Archives for April 2019

What makes portraits of kids so delightful? Besides the fact that children are active and endearing, there are differences an artist needs to consider when painting a child’s face.  Proportion is especially important.

My early paintings depicted birds, flowers and animals, particularly my pets. More recently I find myself attracted to painting people’s faces,  including some of my favorite little people’s. These portraits of my grandniece and grandnephew are meant to show unposed, happy moments. Capturing their innocence is as difficult as capturing a soft, cuddly puppy.

Some of my favorite artists who are known for portraits of children include John Singer Sargent, Nicholai Fechin and Mary Cassatt. Sargent’s child portraits feel like a moment dominated by a person. Fechin has a remarkable ability to capture the essence of a child’s personality in paint, along with an intensity of feeling. Cassatt often created images of the social and private lives of women, with particular emphasis on the intimate bonds between mothers and children. My portraits are the children by themselves.

“I Feel Pretty,” an oil painting based on my photo taken at Thanksgiving, is a poignant reminder of my grandniece’s visit. Nora is a precocious performer. She loves to dress-up while at the same time perform her own creative songs and dances. This painting captures when it began several years ago at age 2.

The scene is her standing on the bench by the kitchen table with a small toy in hand. The light is streaming in from the nearby window. The gauzy tutu encircles her waste with the iconic beads streaming down from her neck. It was Coco Channel who once stated “A woman needs ropes and ropes of pearls.” Royalty won’t leave the palace without a string of beads. Who ever thought that this two-year-old girl understood how to transform herself into a princess?

For a painting that transcends time and place, I kept things fairly simple. The toddler is unselfconscious, standing in a casual pose. The way she carries her head is a major statement in body language. The 3/4 view of her face gives sufficient information of her gaze away eliciting a visceral response from the viewer. Her skin is unblemished, her cheeks are rosy and her blue eyes are large. I love her placid expression with her slightly opened mouth as if she is about to act out something playful. I used a pink color harmony with shades of green as a complement. Her bling and tutu offer visual stimuli with color and shapes. The beads help to illuminate her face.

For whatever reason, little girls are more often the subject of paintings. Perhaps little boys are too busy running around as pirates, as is the case with Nicky, my grandnephew in my next painting, “I Scream.”

Last summer while on vacation on North Fork of Long Island we took the children for several rides on the Greenport Carousel and afterwards treated them to ice cream. The day was quite hot. Nicky’s total focus on his long-awaited ice cream treat captured my attention. 

The store was on Main St. but because it was relatively quiet that afternoon, he could relax on the bench in front of the store. His frog t-shirt and seersucker shorts embody the summer season. Melting ice cream; melting hearts. Again my cellphone captured the moment.

The slight tilt of his head suggests his intense focus. The chubby cheeks are uneven on purpose to show the tilt. His gaze downward accentuates the size of a child’s forehead. His hands are deftly skilled for the task at hand. The BandAid on his knee suggests some previous activity typical of an active two-year-old. Like children all over, Nicky instantly felt healed once a Band-Aid was applied to his scraped knee. It serves as a symbol transforming his hurt into a time of well-being. Meanwhile his ice cream is quickly melting. I can’t stop thinking of the power ice cream has over children and, for that matter, adults too. His no-tie sneakers are ready to take him back in action once the ice cream is consumed.

In these two paintings, I chose to implement large images of each child at eye level on 12” x 16” linen boards. Each child dominates the moment for an impressionistic painting style known to Sargent. I use slow-drying oils with a bright palette of colors in both paintings. The blending and the brushstrokes are deliberate. I like to work slowly and softly building up various aspects of the painting. After building up the basic shapes, I go back to work more and more details. Learning to be an artist is a never-ending experience for me.

Having started painting after a successful career in computer engineering, I like to quote Steve Jobs (1955 – 2011) “The heaviness of being successful was replaced by the lightness of being a beginner again, less sure about everything. It freed me to enter one of the most creative periods of my life.” 

My journey continues but these two paintings are recent examples of more to come. I am totally loving being creative. Thank you for your interest. 

To learn more, please visit sharonrege.com

We all have them – our personal favorite painting, the baby, the one painting you were born to paint! Sometimes, we get lucky. The perfect combination of subject, composition, value structure, color harmony – it just works. That one painting may inspire an entire series. Before you know it, your authentic self as a painter, your style, shows itself. That’s what happened to me. The Chase is a painting of two kids wearing nothing but swim trunks chasing an ice cream truck. Everyone remembers the excitement of hearing the ice-cream truck’s song fill the neighborhood. “ICE CREAM MAN!”, we would scream, then run to find loose change and hope he didn’t get away. That painting has set the course for most of my work since. Childhood memories infiltrate everything I paint. If you are struggling with finding your voice and distinguishing yourself as an artist, maybe your favorite painting can be an inspiration for a series.

Over the past five years, I have immersed myself into several series of paintings rooted in memory, specifically childhood memories. They have produced enough work for galleries, shows, and studio sales. I’ve done a series of 70 small paintings about summer in the 1960s and 1970s; a series of ten summer drinks from the 1960s and 1970s; a series of 28 paintings of family on a 28-day road trip in 1972. Currently, I am working on a series of 12 paintings about school in the era of Dick and Jane.

Prior to painting, I threw pots. Lots of pots. I was a production potter throwing hundreds of pounds of clay a week fulfilling orders for gift shops all over the country and abroad. I had 18 sales reps selling my wares at wholesale prices which barely left any profit for all my hard work. My passion turned to excruciating work and before I knew it, I resented dry hands, sore back and the constant hum of my pottery wheel. I barely slept. Something had to change. I decided to paint. Years later, the same principles that helped me produce shelves of pottery helped me produce a series of paintings.

It’s satisfying to complete a body of work, a series of paintings. It feels good to have paintings for galleries, shows, and sales. It also feels good to tell people what you are working on. Here are a few tips to help you if you want to tackle a series of paintings:

1. Determine the number, size and subject of a series. Set parameters about when you will finish (a painting a day, season, month). Pick a good number, then use social media, blog, etc. so others can follow your journey. Make it a realistic number. The summer I painted one a day was a huge commitment.
2. Source items if you’re doing still-lifes or take photo references combined with observational work. I keep a sketchbook and draw thumbnails for each image. I have bought a few rather bizarre things off eBay to paint, like an old metal ice-cube maker, pick-up stick game, even an old orange life preserver!
3. Have gumption and stay with the idea until it is complete even if you doubt your skills and subject. I use the word “GUMPTION” as my mantra and listen to the Hans Zimmer song Gumption from the movie The Holiday! It keeps me painting through anything. There were times when I thought, am I nuts painting Tang, cinnamon toast or Yodels? I may be nuts, but at least I’m being authentic.
4. Contact venues for showing your latest series. Tell people what you are painting.
5. Set up for success: order supplies to see it through, clean your studio before you start, plan times to paint, tell your family that you’ve decided to make the commitment. Take the series seriously.
6. Enjoy every second – painting is the good stuff!
7. And remember, if something is important to you, you will find a way. If not, you will find an excuse.

Happy Painting…and give Gumption a try!

As Memorial Day approaches, we wanted to take the time to honor all Veterans and celebrate the experience of art that has become a solace and rewarding experience to many Veterans today. Especially oil painting…

John Melillo, a disabled Vietnam Veteran is proud to have served his country. Today, John has joined OPA to share his passion and experience with oil painting.

In early 1970, John was drafted and found himself in Vietnam with the Army. He was stationed in Long Binh, the largest military installation in the country and was assigned to a Combat Military Police Unit where after a month became Patrol Supervisor. They were first call responders to any situation that would occur in a war zone from civil to combat involving 26,000 GIs and over 60,000 Vietnamese. He was front line commander of 26 MPs (12 on gates,12 on patrol, plus 2 dog units) working 12-hour shifts, 7 days a week, rotating 6 weeks days then 6 weeks nights with very few days off.)

John states, “Everyday was an eye opening Experience to say the least.

Today, I find a great deal of solace in painting some of the things I captured on film and making them a reality. It also gave me a great deal of accomplishment and reflection in the process.

These images reflect some of the history and point of view of the culture and life I witnessed in Vietnam.”

John was always interested in art but never had time to pursue it until his retirement in 2015.

He started auditing art classes (Suffolk Community College) and attended oil painting classes at the Southampton Cultural Center, Art League of L.I., SVA, The NY Academy of Art, Christies, Sotheby’s and frequent visits to various museums, art shows and galleries in NYC which all helped John find his style of interest.

 “Oil Painting is my passion. When painting I look to make it real by pushing back and bringing things forward that I want to emphasize. It gives a painting real life when done properly. It’s all about form and lights vs darks.”

“In the final analysis, I’ve learned you have to feel your passion and act boldly. Do not be afraid of failure because painting is a very humbling experience no matter who you are and what level you’re at.”  

Look! Everyone has their Vietnams- (I don’t care who you are). As a way of dealing with mine, I will continue through the programs available to me and of course, continue the very therapeutic process of creative art.” Says John.

Please stay tuned to see more on Instagram @artfeelingsjm for the “Life Goes On…” Vietnam Art Series by John of his original photos and experience.

Press Contact: Art Feelings
Beth Melillo
bethmproductions@gmail.com
917 414 7452
Instagram: @artfeelingsjm

CourtesyArt Credits – All Rights Reserved – JM @Artfeelingsjm

“The self expands through acts of self forgetfulness.”

 – Mihály Csíkszentmihályi

What is Flow? Why is it important in the creative arts and how do I find it?

Flow can be defined simply as “Optimal Experience” or “as the mental state of being completely present and fully immersed in a task, outside distractions recede from consciousness and one’s mind is fully open and attuned to the act of creating. There is very little self-awareness or critical self-judgment; just intrinsic joy for the task.” –Barry Kaufman

As artists there are times when we feel blocked, stuck and frustrated with our lack of artistic output and there are other times when we are riding the great artistic flow, living in the optimal experience of hitting our artistic goals and producing art on a regular basis. By better understanding our own creative flow, we can diagnose where the kinks in our creative life are so that we can get back on track.  Not only is it important to look at how we can facilitate artistic flow, but also how we can create flow in our everyday lives. One thing that has helped me keep centered and be better able to be in flow artistically is to exercise regularly, take a long walk in the outdoors, spend time at the gym, or go for a swim; these do wonders for me. Visiting with friends & family, listening to music and reading also put me in a good state of mind. As does a great glass of red wine.

Being in flow contributes to overall happiness. Mihaly states “Happiness is not something that happens. It is not the result of good fortune or random chance. It is not something that money can buy or power command. It does not depend on outside events, but, rather, on how we interpret them. Happiness, in fact, is a condition that must be prepared for, cultivated, and defended privately by each person.” I believe that you can find opportunities to cultivate happiness in your everyday life.  You don’t have to wait for an annual vacation or special event.  Any day you can go to your favorite restaurant, visit a friend, walk on the beach or do your favorite activity. These outside activities will help you achieve your artistic flow more easily.

The following are six characteristics based upon the leading research of Mihaly Csikszentmihalyi’s book “Flow: The Psychology of Optimal Experience” that are present when we are operating in flow.

1. Intense and focused concentration on the present moment (You are in the now.)
2. Merging of action and awareness (You are in the flow.)
3. A loss of reflective self-consciousness (Your self gets out of the way!)
4. A sense of personal control or agency over the situation or activity. (mastery)
5. A distortion of time (Time flies by or slows down because of your complete focus.)
6. Experience of the activity as intrinsically rewarding (based upon the goals you have set for yourself.)

Three components that Csikszentmihalyi also lists as being essential to flow are:

• Immediate feedback
• Feeling that you have the potential to succeed
• Feeling so engrossed in the experience, that other needs become negligible.

Mihaly explains, “Optimal experience depends on the ability to control what happens in consciousness moment by moment, each person has to achieve it on the basis of his own individual efforts and creatively.”

I believe flow is a very important component in the visual arts. The paintings I have painted while I was experiencing flow are by far better than the ones that I have tried to push (or force my way) through. These are the paintings that seem to fall off my brush and are readily noticed by art lovers, collectors, friends and my fellow artists. They are also the paintings that get usually get accepted into national shows or have won awards. Flow is the state I am always aiming for.

One of the keys to understanding how flow works for you is to understand how you best work as an artist. For me, flow happens three different ways and I need all these approaches to do my best work. I can achieve flow through:

1. Participating in art competitions (combines 1, 2 & 5)
2. Focusing on my own deep study (combines 4 & 6)
3. Painting with my fellow artists (combines 3 & 6)

When I compete in a plein air event, the elements of flow are usually present for me.  I am intensely focused, I am challenged by the changing light, time constraints and fellow competitors, time flies by and I find the experience very rewarding. Because you are in a competition the feedback on your efforts is immediate, you can judge your efforts based on your own goals, by viewing other artist’s work and sometimes by the award results.

Mihaly states that “The best moments in our lives are not the passive, receptive, relaxing times… The best moments usually occur if a person’s body or mind is stretched to its limits in a voluntary effort to accomplish something difficult and worthwhile.”

This painting “Out on the Edge”, 12×12 was created at the Mendocino Open Paint Out this past September. I remember painting on the side of the cliff and just experiencing the wonderful weather, the crash of the waves hitting the cliffs and the strong light and shadow pattern in the water. This painting was later accepted into the California Art Club’s “A Journey Through Central California” exhibition. Being in a competition and painting alongside many artists created a flow experience for me.

I know that I also need my quiet time as a painter and time to study on my own. I was recently an Artist in Residence up in Mendocino. Unfortunately, the month that I was there, the weather forecasts were for wind and rain.  Not conducive to plein air painting!  So, I brought up several books on painting ocean waves. I had a choice to study or complain. I chose to study.

One of the books I read was E. John Robinson’s “The Seascape Painters Problem book.” I read about the form of the wave, how to set up a stronger composition and how the light in the sky relates to the ocean. There were a couple days where I was able to get great photos. One such day was at Mendocino Botanical Gardens one day; where I saw incredible waves and gorgeous cloud formations. This painting “The Onslaught” , 11×14 was painted from a photo I took, but also from my experience on location and from the information I learned in Robinson’s book. Later, I learned, Robinson lived in Mendocino for a time and had a mural at St. Anthony’s Church there. It was great for me to see his work in person. The Director of Marketing at the Mendocino Art Center was also Robinson’s son in law. We had a great conversation about his work and his life as an artist-there are no coincidences. I felt this experience put me in Flow; focused effort, mastery over my understanding of the area and painting technique, rewarding experience and completing my goals. I feel that the connection to Robinson’s work and the area was my immediate feedback.

The third component of Flow for me is engaging in activities with other artists. I really enjoy, listening to artist talks, seeing demos, viewing another person’s artwork and painting with them. These activities all produce flow for me. Studies done by St. Bonaventure University found that students rated flow to be more enjoyable when in a team rather than when they were alone.

Last month, Jeff Sewell came to San Francisco to do a demo on painting oceans for the San Francisco Chapter of the California Art Club.  Jeff did his demo to a packed house and it was great to learn about his approach to painting seascapes. Jeff focused on composition and creating form in the wave. Jeff invited everyone who attended the demo to join us in Pescadero for an impromptu paint out. For me, not only did I learn from the demo, but I learned from the other attendees. On Sunday, things just aligned for me to experience flow, we had great weather, a wonderful group of supportive & enthusiastic artists. There was lots of camaraderie among them. I chose to stand on my own on one of the cliffs, but I could see everyone from my vantage point. I felt calm, focus and very contented. We all established a great creative atmosphere. I painted “The Surge”, 12×12 that day in Pescadero and was happy with the result.

As artists we need to find that voice inside us and inner calm to be our best artistic selves. Each of us has different motivations that we operate best at and types of stimuli that will help us achieve our artistic goals.   As the Swiss physician & alchemist states “Thoughts create a new heaven, a new firmament, a new source of energy, from which new arts flow.”

“Knowing yourself is the beginning of all wisdom.”

–Aristotle

To see and learn more please visit ellenhowardart.com

Do you ever find yourself wondering what’s important in your painting and what is secondary?

I remember when I was younger and not clear about this, (what was of primary importance and what to do about it). This confusion caused me to over-work a number of works, as I tried to get everything I could into a painting. It was a sickening feeling, when I sensed at first I had something and then suddenly I didn’t. And I was blind as to what had happened to the painting!

As I look back I think it was because I hadn’t realized what was important and what was not important. I worked and reworked without clarity, weakening what I had or even losing it completely. This problem plagued me for a few years until finally, I figured out how I could deal with it. This is my personal approach to that problem:

I was taught, I had to paint from edge to edge before I could even consider the painting a painting and also not to get into any specific part of the painting beforehand. This idea for a painting is valid in its own way, but for me only to a limited degree. I felt for me that too much concern about everything else kept me from a certain amount of intimacy or focus for the area(s) of the painting that had originally thrilled me to start the painting in the first place.

I decided to try Vignettes and not paint from edge to edge. Vignettes basically mean just painting the area that interests one, and leaving the rest of the paper or canvas untouched. It also meant forgetting about the concern if others would consider it a study, or a sketch, or worthless. Since I was painting daily I was able to experiment with a number of works to explore this idea.

Something interesting about Vignettes

It seems that if I painted a vignette on a toned ground, it was more acceptable as a painting than when I painted the same vignette on a white ground.

Then what about the portraits I painted with oils or pastel on a pre-toned surface? Since there are no actually painted backgrounds, these portraits were vignettes, yes? Yet they are accepted as finished paintings.

This made sense for portraiture, but what about the landscape?

As I was painting mostly with pastel on location, I decided to start the pastel with a watercolor under painting. These transparent watercolor washes added an unexpected texture and contrast to the “backgrounds”. Watercolors also have what is referred to as “watercolor accidents” which if not tampered with are quite beautiful in their own way.

Then with my pastels I just focused in on the area(s) I wanted to paint, had to paint, and painted them. This was very direct and clear to me as to what was important. The unimportant area(s), in order to give the pastel breathing space, I basically left alone or it would be painted with just a minimum of detail or the suggestion of detail. Or left alone completely leaving the watercolor washes without further ado.

For my oils…

I have always mentioned in my workshops: “the nice thing about oils is that they are wet, and the problem with oils is that they are wet.” What to do?

I start my oils, which are mostly painted in the studio and are larger than my on location pastels. My paint medium is fast drying Gamsol. My initial transparent color washes are applied and scrubbed on with a sense of abandon, very much like my watercolors for my pastels. Dark areas will have dark transparent colors varying from warm to cool tones. The lighter areas will have lighter tones applied again considering only where the warmer or cooler tones are located.

Then, painting from the center of interest out, painting the areas that I wish to focus on which is basically the important area(s) which by themselves made up a vignette, then letting the other areas simply “drop  off” so to say, or simply  painting them  with much  less  emphasis or detail. I also found these untouched, unfinished areas are perfect for a signature, which finishes the painting.

Untitled
By Albert Handell
Pastel – 12″x 18″