Coquelicots du Lubéron

Oil on Canvas, 16x20"

This is a painting I just finished in preparation for one of my upcoming shows. Can you tell that red is one of my favorite colors? There is an abundance of it in the springtime in Provence and also in Tuscany. This is a scene off of a country road outside of Lourmarin. Lourmarin is a small village located in the Lubéron region of Provence. My husband Dave and I explored all around this area a couple of years ago, and had a spectaular time visiting the area at the height of spring.

To see more of my paintings of Provence, click here.

Tags: art painting landscape painting artist French landscape paintings

A Private Entrance

Here is another little painting I've just completed in square format. This scene is of the grounds around the Hotel Baudy in Giverny. The now historic Hotel Baudy catered to many American Impressionist painters, who made their pilgrimages to the village of Giverny to follow in the footsteps of Claude Monet. The grounds around the hotel are splendid. Huge rose bushes line every walkway at every turn. Click on the image for more information:

A Private Entrance Oil on canvas, 12"x12"

To see more of my paintings of Giverny, click here.

Tags: art painting landscape painting artist French landscape paintings

The Meandering Path, Giverny

Speaking of mixing greens, I had a lot of practice with this new painting!

"The Meandering Path, Giverny" Oil on Canvas, 18"x24"

 To see more of my paintings of Giverny, click here.

Tags: art painting landscape painting artist French landscape paintings

New shows on the horizon

Fall is a busy time for many, and I'm no exception. I'm gearing up for a few shows: October 17, 2006, 6-7 p.m. Can Can Brasserie in Richmond, Virginia celebrates Art in our Community. One evening only. I will provide the art, and Can-Can will provide the wine tasting and munchies. The restaurant is located in the heart of Carytown in Richmond, VA, at 3120 W. Cary Street, Richmond, VA.

October 20, 2006 Please join us for an art opening on Friday October 20th from 6 to 9 p.m. I will be one of six artists featured in the First Annual Landscape Exhibit at the Rentz Gallery. The gallery is located at 1700 W. Main St in Richmond, VA.  Show continues through November 27th. Contact the gallery at 804.358.5338 for more information.

December 1-2, 2006 My annual open studio event! Lots of fun stuff in the works....Details to follow soon.

landscape painting artist Provence paintings Tuscany paintings

Lone Tree and Lavender

Gray skies today and yesterday, so I have been in the studio. I'm not sure if this is the beginnings of storms Ernesto and John making their way up the east coast, but predictions are that we'll have rain at least through Friday. Here is another square format painting I just completed. (I told you I was getting hooked on the squares!) This one is a larger gallery wrapped painting, measuring 24"x 24".

A lot of times I tend to include architectural elements in my landscapes, but I like the tranquility of this lone tree that serves as my center of interest. I saw many such scenes while traveling the backroads of Provence. When the lavender is in bloom the air is heady with the scent of it. The rows of lavender in this piece lead the eye in to the tree. For more information about this painting, click on the image:

Here is a side view, showing the finished edge:

To see more of my paintings of Provence, click here.

painting artist Provence landscape painting

Personal faves

There are times when I paint something and I am just like, "Wow! I love this!" I imagine of course that everyone else will just love it too, as I do. And yet, just as often, it is not the personal favorite that gets the great response. It may be some other painting that I've done.

When my husband comes to the studio, I grab him and say, "Honey, look at THIS!" 

"That's nice," he says, and then walks over to another painting I've done. "But THIS is great!"  (It is?)  .....So I can never tell what is going to connect. I just paint what connects with me, and hope that it connects with others.

This little painting is one that I just loved. I loved making it and I loved it when it was done because it had such fond memories attached to it. I am not one to paint a lot of cute puppies, but this little guy was one that I actually met when we were staying in the Provincial village of Lourmarin. He lived above a fabulous bakery, and he stared in his most menacing demeanor down at us from his upper window perch.

When Dave saw the painting, he said, "That's an unusual perspective. No one is going to know what to make of that sign." But, (in my most menacing demeanor,) I said, "Well, I'm leaving it as is!" So, while the sign, "Arts Pluriels," may not mean much to anyone but me, I know it is a shop sign hanging above the bakery (and now you do too!) And I will always look at this painting and think of the fabulous bread that we bought for our picnic, inspite of the fierce guard dog that threatened our mission.

I call this painting "Chien de Garde" (watch dog or guard dog). It is 12x9", oil on canvas. Click on the image for more info.

Thoughts on Cezanne in Provence

This week I took an out of town trip up to Washington D.C. with a friend to catch the Cezanne landscape exhibit. It was the last week that the show was on view and I am SO glad I had a chance to see it! It was a magnificent representation of his work, with galleries that seemed to go on and on. The show was devoted primarily to his landscapes but also included portraits, some still life, and his Bather series. Having seen (and been in awe of) his many still life paintings in previous exhibitions, the landscapes are what held my attention the most. I must say that no photo reproduction I've see does justice to his work. It was exciting to see the transition his paintings made when he began painting outside. His landscapes seemed completley transformed; going from heavy tonalist works to paintings full of light and color. But what was most striking to me was the incredible structure most of his paintings had. Many of his paintings were done from odd and unique perspectives, and his subject matter and compositional choices were not always typical of what the landscape painter might choose. And yet he had a way for line and composition that made the structure of his paintings feel almost sculputural.

Cezanne was interested in the formal elements of painting, and not really concerned with painting beautiful scenes, per se. For instance his paintings of the coast of L'Estaque did not depict an idealized harbor. Instead he chose to include an industrialized view of the smokestacks along the coast. He also did a number of paintings of the red rock quarries, which to me felt especially exploratory, as this subject lent itself very well to exploring his near cubist abstractions.

And yet there were so many paintings in that show that I found to be incredibly beautiful, both in the the choice of the subject and the handling of it. In particular the paintings of the countryside close to his home near Aix were so lovely. In addition to the well-known Mt. Saint Victoire series, there were many paintings of the rocky hillside villages and crumbling old farmhouses. In any event, I got the sense that he was always experimenting, exploring; perhaps sometimes frustrated (?), but never bored.

Cezanne had a light, feathery touch, and many of his oils were handled in a way that to me felt almost like watercolors. He had a masterful knowledge of color, though he used it in a subtle way. His greens were some of the richest I've seen, and within their shadows were hints of rose, blue, violet and lavender.

There was also an entire room devoted to his watercolors and drawings. These were light, sketchy things, but within them I could see the seeds of Modernism and the inspiration for the Cubists still to come.

It was our intention that day to catch the Cezanne show and then head over to the Phillips Collection in Dupont Circle to see the Degas and the Renior show. But we both agreed that we wanted some time to just absorb all of the great Cezannes we had just taken in. It's kind of like eating a meal. If it is a great one, you want time to just sit with the delicious experience before you move on to desert. And if it truly is great, maybe you don't even need desert at all!

To see my own paintings of Provence, click here.

Tags: art painting landscape painting artist plein air Cezanne

Planning a painting

One might assume that if an artist already has a photo of the scene, no further planning is needed. However, I always find it helpful to plan out my composition a little bit in advance before I dive right into painting. This saves consistent editing to the composition on my canvas, though editing and refining are still a part of the painting process. A sketch need not be overly detailed, but it is still helpful in order to figure out the placement of things. Where is my horizon line? Where is my center of interest? Where is the sun in relation to my subject, and where will the shadows fall? What from the scene do I feel is important, and what may I want to edit out completely?

A sketch is also helpful because my canvas proportions may be different from the proportions in my photo. Therefore, I have to think about how to crop a scene to make it most interesting. Here is a photo of a scene in the Luberon valley of Provence that I took when I was there painting on location. A lovely little church served as a backdrop for a beautiful cherry orchard strewn with pink and white wildflowers. The photo does not do justice to the gorgeous wildflowers that were in this scene, but since I was there and painted and sketched in this area, memory can serve me well here:

Here is my very quick sketch. I plan to eliminate one of the middle ground trees, and use the two foreground trees to frame the scene. I establish where my horizon line will fall. At this point I am thinking it will be more interesting to have the horizon line a little higher up in my scene, rather than right smack in the middle of my canvas. Having my center of interest (the church) just off to the left of center creates a more dynamic composition as well. I also establish my light source and determine shadows.

Here is the painting, pretty well laid out. It is 12x16". It's been snowing here so the lighting coming in my studio windows has not been great for photography and this photograph has dulled my colors somewhat. I'm still working out the distant trees and the grasses and wildflowers in the foreground. I will post the completed painting on my website in the Provence Paintings section when it is complete.

Back from the Workshop

The Friday workshop was a lot of fun. I was impressed by the talent and friendliness of the entire group, and it sure made my experience a real joy. I look forward to giving more workshops in the future! I will post more pictures of the class on in my "photo journal" on my website when I have time, but here are a few images in the meantime. The class began with a little talk and a demonstration. Here is a shot of the classroom. I'm standing in the front of the room (wearing a black shirt and green apron).

Giving the demo... 

An action shot of the painting process; I'm laying in my lightest and darkest areas first to establish my values. 

I got about half way done with this little painting before the participants broke out and started working on their own projects. I should have the finished painting up on my website soon.

Read about Jennifer's current and upcoming workshops here!

Fun with Gouache

I spent some time yesterday playing with gouache paints so that I could see how I liked working with them as a possible candidate for my portable studio. Gouache is a water based medium; basically it is an opaque watercolor. While as an oil painter I wouldn't exactly call it opaque, it is more so than traditional watercolor. I've worked with many different water media before, including gouache, but it has been some time. Here's what I discovered:

My "oops" moments:

• Some of the colors don't behave at all like either watercolor or oils. In general the gouache colors were somewhat darker and took some experimenting to get the mix I wanted.
• The paint dries very quickly! In the future I may rethink squeezing out big blobs on my palette all at once (an overzealous oil painter's habit.) If I painted with these outdoors, I'd definitely need a spray bottle or drying retardant to keep my paints moist and fluid while working in the open air.

My "hey, cool!" moments:

• A very forgiving medium that is easy to work with. Most mistakes can be "lifted off" with water and brush. The opaqueness allows you to paint over certain passages and change the composition (something not so easily done with watercolor.)
• Versatile- can be mixed with watercolor and pen and ink. Acts as a watercolor for washes, but can also be laid down more opaquely and mixed with white.
• Easy cleanup. Like watercolor, just a little soap and water does the trick.

Gouache paintings are treated the same as watercolors in terms of care and framing. They should be displayed under glass and kept out of direct sunlight for best longevity. Gouaches tend to like a rigid surface, so a heavy paper or mat board is a good substrate for this medium. Here is a little painting I did of the Provincial countryside:

 

 

 

Jennifer Young; Vibrant Landscapes www.jenniferyoung.com Contact

Mini Paintings

...And speaking of smaller works, sometimes they are a great way for me to work out some interesting compositions. Many of my mini paintings are great in a small format, but the compositions might be too simple to translate into a larger work. Others, however, could work well on a larger scale.

I painted this little mini just before my autumn open studio:

 

 

The little painting sold on opening night, but I really liked the composition and have been wanting to see how it would work in a more developed fashion on a larger canvas. I started the larger one today, so we shall see if it holds up as well on a grander scale. 

To see more of my Italian Landscape paintings, click here.

Jennifer Young; Vibrant Landscapes www.jenniferyoung.com Contact

Smaller Works

Here are a couple of smaller paintings I did recently to include in my upcoming show. They are each 12x12" gallery wrapped:

"Early Lavender"

"Golden Valley"

Often times when collectors are interested in my smaller works, they are looking for pairs or multiples to use in a grouping. So I do try to keep that in mind when I am creating the smaller ones-- especially my minis. I don't go about creating "matching sets", but as I am working I think about compliments.

Because there are so many ways to hang art, I created a little sampling of ideas on my website that addresses some of the possibilities. It can really be a fun endeavor in itself, and an expression of one's own personal style and creativity as a collector. Some people like a very formal, symmetrical presentation, while others like to mix it up. Some people prefer that all frames match, but I'm one of those who enjoys an eclectic presentation and think that variety of frame styles presented together can look pretty neat, so long as they compliment each other (and of course the room's decor.) I've even seen both framed and unframed work hanging together to great effect.

While sometimes there is a perfect small spot to display a single painting, these smaller paintings can be shown in so many other ways. They can be stacked one over another on a narrow wall, or presented in groupings over a larger piece of furniture like a sofa or console. They can be used instead of sconces to flank a nice mirror over a buffet or hutch (I've done this in my dining room before). They can even be displayed more informally, and sit atop a mantle or book shelf.

Here are a couple of snapshots from my last open studio that shows how I displayed smaller works as part of a larger grouping:

 

 

 

 

Jennifer Young; Vibrant Landscapes www.jenniferyoung.com Contact 

Gallery Wrap

This week I'm working on some landscapes done with gallery wrapped canvas. It is a more time consuming because I am extending the painting to the edges, but I am really liking the effect. Here is a a small 12x12" work in progress. I'll be posting more work to my website this weekend.

 

 

Okay, so the fast has been a little harder than I thought- energy wise. May have been a better choice to start this after my next art opening, but oh well. I think I can still get the work done in plenty of time. I'll just need to manage my time wisely. 

In some instances the fast is easier than I would have imagined, but it is still not for the faint of heart. I am doing the "Master Cleanse," a modified juice fast and am on day 7. Haven't blogged before now because I am at the studio during the day and like milktoast by 8 p.m. every evening. Supposedly it gets better in respect to energy level and other things too. We will see. It might help if I stopped fantasizing about Pad Thai and garlicky spaghettini! I've not been all that hungry, but am having outrageous cravings. Still, I've gotten this far (with no coffee!) and am aiming for 10 days or more.

Off the Beaten Path

I'm going to enter quietly into the world of blogging until I get the hang of this thing....so I'll start out a painting I finished this past week. It is titled "Off the Beaten Path".

This is a scene of poppies and wildflowers in the Provincial countryside. This painting was done in oils on canvas. It measures 24"x30". The little building or shed is called a "cabanon", and they are seen all over the Provincial farmlands.

To see more of my paintings of Provence, click here.