A Year Old

This blog is now one year old, and a new appearance is appropriate, with a colorful header and a white background, to make reading easier. To celebrate the new appearance is my latest oil painting, something a little different for me, in which I got away from my usual rendering mode:

New Town Mazatlan, 2010, oil 16" x 20" Did you ever have a picture you couldn't stop working on, no matter how hard you tried? I tried several times to stop on this, but it was just too intriguing, all those little related spots of color, the doodler's delight. There was some perspective, but I only used it to make depth.I learned from this that you can only quit a painting by finishing it.
Now I've already had to revise my SW Collection, that I revealed last post:
Both Old Town and New Town Mazatlan were begun together, and my scheme was to have two Mazatlan paintings to present together. My objective was to make an orange oil painting that would complement the red one of old town. I needed to work on my oil palette, and I got a half dozen new orange oils to play with, so I now have 11 different oranges, as many oils as I have in each of my other colors:
I was working from the top down, so as to avoid getting oils on my wrists and cuffs, since I was using my new small brushes. And this painting simply was not done until I reached the bottom. This is the type of painting that can't be left alone, whenever it's near I'll be compelled to play on it some more. I can not at all guarantee that what is presented now will be exactly the same as it will look a year from now.
I'm glad to tell you about these paintings, as I actually got them on a trip to Mazatlan in 2008, my retirement cruise to the Mexican Pacific Riviera, the only cruise we've taken. Now I get to show you some drawings from my notebook:
The MS Oosterdam was our ship, and the week-long trip was a sketcher's delight. We had a great little stateroom with veranda, and I just spent my time out there.
Here's our view of Cabo San Lucas, the second night's destination:
Both views of Mazatlan were presented to us from our veranda on our third morning, with the new town of Mazatlan to the east, aglow in orange morning sunlight, and the old town of Mazatlan to the north, which I painted shining red in evening sunlight. Here's the sketch I made of the old cathedral:
At this time last year, leading into the summer, my blog had a lot of content. With my art show in August at the Old Colorado City History Center, this summer is already looking busy. I'll keep you posted.
A Personal Note
I've rarely allowed myself to add anything personal in my blog, prefering to stick to the journalistic standard of making it as brief and comprehensive as possible. My favorite blog is Judy Wise, who encouraged me to start my blog. She is such a complete art teacher in everything that she does, that I can only hope to emulate her in some way. She is professionaly brief and to the point, but she always includes personal insights and feelings that leave one astounded.
Just for instance, she currently mentioned and illustrated the potent symbolism of images from world religions, and also she shows a drawing of a kalakus tapping her on the shoulder. Both of those produced strong responses in me. I love how her artwork reflects what's truly within her and what she's experiencing.
When I saw her last she enthusiastically asked me, "Don't you just want to engage?"
I love engaging, we need other people very much, but I don't seek to engage the way Judy does. She always amazes me.
Anyhow, this is to let Judy know that her inspirational blog teaches me a lot, including how to see, and I thank her and encourage her.
Both Judy E and I will love her forever, as sung by Leon Russell.
Here's Judy planting tomatoes today: Here's our first Iris, Immortality, it just keeps on going on: And here's what the crabapple in our backyard just looked like:

Southwest Collection

Today's Cinco de Mayo, and usually we can expect a snow storm. But today's the hottest day of the year so far. Anyhow, here's my oil painting of one of our recent blizzards on this date:
Cinco de Mayo, oil 20" x 30"
This is one of the paintings in my current Southwest Collection. I've now got my collection posted on Etsy (EkstromArt.Etsy.com), and I've scheduled an exhibit and sale on Friday, Aug. 13 at the Old Colorado City History Center. Here's the brochure of my entire collection:

I've handed out many of these brochures at the history center, and am printing more to give to people I know. The back page of the brochure is the oil from last year of Old Town Mazatlan:

On the inside I'm featuring my oils from along the High Road between Taos and Santa Fe:

* The backside of San Miguel Mission in Santa Fe, 20" x 24";
* 3 Incarnations of St. Anthony's in Dixon, 20" x 30";
* Sacred Heart at Nambe Pueblo, 16" x 20";
* Mission San Lorenzo at Picuris Pueblo, 16" x 20"

Page 3 of the brochure features 3 more High Road views:

* Mission San Jose at Las Trampas, 20" x 24";
* Mission of Holy Rosary at Truchas, 20" x 24";
* Holy Taos Mountain, 30" x 48"

And page 4 shows the remaining pictures I have for sale:

These include my diptych of the Colorado ghost town St. Elmo, which I completed only a year before the fire that destroyed much of the center part of the town:
* East St. Elmo, 24" x 30";
* West St. Elmo, 24" x 30";
* Cinco de Mayo, 20" x 30";
and * San Jose de Gracia at Las Trampas, 20" x 24".

The Back Sides

I'm assembling my Southwestern Collection of paintings for sale, and this view of the back side of San Miguel Mission in Santa Fe is my last High Road contribution for awhile:
San Miguel Mission Santa Fe, 2010, oil 20" x 24"

The back sides of these old buildings are often as interesting as their fronts, if not more so. San Miguel is in the center of Santa Fe on the Santa Fe Trail, and there's always lots of people around. The handsome Indian woman in the painting actually was standing across the street from the church:

The back side of San Miguel is another painting that I started from only the briefest sketch, laying it out in big brush strokes instead of drawing it, concentrating on the forms, textures and colors, the way I would do if I were actually painting in plein air. I made the drawing of the church later, which helped me in finishing the painting:

Just next to the church, on De Vargas St on the east side of the Santa Fe Trail, is the oldest house in Santa Fe, c. 1646:

When I painted the back side of San Miguel I was thinking of a famous painting by Georgia O'Keefe, "St. Francis of Assisi Missionary at Ranchos de Taos, 1929," my favorite High Road painting. She painted the back side of that mission, and her stunning iconic image has always been in my head since first seeing it. It's my inspiration for my High Road paintings. Ranchos de Taos is at the other end of the High Road from Santa Fe, and with Georgia on my mind I made a drawing of the back side of that mission:

I'd love to make a large oil of this, the forms, textures and colors are truly classic. This also is a classic example of how interesting the back side of the building is compared to the front side:

I admit that my Southwestern Collection, which I'll show all of in the next blog, is way overloaded with New Mexico missions. I started these when we had plans after retirement to move to New Mexico, and I wanted to have a collection of New Mexican scenes ready for sale when we made the move. But now that we're staying where we are, I'm eager to paint lots of new classic Colorado views, which also have their own colors, forms and textures.

Thanks to rudraksh for the comment on my last blog. Yes, these paintings do provide a simple connectivity between you and me, and that's entirely what I'm seeking.

Santa Fe, Painters' Paradise

OK, I'm not actually in Santa Fe right now, but I am still making a lot of artwork from our trips there. I've just finished an oil painting of Mission San Miguel near downtown Santa Fe, one of the oldest structures in the U.S., dating to c. 1601:
Mission San Miguel, Santa Fe 2010, oil 20" x 24"

This is another painting I began a year or so ago, underpainting in very thick oils that took a long time to dry, a technique I don't plan on using any more. But those thick oils are sure fun to paint on.

I have several sketches of this iconic building, which has at least four good views, one from every direction. It's a very recognizable landmark. I'm attracted to the character of older buildings, and this one's as old as they get here abouts. I'm getting a collection of these landmark buildings, not only for what I learn as I work on them but because I know that they're attractive to lots of people.


I started with this traditional classic view from the north, but it was clear as I sketched it that I had to have someone in the picture. The place was very busy, and three guys came by, laughing, on their way to the Indian Market. The view of the three of them together seemed quite appealing.



I prefer to put people in my pictures, but I'd like them to be people who were there when I was. I like these guys a lot just by themselves, and I've resolved to draw more people. People are like buildings, in that they have critical proportions and details that are so important in the final view.



I finally settled on this view, because of the light and colors as well as the couple who were there.

I liked their quiet demeanor in comparison to the building, not so attention-drawing as those first three guys. Her tatoos got my attention, I didn't show them to their beauty. Now there's an idea for portraits. I'm going to stay in Santa Fe for awhile longer, I have a lot of pictures of people from several Indian Markets.

My next post is my oil of the fourth view of San Miguel, from the back. I was thinking of Georgia O'Keefe when I started it, but it's very removed from her painting.

Great Places to Paint: Dixon, NM

I'm still on the High Road between Taos and Santa Fe, where I'm getting a collection of pictures. My latest oil painting is of Dixon, where three incarnations of St. Anthony's Church are on proud display:
The 3 Incarnations of St. Anthony's, Dixon NM, 2010 oil, 20" x 30"

That's John Prescott with Judy Ekstrom in the picture. I originally underpainted it very thickly with oils, which took such a long time to dry I set it aside and forgot about it, but as I was compiling these High Road pictures I found it and finished it in a few weeks.

The painting was started after only the briefest sketch. This drawing of St. Anthony's at Dixon wasn't done til a few weeks ago, which helped me greatly get the painting finished. I also made several other drawings of Dixon and views along the High Road. I'm using the High Road as my current school, my training ground as I play with all my oils and my new large set of Derwent watercolor pencils. I view all my drawings as potential paintings, I won't make a painting that I haven't sketched first on the spot.

Now I'm trying to put these classical iconic images into more of a scenic context like my new view of San Jose de Garcia Church at Las Trampas, instead of continuing to make the bold, in-your face thick oils that have been my mode.

I love the colors, textures, patterns and light all along the High Road. No wonder those early Taos artists painted the way they did, the sunlight is incredible and comes in through my basement studio windows every afternoon.

The oil of St. Anthony's was lots of fun. I started by just boldly laying those shapes out, not trying to draw details at all. The underpainting of the biggest church was bright red. I found myself actually rubbing in some of my new oils with a rag, to bring out the underlying textures and colors.

I doubt I'll ever do another oil like this one, I just can't wait long enough for thick underpainting to dry, and I don't want to try to oil paint on top of thick acrylics.

My next posts will be paintings and drawings in Santa Fe, and everything will be new.

Happy Noo Year

It's not too late for one last hoopee, even though it is in the middle of January already. I've resolved to blog, draw and paint more in the new year. Also I want to show my remaining artwork from last year, including a painting that I used for my holiday card:
Old Town Mazatlan, Catedral Basilica de la Purisima Concepcion, oil 16" x 20"


I showed this picture six months ago, when I began this blog. Even though this is a blog about oil painting, I do make lots more drawings than paintings. My first drawing of the year is from the window of our hotel room in Denver on Jan. 1, after waking from the New Year's party our daughter Chris took us to:
Coors Field, ink and watercolor pencil, 9" x 12"


The party was appropriately wild, with dancers on stilts:
The White Rose Gala, watercolor marker, 9" x 12"


STILL ON THE HIGH ROAD

I love the living drum I got in Santa Fe on our second trip last year, by Elk Good Water, Taos Pueblo. I wish you could hear it:


Having more leisurely time on this trip, I made new sketches along the High Road from Santa Fe to Taos:
Judy on the High Road


The High Road is my favorite sketching route. I've always drawn in my notebooks wherever I've travelled, and this is how I've filled up a notebook a year. I was looking for different views in our old favorite locations:
A scene in Chimayo


Three scenes in Truchas:







And a scene in Las Trampas, the back side of San Jose de Gracia Church:


Even though I'm done showing old pictures from the High Road, in this new year I still have lots of fond images that I'm compelled to turn into more pictures, which I'll continue to post as I make them.

Doll Doctor Antiques

I finished and delivered a new oil painting:
Doll Doctor Antiques, 24"x 30".


Marilyn and Ariel Baylen were very pleased, and I was too because frankly I didn't know how it would turn out. This was the first complete oil rendering I've ever done. It took me two months because I was very methodical and deliberate about it. Since it was a commission I wanted to do the best job I could. Oil paintings have always taken me a long time to complete, but I want to look at the reasons the Doll Doctor took so long.

RENDERING AS AN INCOME
A rendering is essentially a portrait of a building, and the more accurate the better.

I started rendering for an income when I won an art contest illustrating the Pioneers Museum.
I made my living for several years by rendering for developers and builders. They'd give me the blueprints for unbuilt houses and I'd draw an ink picture on milar of what the house would look like after completed, including landscaping. They have software to do that now. I'd get paid maybe as much as $150 per rendering, and they would sell their houses for $250,000 or so based simply on my drawing. I'd do two renderings a day or more if I could, but it was certainly a feast or famine business. I'd paint renderings in acrylics, watercolors or guache, but not often.

I freelanced lots of individual framed renderings of people's homes and businesses, that I'd sit in my car and usually do on the spot. I drew the Margarita at Pine Creek because it was such a good place to eat at, and I sold the drawing to the owner the next time we ate there.

I was always an oil painter at heart but never imagined actually making a rendering in oil until the Baylens commissioned me. They liked my paintings of Old Colorado City they'd seen in the history center, and they are located in the heart of old town. The first thing I did was to make a full-sized rendering for the painting.


You can see how I even cut it apart to make the perspective more dramatic. I traced the rendering onto the canvas after drawing it in charcoal on the back side.

I had to reorganize my studio and purchased a new portable oil palette, one with a lid to help keep the oil paints wet (I also covered the palette with Glad press and seal wrap at night).

I had to buy new smaller brushes that I'd never used to oil paint with before. In fact the whole idea of drawing the oil painting first is not what I learned in school, where my teachers would say, "Paint, don't draw! That's why they call these paintings!" And they wanted me to develop the painting as I went along, emphasizing layout and color balance and working all over the canvas. It quickly became clear to me that for this picture I was going to have to work from the top down so as not to smear anything below, and that I had to try to do as much of the picture on my drawing table instead of my easle. For one thing, sitting on my stool at that easle made my back sore.

After I traced the rendering onto the canvas I then used acrylics to completely cover the white of the canvas, and to make bright underpainting for the oils.


The edges of the canvas are taped, because Judy Wise taught me to paint my own frames. I then took the canvas outside to start the painting on site, paying lots of attention to layout, actual color and details.


This was where I learned that trying to paint all over the canvas was not such a good idea, because I had to wait for these oils to dry before I could continue to paint, or else I'd end up getting them all over my hands and arms. Waiting for the oils to dry so I could paint over them has always been the big slowdown in completing paintings, but even though I was trying to be very efficient I did end of having to repaint a lot. For one thing I had to redraw the windows, making them wider to appear more in proportion, and making the right color for those bricks was time-consuming. I finally had to end up shopping for more oils at Meiningers Art Supply in Denver.

At least now that I'm finished I'll be able to do it better and faster next time. It helps that time management is no longer that important for me, nor is making an income from my art.