Oil painting; Possible solutions to common challenges

Here is a followup to yesterday's post; "Why paint with oils?"

• If you can't stand the smell of turpentine, use odorless mineral spirits (OMS) or Turpenoid Natural to thin and clean up. *Be aware though that while OMS is easier on the nose it is no less toxic for those who are sensitive to turps. In that case your best alternative is to clean up with Turpenoid or some other natural product.
• To avoid "mud", refrain from mixing too many colors together.  Try mixing with your palette knife instead of your brush. This will allow the paint load to sit on the end of the brush and not mush down into the brush toward the ferrules.
• Avoid the overuse of white. White will lighten values but also cool and dull colors, giving a chalk-like appearance to most colors if overused.
• Avoid the overuse of black or dark earthtones. Some would say avoid ANY use of black as it is a dead color. With hesitation I will say I have nothing against black if used judiciously. But I usually suggest beginning students keep black off of their palette because there is a tendency to reach for the black (or umber) for anything that requires shading or darker values. This  can result in an overly dull, flat looking painting. If you use a mixture of your darkest primaries and just a touch of a secondary you can achieve much richer, more vibrant darks. Ultramarine + Alizarin Crimson + Viridian or Sap Green will "read as" black but be much richer looking.
• Avoid over-working back into a wet section. Experiment with laying in your color and leaving it alone as much as possible. Over blending and mushing your paint around on your canvas can lead to  "mud".  If you need to go back into an area either wait until the paint "sets up" a bit, or scrape off and repaint the area.

 Experiment with other mediums:

• While absolutely no medium is necessary, it's fun to experiment with different painting mediums to enhance the behavior of your oils. There are a variety of mediums available that can help speed drying time, enhance the fluidity of you brush stroke, and help your paint strokes stay where you put them. Liquin is a relatively odorless option that adds viscosity and helps speed drying. Copal medium is incredibly seductive but it does have a very strong odor as it is mixed with turpentine. Galkyd Lite is what I'm using right now. It's very similar to Liquin but not as "slippery". *Note: Whatever you use, a little medium goes a long way.
• Some people experiment with alkyds. These are oil paints with alkyd resin mixed in, creating a faster drying oil paint. (Down side: they can appear more "plastic looking". Colors aren't as rich and can seem very bright and candy-like. They still clean up with turps or mineral spirits and can be used in combination with regular oil paints.)
• Some people experiment with water soluble oil paints. These clean up with water, and tend to dry somewhat faster than regular oils. The cleanup can be a real advantage to those who love oils but are allergic to turps or mineral spirits. (Down side: the texture can seem stickier and tackier to those used to oils. Synthetic brushes are recommended for these paints as bristle brushes turn mop-like when used with water.)

Why paint with oils?

 I hear so many artists say that they never get started in painting with oils because they are too intimidating. But, like anything else, they just take some practice and some getting used to. Once you learn their properties you may find you really like them. To all of you watercolorists out there and those working with fast-drying or transparent mediums, you are already working with very challenging materials! Each medium has its own unique properites, so long as you don't expect oil paints to behave like any other, you may find you really like them. Here are some of the advantages

•  They are very forgiving. Because they stay open longer they can be reworked, scraped, and amended more than watercolor and other transparent or water based mediums.
•  They are rich and luminous when at their best.
•  They can produce fabulous texture and depth of color.
•  Oil paintings on canvas are easier to frame than anything on paper!

Some possible deterrents:

•  They smell.
•  They are messy and hard to clean up.
•  They take too long to dry.
• Just can't get the hang of them. Everything turns out muddy.

Lest you find the possible deterrents too deterring, I'll discuss some possible solutions the next time! 

From figures to landscapes (and back again?)

From time to time I receive wonderful messages from students who have chosen my work as a focus for their school projects. Here is a recent message I received. My answer follows: I wanted to ask if you could tell me about yourself and your paintings. I am studying A-levels and I am doing a critical study on you. Could you please let me know how you got into drawing landscapes. I would appreciate it.

Thank you so much for your interest in my artwork! As to your question: In college and for some time thereafter I was developing a body of work that focused on the human figure. These paintings were heavily influenced by a number of sources in art history-- Frida Kahlo, Gustav Klimt, and the early renaissance paintings I had seen in Italy and the Netherlands:

One of my favorites from this period "Faith", Oil on Canvas (sold)

So how did I go from that to landscape? Well, in college I held a double major of study in both painting and art history, so I was a lover of art of many different styles and from many different periods in history. I loved the impressionists and the post impressionists but impressionist landscape paintings were not much favored with my professors at the time. Professors at my school were much more attuned to paintings of either a nonobjective nature, or figurative paintings with deep psychological impact. So I developed the figurative paintings as my "serious body of work" and only dabbled in landscapes every now and then.   But eventually I found myself struggling more and more with the figure paintings. They were very large and some of them were filled with a lot of angst. One painting took weeks to complete. Emotionally they were often quite draining and my inspiration was slowing down. When my father died of pancreatic cancer all of the work I had been doing on those  paintings came to a complete halt. I began to question a lot of things, including whether I would ever do another painting. My heart just wasn't in it.   My husband naturally knew of my struggles and, knowing how much I had loved the landscapes of Monet, Sisley and many other impressionist painters, he bought me my very first outdoor easel. He also signed me up for a painting class so I could learn to paint on location outdoors. I loved it from the moment I tried it. I began painting again, and I finally allowed myself to follow my bliss and paint the landscape. After the death of my father I really wanted to do things that were more life affirming, that filled me with joy. I realized life is indeed so very short and I wanted to celebrate it in a way that had meaning for ME, without worrying about whether others found it artistically "important".   Painting the landscape was one of the ways I could honor that desire, and I have been painting them ever since. Nowadays I also enjoy experimenting with other kinds of painting, including abstraction, and sometimes even the human figure again. I believe that an artist has the right to explore it all, if that is her desire.   I hope this helps you with your project!

Italian Waterways Art Opening Tonight

If you are out and about during Richmond VA's First Fridays art walk, please stop by to our opening from 6 to 8 PM. The show will feature my Italian waterways; recent paintings of Venice and Lake Como.

If you are a Richmonder and haven't been to First Fridays, it has really become quite the event. It is again featured in the Richmond Times Dispatch. This time it is on the front page!  It's a really nice article for everyone involved in First Fridays. I'd like to emphasize that First Fridays includes more than the galleries and restaurants on Broad. My gallery and a few others are just an easy few blocks off of Broad Street, where the parking is still relatively easy to come by ;-).  View the art walk map, plan your route, and come on by!

For information about the painting pictured, please click on the image or contact me.

Villa Balbianello

It's been about a week since I've been back from Key West and I've not had time to unpack and photograph my third painting from that trip, which I shipped back home before I left. Right now, I'm getting ready for a show at the gallery this Friday called "Italian Waterways". This show focuses on recent paintings of Lake Como and Venice. Here is a new painting I did for this series of the Villa Balbianello:

Dave and I took a private boat ride and tour out to the villa in Lenno while we were staying in Bellagio. The villa has had an interesting history. It was built for a cardinal in the 1700's on the grounds of an old monestery. It passed through the hands of several owners since that time; the last of whom was Guido Monzino. Monzino was an explorer and led the first Italian exedition to Mount Everest. Upon his death he bequeathed the villa (and apparently a lot of booty from his explorations) to the National Trust of Italy, which is why people can visit it today.

While the story of the villa is interesting, what fascinates me most are the beautiful grounds and gardens, and it's excellent position on the tip of a peninsula. Apparently it has captivated the imagination of many artists and filmmakers as well. It was the setting for several films, including Star Wars Episode II.

Any way, back to the painting! It measures 24x36" and is oil on canvas. For more information about this painting, please click on the painting or contact me.