 1.75" panel
SOLD

I've been saving this new Sunset Strip #5 to post for this Easter weekend. The colors in the painting reminded me of the pretty pastel hues used to dye Easter eggs—one of my kids' favorite holiday activities.

Happy Easter, Happy Spring to all. Enjoy a wonderful weekend!
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Text and image ©2011 Carol Adamec. All rights reserved.

Garden Tour

Sunlit Arbor, 2011

Original Painting:
Oil, alkyd on 6" x 8" canvas panel
SOLD

A few years ago I participated in the Eola Heights Garden Tour, held every April in this historic neighborhood of Orlando. Yesterday I spent the most lovely Sunday afternoon painting in the garden of one of the homes on this year's tour.

It was an absolutely perfect day—sunny but cool in the shade, a light breeze with very low humidity, and everything in full bloom. The homeowners had employed a harpist who entertained the 650 garden lovers who passed through, viewing the abundant herb plantings, gigantic Meyer's lemon tree with fruit the size of grapefruits, and many fragrant flowers. So the entire ambience was "heavenly" and I overheard many great gardening tips, too!

Last Thursday I visited the site to preview the garden, which offered several picturesque views. I finally decided to do the arbor area. On that visit, I completed a monochromatic value study in burnt sienna—that orange-ish color you still can see here and there in the final painting—to work out the composition and the sunlight and shadow areas. By Sunday that underpainting was dry, so during the tour I was able to focus on the final colors mixtures to complete the painting. I was very flattered by the many kind comments about the painting from the tour goers, and especially pleased that the owners added the painting to their collection.

Later this week I will be posting a second painting for the week...just in time for the Easter weekend.

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

Sunset Strip #4: Pink Glow

Sunset Strip #4 (Pink Glow), 2011
Original Painting: Oil, alkyd on 11.5" x 2" gessoed wood 
Ready-to-hang; installed D-ring on back
$75 with Free shipping  •  Contact Artist to purchase

Another beautiful sunset—this time in Florida. My studio faces west, so I watch the skies as day fades into dusk. I am especially inspired if there are clouds scattered around, catching the changing color, like those in this Sunset Strip.

BTW, I've been asked how to hang or display some of the Sunset Strips or the small, 3"x5" still life paintings that I've been posting lately. Usually the paintings on canvas or linen panels are standard sizes (i.e., 3x5, 4x6, 5x7) and will fit into readymade frames that can be purchased for a few dollars at Hobby Lobby, Michael's, or even local frame shops. Another option would be to display the painting on a small easel, which could then be placed on a table, bookshelf, etc.

As for the odd sized Sunset Strips: I really did not intend for these paintings to be framed. So each painting has a hanger attached for wall display or is mounted on a thicker piece of wood that can stand on its own, allowing it to be displayed on a table, bookshelf, etc.

From now on, each painting description will include info about the hanging system for each artwork. Of course, if you have any questions, just send me an email.
Thanks for taking a look. Have a great day.

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Text and image ©2011 Carol Adamec. All rights reserved.

Back Gate: Morning Light

Back Gate: Morning Light, 2011
Original Painting:
Oil, alkyd on 8" x 6" canvas panel
Private Collection, Albuquerque

Today's post takes me back to New Mexico, to my friend's adobe home in north Albuquerque. This painting also is a milestone in my career: I completed the entire painting in one day. Of course, I have been thinking about doing this painting for over a year! It all came together this past Monday.

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

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.

Tuesday's Tulip

Tuesday's Tulip, 2011
Original Painting: oil, alkyd on 5" x 3" linen panel
Private Collection

It seems there are a zillion different painting surfaces for an artist to work on, each with a variant of texture, weight, paint "grab" and other factors to consider. For small paintings and working en plein air, I usually choose gessoed panels or canvas panels. They are thin, strong, and lightweight in smaller sizes.

Recently I ordered some linen panels, which have a finer fabric weave and, hence, a smoother surface. I am really enjoying this new (to me) surface to paint on, especially for the small studies, like the tulip posted today, that I've been painting lately.

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

Modern Skyscape

Evening Flight, 2011

Original Painting
Oil, alkyd on 4" x 6" panel

Private Collection, Florida

I was outside taking photos of the sunset last week. The pink clouds in the deep blue sky were lovely. A plane heading toward the airport crossed my field of vision just as I snapped the shot...a gift from the Sky God, I think.

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

Wild Sky

Sunset Strip #3 (Tiger Stripes), 2011
Original Painting
Oil, alkyd on 6" x 1.75" panel

Private Collection


Here's another Sunset Strip painting, this time a vertical, inspired by a gorgeous Albuquerque display at sundown. These are really fun to paint!

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

No Easy Lemon

Lemon Study, 2011

Original: oil, alkyd on 3" x 5" panel
SOLD

It's been a few weeks since I painted and posted the grisaille rendering of a lemon. A couple of you asked what grisaille (pronounced griz-eye) is. Basically, it is a painting done in black, white, and grays...like using black and white film to photograph something.

Once the grisaille painting is dry, color is usually added to the painting via thin glazes of diluted oil colors. This is a very traditional method for developing a painting, allowing the artist to establish the correct "values" or graytones before taking on color considerations.

Although I was happy with the graytone version, I wasn't happy with the color glazing results. So, I have been fooling around with this painting for the past week. My greatest challenge was to keep the lemon from looking like a yellow hand grenade. (It's odd what your mind will conjure up when working too intensely!)

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

Looking Westward

Sunset Strip #2 (Albuquerque)
Original oil, alkyd on wood panel
2.75" x 9" unframed
SOLD

It's been dry in Florida, with clear skies for weeks. Those wonderfully fantastic clouds that catch the evening light and make for dramatic sunsets...and dramatic sunset paintings, too...just haven't been around.

However, Florida is not the only place that can boast beautiful evening light effects. While living in Albuquerque, I enjoyed the view to the west from my second story studio window. There were many beautiful sunsets out over the mesa, like the one which became the painting posted today, Sunset Strip #2. I hope you enjoy it.
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Text and image ©2011 Carol Adamec. All rights reserved.

Back to Basics....Again

Lemon Grisaille (WIP)
Oil, Alkyd on panel

In past posts, I've talked about "painting the grays." This is a grisaille rendering of a nice fat lemon I picked up at the grocery store last week and decided to paint. You would think that a simple object would be simple to paint. Yeah, right!

I did cheat a little, as I began the painting on a burnt umber toned panel and let that brown color show through in the background. Once the paint dries, I'll be glazing color on top of the grays. It's been awhile since I did an entire painting--even a small painting--using this method, so we'll see how it all turns out.

This week I also complete the second "Sunset Strip" but it's still too wet to put on the scanner. So, I'll be sharing that painting with you next week.

Thanks for taking a look. Enjoy your weekend.

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Text and image ©2011 Carol Adamec. All rights reserved.

Try, Try Again...

Florida Pines, 2011
Original: oil, alkyd on 5" x 3.5" panel
Framed size: 7" x 5"
Contact Artist to Purchase.

Wow! I received so many positive responses via email regarding the Sunset Strip #1 painting I posted last week. Many thanks to all of you who took a moment to give me your feedback and comments.

It seems that the long horizontal format is a hit, with several of you suggesting cool places where such a format could be installed. I, too, have been looking around my house, noticing all kinds of places a long strip--horizontal OR vertical--could go. There are a lot more niches for that format than a regular, rectangular painting, as I see it. And, yes, the Sunset Strip paintings will be for sale, once I figure out the postage costs and shipping logistics.

Today's painting may look familiar to my longtime readers, as it was posted 'way back on June 29, 2008. Since then, I framed the painting, and it has been hanging on my studio wall, nagging me to do "something" to give it a little zing, or "wow" factor. (Another lesson learned: Framing will not improve a boring painting.)

Since I'm on a sunset kick, I decided to give those Florida pines a more interesting and colorful background. I think a Florida sunset was a good solution, eh?

Thanks for taking a look. See you next week.
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Text and image ©2011 Carol Adamec. All rights reserved.

Trying Something New

Sunset Strip #1, 2011

Original: oil, alkyd on canvasboard
1.25" x 16" unframed
Private Collection

I've been thinking for awhile that I'd like to do a series of sunset paintings. I know, I know, that sounds like a pretty cliched subject to take on. Well, what the heck. I have several strips of canvas board and gessoed panel that I've cut off other paintings and saved. So why not use them?

A few evenings ago, as I was finishing up in the studio, I looked out the window to see dramatic clouds strung across the sky. Since I had one of those canvas board strips handy, I went for it and did my first "Sunset Strip" that you see posted here today.

So, there's another item on my list of New Year's Studio Possibilities: Try out a new idea. And, hey, it was fun to do, too.

Thanks for taking a look. See you next 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.

New Year Possibilities

Frostbitten, 2011

Original painting: oil, alkyd
on 3" x 5" panel, unframed
To purchase, contact Artist.

I always look forward to the New Year. I usually spend the first few days of the New Year making a fresh list of what I'd like to accomplish in my studio with the brand new, 52 weeks that lie ahead.

Rather than calling it a "New Year's Resolutions" list, which sounds like a lot of dreadful to-do tasks I'd rather avoid, I've named it my "New Year's Possibilities", which sounds much more enticing, exciting, creative, even adventuresome!

One of my possibilities for 2011 is to paint from direct observation than from photographs. Another possibility on my list is to work with a limited color palette, i.e, using just a few basic colors. So today's post is my first new painting of 2011, done from direct observation, using the following hues: Yellow-orange, red-violet, blue-green, burnt umber, and white.

Living in Florida, I have a small tangerine tree with bright orange fruits on it, growing in the front yard. Several days ago a cold snap "bruised" some of the fruit, leaving red-violet blotches on the skins. I picked these fruits off the tree and set them up in my studio as a little still life. I must say I am pleased with the results of trying out a couple of my new possibilities.

Thanks for taking a look. I hope your New Year is off to a great start, too.

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* Please note that at this time I ship to US addresses only.
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Text and image ©2011 Carol Adamec. All rights reserved.

Holiday Wishes

To My Dear Readers, Friends, Family, and Supporters...

Best Wishes
to You and Your Loved Ones
for a Joy-filled Holiday!

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Text and image ©2010 Carol Adamec. All rights reserved

Back to Wekiva Island

Wekiva Bridge, 2010

Original oil, alkyd on canvas panel • 5" x 7"

Available to purchase at Daily Paintworks

Yikes! Time flies when one is getting ready for the holidays!

It's been two weeks since my last blog post; and I have to admit that I've not been in the studio much. However, I did get out last Saturday morning, meeting up with a couple of the Central Florida Plein Air artists at Wekiva Island.

I painted at Wekiva last April. You may recall the photo I posted of the alligator sunning on the lawn where I had hoped to set up my easel? Well, this time I was greeted by 5 deer that ran out from the surrounding woods, just as I was driving into the parking area. My sister contends that I have a lot of "wildlife encounters." I guess she's right!

Anyway, it was a rather atypical Florida morning: fairly cool (I actually had on a fleece hoodie); overcast (I thought it was going to rain any minute); and most surprising, there was autumn color on the trees!

The challenge of painting on an overcast day is capturing the more subtle color shifts in the scenery while keeping it interesting. Since I began with a canvas toned with a burnt orange, I let a lot of that warm color come through for the branches and trunks of the trees. I think it plays off well against the cool colors of the sky and water.

Around noon the sun came out and the clouds floated away. What a difference the dazzling sunlight made! It's like turning on the lights on the Christmas tree. Although it was tempting to brighten up everything, I resisted (Now, that's unusual for me!) And I'm glad I did.
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Text and image ©2010 Carol Adamec. All rights reserved

Back in Orlando

On the Street Where I Live, 2010
Original oil, alkyd on 3 panels
(Each panel is 8"x6")
$750 unframed
Contact Artist to purchase

I've returned from my Missouri exhibition and Thanksgiving in Memphis to absolutely beautiful 75 degree weather in Florida, where the flowers are in bloom and little oranges are ripening on the tree in the yard. Considering the cold weather and snow in other parts of the country, I certainly do understand why folks flock to this land of the palms!

Speaking of palms, I am posting the final version of the three palm studies I worked on (and reworked!) during the summer. The three separate paintings are now configured as a single artwork.

On the Street Where I Live, as shown above, is included in my current exhibit at artCentral in Carthage, Missouri, which ends tomorrow (Sunday, December 5). Many thanks to all my friends and family who attended the opening or have dropped by to see the exhibit. I appreciate your support!

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Text and image ©2010 Carol Adamec. All rights reserved

Show Time!

O'Keeffe Calla, 2010

Original painting, oil on panel, 7" x 5"

To purchase, contact the Artist

Hello, Dear Readers,

It's been a busy time since my last post. I left Orlando last Friday to drive to Joplin, Missouri, to install my solo exhibition at artCentral in Carthage, MO. Those of you who know me may recall that I was Director of this nonprofit artist group when I lived in the Joplin area several years ago.

My exhibit is titled "In Natural Light" and features mostly studio and plein air paintings completed over the past year--many which have been posted on this blog--along with a couple of larger color pencil drawings. Of course, there have been a few revisions, reworkings, and final touches on the paintings, which hopefully are improvements. All framed up and hung on the walls, the paintings look pretty nice. I am pleased with the show.

If you are local or in the area, please accept this invitation to attend the opening reception this Friday, November 19, 6-8pm. artCentral is located at 1110 East 13th Street, Carthage, MO 64836. The event is free and open to the public. The exhibit continues through December 5, and can be viewed on weekends and by appointment.

I will be returning to Orlando around December 1, so look for my next blog post in a few weeks. In the meantime, best wishes to all for a wonderful Thanksgiving holiday.

Good News!

Mt. Dora Train Station
Oil, alkyd on gessoed canvas panel
6" x 8"

Last Friday I went to the opening reception of the plein air show at the Mt. Dora Art Center. The exhibit was the final event of last week's Mt. Dora Paint Out. I submitted one plein air painting for the show—"Yellow House, Mt. Dora" which you saw on my October 25 blog.

When I arrived at the opening, I was very pleased to see that my little painting had taken Third Place in the show. Considering that there were many fine plein air paintings in the show, I was surprised and delighted.

Today's post is the reworked version of the Mt. Dora train station that I started in last week's plein air workshop. I returned to the site in the late afternoon on Thursday, and this time got a much better depiction down on the canvas.

Sometimes, when a painting isn't going right, you just have to start over.
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Text and image ©2010 Carol Adamec. All rights reserved.

Plein Air, Day 3

WIP: The ChewChew Station

Oil, alkyd on gessoed canvas panel
6" x 8"

This was the third and final day of the Mt. Dora plein air workshop with Gregg Kreutz . And it was another hot day (around 90 degrees). I actually got sunburned!

After Gregg did an inspiring painting demo of the marina first thing in the morning, I headed back into town. Even though yesterday's train station painting didn't turn out the way I had hoped, I still had the bug to do the old train car. Next to the train car, there's a modest diner called, The Chew Chew Express, which hosts a casual outdoor patio. The umbrella tables in bright morning sun in front of the old train car caught my eye.

I remember attending an artist talk by photographer Sandy Skoglund, who discussed how the background of an image lets the viewer know where they are. I was sure to paint in a few palm trees amidst the greenery, since this is Florida I am painting!

I have a few more touch ups on this painting, and it's done. Thanks for taking a look and following along with my plein air workshop this week.

See you next week!
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Text and image ©2010 Carol Adamec. All rights reserved.

Plein Air, Day 2

WIP: Mt. Dora, Fifth Avenue

Oil, alkyd on gessoed canvas panel
6" x 8"

Today was the second day of the plein air workshop up in Mt. Dora. I put in a long day today, and actually worked up TWO paintings. (Hey, I said I was trying to pick up speed!)

The one you see above—a view of Mt. Dora's shopping area—was my morning painting. It's better resolved than my afternoon painting, a view of the train station.

There are a lot of painters in Mt. Dora this week for the paint out. Everyone has been very friendly and mutually encouraging. And there are many courageous paintings underway—views and subject matter that are pretty challenging to capture in just a few hours or a single day. I was reminded of a quote by Georgia O'Keeffe: "To create one's own world in any of the arts takes courage."

Thanks for taking a look. Tune in tomorrow to see what unfolds on Day 3. We are hoping to paint down by the lake.
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Text and image ©2010 Carol Adamec. All rights reserved.

Plein Air Workshop Day 1

WIP: Yellow House
Oil, alkyd on gessoed canvas panel
6" x 8"
SOLD

This week I am taking a plein air painting workshop up in Mt. Dora, a town located about an hour away from Orlando. Since the elevation of Orlando is only 14 feet above sea level, I guess that Mt. Dora can flaunt its 184 foot elevation.

Mt. Dora is a charming village on a good size lake, with nice old trees, a train station, a yacht club, lovely parks, good restaurants, and unique shops.

The three-day plein air workshop is being taught by Gregg Kreutz, a traditional fine art painter from New York. He did two painting demos today. Amazingly, his paintings took only about 30 minutes each and captured a good likeness of the scene before him.

The image posted shows my morning effort, still in its cardboard holder. Although I spent about 2.5 hours painting on this piece, it isn't quite finished, but coming along. I am hoping to pick up a little speed during this workshop.

Thanks for taking a look. Tune in tomorrow to see what unfolds on Day 2.
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Text and image ©2010 Carol Adamec. All rights reserved.

Backyard Boat

Backyard Boat, 2010
Original painting
Oil, alkyd on gessoed canvas panel
8" x 8" unframed
Contact Artist to purchase

Dear Readers,

I've been entertaining visitors the past few weeks, and have been away from my computer. So I apologize for missing my weekly posting schedule. I did, however, finish the painting you see posted today.

Having been in Florida for awhile, I notice that there are a lot more boats in people's backyards than out on the many lakes that make up so much of the landscape here. I was prompted to do this painting by the thought of how we all put off, postpone, or give low priority to the things that give us pleasure, provide fun in our lives, fulfill our interests, engage our passions, and make for happy memories.

I know I can be a workaholic, and figure that every one of those folks with a boat in their backyard is a workaholic, too. In a society that values wealth above all, we forget that time is the real treasure to spend. I set the time of day as late afternoon for this painting, to remind me that the day is short and can slip away before you realize it.

Thanks for taking a look; and I hope you get your boat out of the backyard this weekend.

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Text and image ©2010 Carol Adamec. All rights reserved.

Return to Plein Air

Backyard Blooms, 2010

Original: oil, alkyd on panel
Unframed size: 8" x 6"
Contact Artist to Purchase

This past weekend, I was pleased to be one of nine artists selected to participate in the "5th Annual Art in the Gardens" plein air painting event in Leesburg, Florida. The event lasted from 10am until 2pm, during which time I painted the view you see posted above while enjoying several nice conversations with the garden tour goers and the generous homeowners who made their garden available for the event.

It was a lovely day and felt really good to get outdoors to paint! Painting all those greens over the summer really paid off, too, as I'm pretty happy with the way the sunlight on the lawn turned out.

Now that the weather is cooling down, I'm looking forward to regular forays into Florida's scenic spots to do more plein air painting.

Thanks for taking a look and I hope you're having a good week.

––––––––––––––––––––––––––––––––––––––––––––––– Text and image ©2010 Carol Adamec. All rights reserved.

Labor Day Lily

Peeking Out, 2010
Original: oil, alkyd on panel
Unframed size: 6" x 6"
SOLD

As I am posting on the Labor Day holiday, I hope everyone is indulging in a relaxing day, or at least "laboring" at something they enjoy doing.

Today's painting is going to Spiva Center for the Arts in Joplin, MO, for their annual "Small Works Auction." As I've mention before, I enjoyed being Spiva's Associate Director when I lived in Missouri a few years ago. Although the job was labor-intensive, it was very rewarding. The folks involved with Spiva--the staff, board members, artists, volunteers, and members--all are hardworking and generous with their knowledge, skills, and time. Their efforts make a huge difference in the community.

So, it's always an honor for me to participate in this Spiva fundraiser. This year's auction begins on September 18, and anyone can bid on the work...Just give them a call.

Thanks for taking a look. I'm off to work on a new painting..something I truly enjoy doing.
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Text and image ©2010 Carol Adamec. All rights reserved.

Painting the Tulip Red

Red (Tulip), 2010

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

After painting so many greens, it was fun to paint all these reds. Actually, after letting the painting dry, I glazed the reds.

Glazing involves brushing on a transparent mixture made with a tiny bit of pigment—in this case, a cadmium red—diluted with a lot of medium, which I painted over the red of the tulip. The result is a "deepening" of the color that really sings. As you can see, the tulip color appears highly saturated and seems to glow.

BTW: My friend Sondra, who took the original photograph of the "Pea Pods" I painted for the last week's post, dropped me an email: "These are mimosa or aka silk tree seeds. Gardeners and horticulturists could be offended!" I am red faced, since I used to have a mimosa tree and should have recognized the difference! Once again I have confirmed that I am no gardener, although I am very happy to have friends who are! I'll be changing the name of that little painting, right now.

Thanks for taking a look, and enjoy your weekend. I'll see you next week.
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Text and image ©2010 Carol Adamec. All rights reserved.

Out in the Garden

Mimosa Pods, 2010

Original: oil, alkyd on panel
Unframed size: 7" x 5"
To purchase, contact the Artist

Although I haven't posted for a couple of weeks, I've been painting almost daily. I started five new paintings--mostly small ones---all different subject matter. This is the first one dry enough to scan for uploading.

I'm still into painting the greens, accented with some hot reds and bright yellows. It turns out that the palette knife practice that I struggled with on those palm tree paintings a few weeks ago finally paid off. I knifed in the background on this little painting to layer the color and keep it loose. It was actually fun!

I hope your week is going well. Thanks for taking a look, and keep cool!
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Text and image ©2010 Carol Adamec. All rights reserved.