Evening Vineyard

Evening Vineyard, oil on canvas, 14x18"

The photo of this painting is actually much duller then the actual painting. I am not sure how to remedy this at this moment. Just imagine it very vivid and alive. While painting it was difficult at first to switch from a vertical orientation of the vineyards to horizontal.  But it was fun because of the light and brilliance that help guide my brush.

Symmetry

Symmetry, oil on canvas, 14x18"

I'm on a roll with vineyards as subject matter, but I don't feel as if I've exhausted the subject for a while. I am thoroughly intrigued by how simple it seems when evaluating a photo reference to paint, to how that turns into something that requires so much more focus then expected. In other words, I am loving it. Despite how detailed vineyards are to paint, I feel like I have been much looser and freer with my painting style.

Long Shadows, Vineyard

Long Shadows, Vineyard, oil on canvas, 14x18"

The rows between the grapevines in a vineyard are equally as manicured as the vines themselves.  They are living, breathing natural artwork, representing painstaking symmetry and balance. 

I dedicate this painting to Peter Mondavi, who along with his brother Robert(who would later leave to start Mondavi Winery) turned Krug Winery into a quality wine growing/making facility. They were early leaders in helping Napa Valley become a premier wine growing region in the world . Krug is also my favorite winery in Napa. Peter lived on the property that now houses their tasting room in a  restored historic structure. The several visits I have made in the last few years, I always hoped to see him and take a selfie with him. But it wasn't to be. Peter died Saturday February 20 at the grand old age of 101. Cheers to Peter Mondavi and the delicious, bold Cabs his winery has given us. 

Sunlit Vineyard

Sunlit Vineyard, oil on canvas, 8x8"

I finished this painting early this morning. It is for another donation, this time for LVA, Louisville Visual Art Association.  So far, as I wind my way back into the world of painting, I have turned down many commission but not donations.  I feel as if there are too many expectations that I would not fulfill within myself with commissions. Donations on the other hand are fun and less pressure.  

This vineyard, in the reference photo, was bathed in light.  I hope I pulled this off. The subject matter is near and dear to my heart so it was natural that I gravitate to them constantly. 

By the way, the LVA's annual Art[squarted] event will be held April 9 at their new location in the Historic Portland neighborhood of west Louisville. I missed the deadline last year so am thrilled to participate and offer this painting for sale. All artist contribute an 8x8" canvas, are anonymously hung in the gallery space and are priced at $100. Please save the date, buy a painting; your donation will contribute to funding the Children's Free art classes sponsored by LVA!

Near and Far

Near and Far, oil on gessoed watercolor paper, 12x8"

I was up late, unable to sleep the other night and produced this painting. I was a good way to spend my insomnia.

Closed

Closed, oil on gessoed watercolor paper, 6x8"

I continued with another urban scene. I took this photo walking back to the high school where Barrett has orchestra rehearsal, after I had packed up my painting gear.  The day, although beautiful and sunny was too windy to paint, but perfect for photos.  There is a rail yard with turn-of-the-century warehouses near the school, and it's a terrific place for photos.  The painting is one of the first urban landscapes I've done in a while and I'm out of practice. 30 years ago, these are the scenes I painted religiously. Time to hone in again.

Fixin' it Up

Fixin' it Up, oil on gessoed watercolor paper, 6x8"

Every Sunday my daughter Barrett has rehearsal with the Louisville Youth Orchestra. The location of the rehearsal is the high school that my older children attended.  It is situated in the "Old Louisville" historic neighborhood, so there are plenty of places to walk, look and photograph during a three hour period of the day.  Last week, I decided to take my painting gear and venture out, expecting to get about 2 1/2 hours worth of work done. After all, it was a beautiful day.  I set up to paint these beautiful, smaller homes of the typically Victorian neighborhood and within thirty minutes, after basically accomplishing a loose sketch, the wind had gotten the best of me.  I started packing up and was approached by a very nice, curious young man named RJ, who admired my painting and eventually revealed he owned the yellow house.  He said he was doing a lot of work to it, because it had been a "fixer upper" when he bought it.  

Rows of Snow

Rows of Snow, oil on Arches oil paper, 12 x 16"

I have painted this scene before, a smaller version during the 30/30 challenge.  This time I interpreted it during winter with snow.  The red barn stands in the field alone. Everything else can't withstand the cold. 

Transitioning Topography

Transitioning Topography, oil on Arches oil paper, 12x16"

The reference photo for this painting was taken somewhere after the Rockies, heading west, when the topography becomes more sculptural and red. Nature rocks!

It has been a nice week off from painting, but I am ready to get back to it. I have been cleaning and reorganizing my studio. I bought a large metal tool chest to hold my palette and turp on top and to hold all my paints and chemicals in the drawers and underneath. It came unassembled.  All I can say is, it took me over a week to do it. Never again. But then again, never say never!