"Early Morning on the Rails" ©

Tonight I had the chance to "play" in the paint and just have fun. We are headed on a rail trip, so this was the perfect subject to try to capture.

Oil on Canvas, 11" X 14"

"Rocky Riverbed" ©

Over the past 6 years I have been adding to this blog, very rarely has "life" taken the front seat. We buried my husbands Mother last week and another family member is gravely ill. Artwork took a back seat to all that you do at times like this. I am finally in good enough shape to paint and this rocky riverbed was my first effort after several days away from my easel. It felt very good to disappear into a painting. I am thankful everyday to have art in my life.

Oil on Canvas, 20" X 24"

"Summer Retreat" ©

This location is close to the backside of Aspen Colorado, in the town of Marble where I used to go to get marble from the Yule quarry and carve stone at the MARBLE/marble Symposiums for 16 years. The brochure for the symposium arrived in the mail and fond memories came flooding back. Painting a scene allowed me to remember all the good times in the mountains.

Oil on Canvas, 20" X 24"

"Evening at Vasquez" ©

Tomorrow evening is the opening of my solo show "Land and Light" at the Segil Gallery. I try to stick to the subject of painting within this blog and stay away from mentioning shows. Today is an exception. For months I have been painting for this show. Many of the paintings that have been blogged recently are hanging in the gallery. If you live nearby I would love for you to see the real artwork. My photography is poor at best and with varying resolution /color on everyones computer screens I can only imagine what people are seeing. The reception is from 5pm - 7pm, the gallery is located at 110 W. Lime Ave., Monrovia, CA. The show will hang till April 28th. After tomorrow night, I will be back at the easel happily painting for the next set of deadlines.....

"Vasquez Juniper" ©

Artist George Malone organized a California Art Club paint out today at Vasquez Rocks. The Juniper bushes that seem to grow up out of the desert stone floor caught the mid-morning light and we painted while shadows slowly creeped into the scene. Thank you George for a nicely planned day.

Oil on Linen, 9" X 12"

"Walker Ranch Trailhead" ©

A couple of days ago I checked on the washed out Walker Ranch trail and it was totally repaired. If any of you hike in the SCV this spot might be recognizable, as the trailhead to Walker Ranch in Placerita Canyon.

Oil on canvas, 11" X 14"

"Eaton Canyon Sycamore" ©

Victoria Finlay has written more about color in her book, "Color, A natural History of the Palette" then imaginable. One of the first chapters is on the color Ochre, describing the mines in Australia and how Ochre played a major role in the lives of the Aboriginal people. While reading about Ochre, I used a great deal of the pigment in the painting of "Eaton Canyon Sycamore", making the experience all the more pleasurable.

Oil on Canvas, 18" X 24"

"Peace and Quiet" ©

Last night was the artists reception for the Contemporary Masters Exhibit at the Pasadena Museum of History. The show is beautiful and if your in the Pasadena area would be worth a peek. Today I painted this little piece purely for the fun of it.

6" X 8", Oil on canvas

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All of these boxes contain framed paintings for my solo show in a couple of weeks. There are about 10 more now that aren't in the photo and you can see that I have been working hard even if my postings have been slow lately. I don't have a box for the large seascape and will sew up a custom "bag" to protect the frame, for delivery. The show is at the Segil Gallery in Monrovia, the reception is Saturday March 24, 5pm - 7pm. I am really excited to present all of these new paintings to my friends and collectors.

"Back Road" ©

This scene is the back road to Walker Ranch in Newhall. Just around the corner are several white Bee boxes and it's a good idea to skirt the mass of humming Bees and paint a few yards away.

Oil on Canvas, 11" X 14"

"Canyon Lands" ©

Painting the red rocks of Canyon de Chelly, while on break from framing and packing paintings for delivery on the 18th, I was reminded how much I miss painting in the field. Time for a painting trip!

Oil on Canvas, 16" X 20"

"A Little Field of Gold" © Frazier Park

Hard to believe this spot is behind a Jack in the Box, off the 5 Freeway in Fraizer Park. Tomorrow I get to start framing for my solo show, I think I have 32 paintings left to frame. Thank goodness for the electric drill.

Oil on Canvas, 11" X 14"

"Through the Trees" ©

Near Big Sur, California this little trail meanders though the trees and down the hill.

Oil on Canvas, 16" X 20"

"Golden Hour" ©

Yesterday Pete Cole, President of Gamblin Artists Colors, gave a talk on Gamblin oil paints and Mediums at Carter Sexton Art Supplies, in North Hollywood. If you ever get the chance to hear Pete talk, GO. He made sure everyone was comfortable and could see and hear each other. Every question was answered clearly and fully. One of the sample's Pete handed out was a tube of Indian Yellow. I don't usually have Indian Yellow on my palette but you know the lure of a sample, as soon as I got home I squeezed out a bunch. It was perfect timing, because in looking at the inventory of paintings I have ready for my show next month I didn't have enough small warm paintings. I painted my street late in the day when all the wild brush turns gold. Indian Yellow is all over that painting. The tinting strength of the Gamblin Indian Yellow is what really surprised me. I can see many uses for the paint, from under paintings to glazes. Thanks Pete!

"Whitney Canyon Path" ©

So many times I am emailed about blog postings with questions on how I have painted a piece and almost without fail I tell you what I am going to change. That image never seems to make it onto the blog because I have moved on and am so excited about the next painting. With this piece I took a painting that I started months ago and did what I so often talk about in those emails. By comparing the images you can see how I added value, brought in more color harmony and more interest in every area. I also knocked out the stripy path and broke up the middle field with little grasses. In the morning I'll see other issues, of course, are we ever truly done?

(above is the old version, that is gone forever)

Oil on Canvas, 20" X 24"

"Heritage Valley Farmland" ©

Next month I will deliver 40 paintings for a solo show at the Segil Gallery in Monrovia. This place looks like a studio / gallery / framing store, anything but a home where people actually live. I didn't realize until a couple stopped by to pick up a painting today and I saw all of it with their eyes. What can I do? So, I am back at the easel, painting "Heritage Valley Farmland".

Oil on Canvas, 14" X 18"

"Palms in the Desert" ©

I find it amazing that Palm Trees thrive in our Southern California deserts. When you are painting them you can hear the rustling of their skirts in the wind and it's amazing to watch all the little birds and mice scurrying in and out of the shelter of the palms.

Oil on Canvas, 16" X 20"

"Return to the Sea" ©

The tide rushes out to sea in minutes on the coast of Maine. My thought with this painting was to capture the rivulets of water receding from the shore and the emotions one feels at the end of the day as the sun is sinking, the air is cooling dramatically and it's time to pack the gear, heading home for dinner.

This painting started out with just a rough line drawing to locate the major players, trees, cloud, horizon line and so on. I know the feeling that I want this painting to convey and if I can pull that off, I'll feel pretty good about it. I am working from a couple of photos I took while painting in Maine, near Acadia National Park.

Laying in general colors into big areas, I know in the end the trees need to have some lovely deep reds coming though as if backlit, so a wash of transparent yellow earth and transparent red oxide did a nice job.

In this photo it's much easier to see the photos I am using for my resource material. Not great photos but enough information to remind me what the scene looked like standing there on the shore, watching the tide water quickly recede. If your painting in Maine it's a good idea to have a tide ap on your phone, so you can plan where to stand. In a couple of hours you can be underwater if your not careful. Another good ap is the sunrise / sunset ap, again great for planning your painting day.

Oil on Canvas, 20" x 24"

"Sunny Afternoon" ©

Today it was 84 degrees in LA and Malibu was the place to be according to the radio announcer. Painting this scene from "Sunny Afternoon", 9" X 12", (you can see in an earlier blog post) I thought about the warm sun and the sound of the water gently lapping the sand.

Oil on Canvas, 24" X 30"

"Swan Valley" ©

This blog post is about painting Swan Valley, Idaho, from a photo.

This is a great example of painting from a photograph. People ask me all the time if I paint from photos, as if to answer yes, would somehow be a negative blow to my artwork. You can't tell me that if cameras had been available to all the artists in the past, they wouldn't have taken advantage of the technology. Sometimes you just have too, whether it's because you were driving to a destination without time to stop to paint or the light was just so fleeting the only way to capture it is with a camera. I believe it's just fine for artists to use photos, as long as they own the image or have permission.

In the photo above the painting is just staring out with my "line" drawing and the photo on the top of my easel. Sometimes I use the computer next to the easel if I want to see the image in a larger format.

At this point I have paint all over the canvas, in the general value of each area. I can stand back and see if it's going in the direction that I envisioned .

I have this painting as far along as I can go wet into wet paint. I'll let it set up for a few days and go back in to do all of the dry brush work. I can hardly wait, finding all the brush in the foreground is truly a labor of love.

About 7:30 in the morning as I was driving home from Driggs Idaho, last August, I saw this scene in my rear view mirror. Thank goodness for digital cameras, I stopped and took a shot of the valley. Ever since I have wanted to paint this scene and finally I had the chance and loved every minute.

Oil on Canvas, 24" X 36"

"Sun Dusted Creek" ©

"Sun Dusted Creek", is another example of using a smaller painting to create a larger studio painting. The little one is 14" X 18", the larger canvas is 24" X 36". Not exactly the same proportions but close enough.

Just starting out on the painting I scrubbed in a warm yellow wash over the entire canvas, lifting off the area that would become the sky with a bit of Gamsol on a white sheet. The white sheet is a tip, in that it doesn't leave any lint on your canvas. You can see my small painting that I am using for the inspiration to the left of the easel.

Mid-way into the painting. I am finding the areas of light and shadow. Painting color on every section of the canvas.

At this point the piece is well on it's way to completion. I'll find little touches and brushwork to add over the next several days. It is difficult to see all the areas that need attention without a break away from the piece. Tomorrow morning I'll walk up the my easel and see all sorts of details that need work wondering why I couldn't see them. Happens every time!

Oil on Canvas, 24" X 36"

"Onxy Afternoon" ©

Onyx, California is a classic example of our high desert. Sand drifts, Rabbitbush and cottonwoods announcing water in the distance are beautifully lit in the late afternoon sunlight. Marian Fortunati, Sharon Weaver and Diane Nelson Gold were my painting buddies out in the desert last fall and I am so looking forward to a return painting trip to Kernville.

Oil on panel, 12" X 12"

"Rolling In" © studio

"Rolling In" on the easel, shows a good example of taking a small oil "sketch" and creating a large painting from the idea captured in the sketch.

Oil on Canvas, 30" X 40"

My small painting is on the little easel to the right of the larger canvas. I knew I wanted the same proportions for the canvas but didn't have a fresh canvas on hand in that size, so I pulled an old canvas with an idea for a commission (long since finished and delivered) turned the painting upside down to lessen the confusion of waves vs. ducks and starting laying out the seascape.

At this stage the ducks are completely covered and I have laid in the general shapes and color patches, here and there. This is the fun part for me, feeling my way around the painting, making decisions and adjustments.

Here is a close up of the palette. I know it looks like a mess and I am constantly scraping down the glass starting over with a big clean space. The palette is custom. Sounds fancy but in honesty a quick inexpensive solution to needing more palette space. My husband cut a piece of wood and I had the fellow at Newhall Glass Co. cut a piece of glass to fit. I painted the back of glass gray and with not too much trouble I had a terrific palette. I have to give a little shout out for the Gamblin Radiants on the lower right side. Love them!

Oil on Canvas, 30" X 40"

"Santa Clara Riverbed" ©

I painted this scene on a 5" X 7" panel a while ago, and I finally had the time today to paint the same scene in the studio on a larger canvas. The sky is a bit strange, with the remnants of smoke from one of our more devastating fires. Originally it was a tough decision, whether or not to artistically document the smokey evening sky.

Oil on Canvas, 20" X 24"

"Kitty" ©

"Kitty" was a member of a family that is dearly missed, as she has passed away. The family asked that I paint her from a few photos that they had taken. Having had many animals that my family has loved dearly I imagined the life that Kitty lead while painting her portrait.

Oil on canvas, 14" X 11"

"Lazy River" ©

While painting this piece I kept hearing the old song "Up a Lazy River" in my head. My hope was to capture the calm water, cool morning air and sunlight just making an appearance for the day.

Oil on Canvas, 24" X 36"

"Stormy Sunday" ©

Storm clouds are arriving for a rainy Monday, perfect timing as the entire day was full of demonstrations by artists exhibiting in the "Impressions of France" show, at Segil Gallery. This portrait of a tree was my demonstration painting for the group. The exhibit has a great spread in the February issue of the "American Art Collector" magazine.

Oil on panel, 12" X 9"

"Montreuil Bellay River" ©

Tonight is the artists reception for "Impressions From France" show at Segil gallery in Old Town Monrovia. 9 of the artists that painted France will be there to greet you and share stories, a glass of wine and artwork. We were fortunate to have a write up in the current issue of the "American Art Collector". This painting is one I just found today, tucked away, that is not one of my 12 hanging in the gallery. If you would like to see it in person I would be happy to bring it to the gallery for you, just let me know.

Oil on Linen, 20" X 16"

"Frontenay Gate" ©

This coming weekend is the opening of the "Impressions From France" exhibit at the Segil Gallery in Monrovia. I was digging though the piles of paintings looking for the best pieces for the show and came across this small plein air piece I painted my first day in France. It's amazing how the memories of that day come flooding back when I look at this little piece. It started to rain at one point and a horse came up to the gate, nuzzling my backpack that I had tucked in the trees to get it out of the rain. Then a lady that lived nearby and offered me a free horse, how I was to get a horse home to California I have no idea. But you see how meaningful the paintings created on location become to artists. Meanwhile in the studio I am working on a large piece for a solo show in April. It will show up here on the blog in a couple of days.

Oil on panel, 8" X 10"

"Arroyo Trees" ©

A long time ago a master painter told me that "green" landscapes were the most difficult of all to paint. At the time I didn't know the difference between viridian and sap green, so his comment didn't mean much. Now years later every time I attempt a green landscape his words come back to me. All green landscapes are difficult but at the same time so very interesting, offering the challenge to come up with a variety of greens to tell the story. Which is what I have tried to do here, with the trees in the Pasadena arroyo.

Oil on canvas, 8" X 6"

"Deep in the Arroyo" ©

In Pasadena there is a natural arroyo and stream that runs year round. Even though you're in the city, once deep down in the arroyo it feels as though you have been transported to a distant wilderness. Horse and hiking trails lace their way between the trees, small animals slip into the brush as you pass and all the while you can hear the distant call of birds.

Oil on Canvas, 30" X 20"

"Wild Rocks" ©

When your hiking around Vasquez Rocks the rock structures are totally wild. The landscape looks like another world. This little painting captures the warm December sunlight at the end of the day.

Oil on Panel, 12" X 9"

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"Cooking" ©

When you walk into Gales Restaurant in Pasadena the delicious smell of warm bread and garlic start the dining adventure. There is a show coming up with the theme of daily life in Pasadena. I have painted this interior of a local kitchen over the last few days as one of my possible entries. I'll have to come up with a better title, so if you have a suggestion, let me know!

Oil on Canvas, 16" X 20"