Freedom from Want, 1943, Norman Rockwell
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The Runaway, 1958, Norman Rockwell
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Shiner, 1953, Norman Rockwell
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Watch Me Paint: World-Class Art, World-Class Instruction
Freedom from Want, 1943, Norman Rockwell
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The Runaway, 1958, Norman Rockwell
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Shiner, 1953, Norman Rockwell
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Lilybells by Katharine Cartwright is one of the many wonderful works at the Kelpie Gallery this holiday season.
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The Kelpie Gallery
Sea Fog, by Carol L. Douglas, will be at Ocean House Gallery. |
Ocean House Gallery & Frame
Blueberry Barrens, Clary Hill, will be at Camden Falls Gallery |
Tricky Mary in a Pea-Soup Fog will be at Carol L. Douglas Studio. |
Sunset is one of many works offered in my online sale. |
Gas Station, also known as Garage No. 1, Stuart Davis, 1917, courtesy Hirshhorn Museum
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Report from Rockport, Stuart Davis, 1940, courtesy Metropolitan Museum of Art |
Private Way, Stuart Davis, c. 1916, courtesy Christieâs Auction House |
“Davis and his family first went to Gloucester in the summer of 1915, attracted by John Sloan’s enthusiasm. Eventually, his parents acquired a house on Mount Pleasant Avenue, where both Davis and his sculptor mother kept studios; over the next twenty years Davis would spend extended periods on Cape Ann. Gloucester imagery would permeate almost all of the work of this avowedly-urban painter for years to come, but if the accoutrements of the working harbor held a lifelong fascination for him, the particulars of Gloucester space and geography were crucial to his early evolution.” (Stuart Davis: A Catalogue RaisonnĂŠ, vol. I, New Haven, Connecticut, 2007, p. 55)
City Snow Scene, Stuart Davis, 1911, courtesy Christieâs Auction House |
Don’t stop to gawk at or sketch any boats along the way; you’ll see boats in Carol’s art once you get there.
Sketchbook 19-7: Rosemarie, Boston, Stuart Davis, ink on paper, 1938, courtesy Cape Ann Museum
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Boats, Stuart Davis, 1930, courtesy the Phillips Collection |
Studio Interior, Stuart Davis, 1917, courtesy Metropolitan Museum of Art |
Servant Girls, Stuart Davis, 1913, watercolor and pencil on paper, exhibited at the Armory Show. Courtesy Munson-Williams-Proctor Arts Institute |
And as the sign says: You Are Here. While everyone wonders, how does Stuart know?
Our basic classroom still-life for these exercises. |
Above is the still life I created for these exercises. Make your own, or work from a photograph. You can use the same subject for all four exercises. Keep it simple; it doesnât pay to get lost in the details when youâre supposed to be thinking about color.
The Starry Night, Vincent van Gogh, 1889, courtesy MoMA
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Jennifer’s painting based on The Starry Night. |
Olive Trees with the Alpilles in the Background, Vincent van Gogh, 1889, courtesy MoMA
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Mary’s color triad painting. |
This, plus white, is a limited palette. |
My limited-palette demo using the paints above. |
Hardwood, by Carol L. Douglas. This is a color substitution painting. |
Olive Orchard with a Man and a Woman Picking Fruit, Vincent van Gogh, 1889, courtesy KrĂśller-MĂźller Museum
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Buffalo Grain Elevators, Ralston Crawford, 1937, oil on canvas, courtesy Smithsonian American Art Museum
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âWe saw a beautiful painting by Ralston Crawford in an exhibition at the Ashmolean (American âCoolâ Modernism). It said he was a Buffalo painter, but Iâd never heard of him. Iâm picky about abstract art, but I really loved that painting!â wrote an expatriate reader.
Buffalo (2 grain elevator cylinders), Ralston Crawford, 1942, gelatin silver print, courtesy Smithsonian American Art Museum
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1961–Number 3, Ralston Crawford, 1961, oil on canvas, courtesy Smithsonian American Art Museum
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Lafayette Street, Ralston Crawford, 1954, lithograph, courtesy Smithsonian American Art Museum
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Midsummer mid-Atlantic, 18X24, oil on canvas, unframed; see Hidden Holiday Sale for price.
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âGot any air purifier recommendations?â my correspondent wrote. âMy new studio windows don’t open.â Sheâs an oil painter who uses Gamsol as a solvent. She has only two entrances, both of which open to interior spaces.
Beauchamp Point, 12×16, oil on Archival cotton panel, unframed; see Hidden Holiday Sale for price.
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Horno, 8X10, oil on archival cotton panel, unframed; see Hidden Holiday Sale for price.
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Midnight sail from Camden Harbor, 24X30, oil on canvas; see Hidden Holiday Sale for price.
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âWhen should I enter calls-for-entry?â a reader asks. âThere is a plethora suddenly in Colorado. I have pieces headed to a library for their show this winter (no entry fee, but I have to mail or deliver the paintings 200 miles away). Others are going to a museum ($35 entry fee; they keep 25% commission) and possibly a gallery ($35 for three paintings, $50 for 6; they keep 50% commission).
Farm song, 14X18, oil on linen; see Hidden Holiday Sale for price.
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Early spring at North End Shipyard, 14X18, oil on archival cotton panel; see Hidden Holiday Sale for price.
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Early spring run-off, 8X10, oil on archival cotton panel; see Hidden Holiday Sale for price.
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Midnight Sail from Camden Harbor, 24X30, oil on canvas, by Carol L. Douglas. |
Now, for the secret.
Hillside farm (The Logging Truck), oil on linen, 16X20, by Carol L. Douglas |
On Monday, Ken DeWaardand I went out to catch the last of the autumn gold before yesterdayâs drenching rain. We met at a beautiful old farm in Hope, owned by an elderly lady who gave us some hollyhock seeds in the bargain.
There were two structures that interested meâa fine old Maine cape, and a white frame building glowing violet with a young maple blazing yellow in front of it. âYou choose first,â we told each other. This is often the hardestâand always the most importantâpart of field painting. In the end, I chose the farmhouse and he chose the maple, and I proceeded to complain for the rest of the morning.
The scene I painted. |
Snow on the forecast, by Carol L. Douglas |
The scene I was riffing off. |