I began painting the landscape from life (en plein air) ten years ago this month. In the beginning, I felt utterly overwhelmed. The complexity of the landscape in its texture and foliage seemed almost impossible to portray in oil paint. It was then that I came to understand the tremendous value of the basic principles and practices that lead to success. I owe a lot to friends, teachers, and mentors who encouraged me and demonstrated how to organize the elements of the landscape on a canvas.
This July I will be in Vermont to teach a four-day plein air workshop. I always look forward to empowering my students to see and paint the landscape the way that my teachers empowered me.
I don’t do pastels a lot because I don’t really know what I’m doing and it’s hard to paint big and I like painting big BUT here’s a little one where the colors turned out nicely #pastel#arte#art_spotlight#femaleartist
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Sneak peek on a detail of a new painting in progress. A new addition to my Phantasmagoric Landscapes series. I will post the finished work tomorrow. 🌝🌲🌿💙
- Paul Wright @paulwright5194
Stunning portrait study featuring just the right amount of color to create balance. The jagged brushwork keeps your eyes moving around constantly. Unsettling and intriguing work.
We are working on a series for our final project in Image Lab in class at the moment, this is only just the beginning of mine, I still need to add more shadowing and shading to the horizon, but it's coming along 😋
Two more of my paintings created during this year’s @carmelartfestival . “Art for sale” 14” x 11”
I loved capturing the feeling of this woman as she passed the art gallery on a rainy night.
The second painting is “Gone Fishin’ “ 12” x 9” See if you can find the fisherman.
"Aurelia" by Dante Gabriel Rossetti. (1863–1873)
This is one of a series of pictures, commencing with Bocca Baciata (1859) that features voluptuous young women with long flaming tresses, absorbed in their own thoughts. An object of pure sensuality, Fazio's mistress is lost in reverie as she gazes at herself in the mirror and idly plaits her golden hair.
The subject is inspired by the poetry of Fazio degli Uberti, addressing his Lady, Agniola of Verona, which Rossetti had included in his Early Italian Poets in 1861. Fazio's description of his mistress's beauty (as translated by Rossetti) conforms extremely closely to Rossetti's image, for which he used his own mistress, Fanny Cornforth, as model:
I look at the amorous beautiful mouth,
The spacious forehead which her locks enclose,
The small white teeth, the straight and shapely nose,
And the clear brows of a sweet pencilling.
I look at her white easy neck, so well
From shoulders and from bosom lifted out;
And her round cleft chin, which beyond doubt
No fancy in the world could have design'd.
As can be gathered from these lines, the poem is specifically about the act of looking. The male poet declares himself ensnared by the woman's beauty, yet the woman can exert this power only as a result of his reciprocal observation. Aurelia (the name was presumably chosen for its classical connotations) exudes a powerful erotic appeal, emphasised in the picture by her red lips, flowing red hair and exposed shoulder and neck. Her dreamy expression and self-absorbtion render her entirely passive, the object of the artist's gaze.
Rossetti described the picture as 'chiefly a piece of colour' and certainly the painting displays a combination of warm colours, rich glazes and contrasting textures, clearly inspired by Venetian art. Rossetti greatly admired Titian, and much of his work of this period is said to have been influenced by Titian's Alphonse Ferrare and Laura de Dianti. Comparisons can also be drawn with Whistler, since the subject, pose, mood and colouring of this work share much in common with Whistler's Symphony in Symphony in White No.2: The Little White Girl of 1864. Source: https://www.tate.org.uk/