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New Monthly Miniature Series: “In Season” Featuring Still-Life Paintings

Happy New Year everyone! I’m celebrating the new year by starting a new Monthly Miniature series. For each month of 2019, I will create a miniature still-life painting in the Dutch Still-Life tradition and I hope you will enjoy following along. As a newsletter subscriber, you’ll be the first to see them, and they will be available for sale as soon as they are announced.

The Historic Still-Life tradition with a modern perspective

Still-life paintings from Northern Europe were at their prime from around 1600 – 1800 and they often feature blossoms, insects and food that could not be found out of hibernation or in season at the same time. They are constructs of seasonal impossibility, pieced together from earlier studies, signifying impermanence and the perception that earthly life is transitory.

In Season pays homage to Northern European still life, while also contrasting modern and past experiences. Expectations have changed; perennial availability is the norm now, and seasonality is hardly acknowledged. In Season features combinations of fruits, flowers and insects that occur together naturally, in appreciation of the beauty of the cyclical and ephemeral.

The first painting of “In Season” features the camellia flower and cave cricket. The camellia is one of few flowers in bloom here in January, and you may also be startled to find a cave cricket in your basement. Most insects are dormant this time of year, but these little creatures are actively scurrying around ready to frighten unsuspecting people in cool dark places.

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Portrait of an American Quarter Horse

Animals hold a special place in our hearts.  If you’re looking for a gift for someone who has everything, a portrait of their dearly loved animal is bound to be something they will cherish. I recently finished this portrait painting of an American Quarter Horse and shipped it off to Tennessee. It was commissioned as a Christmas gift for a much appreciated CEO from her work colleagues.

Layer by Layer

My paintings are created with a traditional fat over lean technique to ensure that they will last for hundreds of years. By using layers and glazing, the paintings have a rich depth that you don’t get with just one layer of paint. Adding more and more oil to each additional layer helps the paintings dry more evenly and they are also much less likely to crack (even after hundreds of years!). Paintings on metal made using this technique still survive in pristine condition from the 1500’s.

 

Thank you to Kady and Trey who helped organized the commission! Go to my Pet Portrait commissions gallery to see more work.

 

From Kady:

She cried when we gave it to her and she was speechless. She loved it!!!!

 

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Portrait of Fifi

My latest commission is a cat oil portrait on aluminum. Sean commissioned me to paint Fifi as a gift for his wife. Soon after commissioning the painting however, he let her in on the secret and they both got to enjoy the fun of anticipating the finished creation. We choose an oval format and 6″ x 8″ ended up being the perfect size.

Oil painting detail of pet portrait of fluffy cat by Rebecca Luncan

Detail of Portrait of Fifi
8″ x 6″
oil on aluminum

We choose a solid wood walnut frame with ornate detail on the outside and inside lip to give it a more formal look. I love how the brown of the frame compliments the green in the painting!

Framed cat pet portrait by Rebecca Luncan

Framed cat pet portrait by Rebecca Luncan

 

From Sean:

Painting received, it looks amazing!!!  I am super excited! Thank you again for all your work!

Client with pet portrait

Sean and Fifi pose with Fifi’s portrait

 

Please visit my commissions page to learn how to commission your own pet portrait.

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Painting receives award in Portrait Society of America competition. 

Admiral Vox’s little fan club seems to be expanding! My portrait of this expressive chicken was selected for an award from 1,268 entries in the Portrait Society of America’s 2018 Members Only Competition. The top winning works will be featured in the International Artist Magazine and the Portrait Society of America’s quarterly The Art of the Portrait Journal. The Members Only Competition, held annually, is open to all Portrait Society members in good standing.  Each fall, up to five categories are offered and members can submit up to one artwork per category. Admiral Vox was entered into the “Animals as Subject” category. In each of the five categories awards were given for 1st through 10th place followed by a select group of Finalists.

Pictured Above:

1st Place- Aaron Westerberg, Little Lu, 13×10″, oil on panel
2nd Place- Sandra Kuck, My Dear Angus, 24×24″, oil on canvas
3rd Place- Debra Keirce, Snug As a Bug, 20×23″, oil on panel
4th Place- Shaun Berke, The Outlaw, 24×32″, oil on linen
5th Place- Rebecca Luncan, Admiral Vox, 8×8″, oil on aluminum

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Southwest Art Magazine – Artists to Watch

I’m so thankful for the wonderful article Kim Agricola wrote for Southwest Art magazine about my artwork. In the print copy they featured my painting of Admiral Vox. This painting will be on exhibit at Sotheby’s in LA, opening December 5th for the ARC International Traveling Exhibit. They also used my Bee still life painting from my Into the Country series on the index page! Thanks so much Kim! Go to the Southwest Art website to read the full article.

 

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Holiday Sale – 20% off Greeting Cards

Visit the Store for 20% off all Greeting Cards, November 23-30!

Snow Rabbit Season's Greeting Cards

Snow Rabbit Season’s Greeting Cards

Custom Greeting card from Commissioned Horse and dogs pet portraits oil painting by Seattle artistac Rebecca Luncan.

Greeting card from commissioned portrait

Three different sets of rabbit greeting cards, a holiday Season’s Greetings set, and custom cards from your commissioned portrait are available. The 4″ x 6″ cards are printed on an acid-free, heavy paper with a smooth, satin finish.

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Lucy Reclining, getting the perfect images for a cat portrait painting

Most of my pet portrait commissions are made by referencing photos provided by my clients. I like to get a big range of images, not only to reference the painting, but also to get a sense of my subjects personality. Cats are notoriously difficult to photograph but getting the perfect images for a cat portrait painting is easier if you follow a few tips and have lots of patience. From these images, I pick the ones that inspire me the most and do a couple of mock-ups for the client to pick from. 

I have pulled some of the images from a recent commission of Lucy to help you get an idea of how to take photographs. Take a look at my tips below and if you have any questions about commissioning a portrait, feel free to contact me. 

1. Get on your cats level

Images for a cat portraitPhotographing your cat from a their eye level tends to make the image feel more intimate and it shows your cat without distortion. Cat’s do like to climb so you don’t always have to get down on the ground to achieve this.

 

 

 

 

2.Natural Light

Images for a cat portraitNatural light is ideal and its best if the day is slightly overcast. Cats are usually indoor creatures, but steering them towards a window will achieve the desired effect. Not only does natural overcast light help avoid harsh shadows, it gives me a more accurate representation of color for the fur and eyes. Try to pose them so that they get the light to twinkle in their eyes for a lifelike appearance.

 

 

3. Hi Resolution / Fill the Frame

Images for a cat portraitHi resolution images are a must but if most of the picture is just background, I’m not going to get any detail (unless the landscape will be a part of the painting!). Never compress images before sending them and fill the frame with your cat as much as possible for the most detail. Getting the correct texture of your cats fur and the subtle color changes in the eyes is impossible if the image is blurry. Filling the frame with your cat gives me all of the details that are so fun to paint and to look at. Use the zoom feature on your camera to help you get close without attracting too much attention.

 

4. Take and send lots of images!

Primary reference image for composition

You can not send to many images for a cat portrait! Molly sent me dozens and it helped me get a sense of Lucy’s personality and get a feel for all of her different expressions. It also gave me flexibility in designing the composition that we chose for the painting. The primary reference image that inspired my portrait of “Reclining Lucy” didn’t fit any of the above suggestions. The client and I both loved how the pose and expression captured her so perfectly though. And since Molly sent me so many great images I was able to reference other images for accurate colors and fine details.

 

 

5. Help!

If you’re having trouble, getting someone to distract them helps you focus on photographing. Toys and treats can also be useful to get them to go and look where you want.

What a Mock-up looks like

Images for a cat portraitMy mock-up’s are constructed digitally and they help give a sense of what the painting will look like. This mock-up was submitted with the note that the color and fine details would be taken form another image (the one used to demonstrate “natural light” above).

For more information about commission, please visit the commissions page

 

 

 

From Molly:

We got the box today!  OMG, I absolutely love Lucy

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Owen and Silvan, a Miniature Portrait of Brothers (as birds)

This month’s miniature portrait of brothers features the sons of artist Jennifer Zwick. Jenny is a fixture in the Seattle art community, and I’ve known her since long before she had kids. I’ve always been a great fan of her work, her contagious grin, and her breathtaking beauty (I’ve nicknamed her Snow White, and yes, she is the fairest of them all!).

detail of Miniature portrait of brothers. oil painting by Rebecca Luncan

Detail of, “Portrait of Owen and Silvan”
4″ x 4″
oil on copper

I did a painting of Jenny once upon a time, and I’ve been excited to make a portrait of her boys. I originally imagined a classic miniature, but these two just didn’t quite fit the mold. Jenny sent me dozens of images, some of which fit my original idea, but there were so many goofy shots. These kids are definitely raised in a very creative household, and I felt more and more that their portrait should reflect this. There were several images that fit, but I love the expressiveness of the two of them in this image in particular. You see so much about their relationship, and capturing it in a painting was worth the madness of painting such tiny faces and hands.

This is the smallest-scale portrait I’ve made in a long time, and if I never work so small again, I’ll be glad the last time was for Jenny. Please take the time to enjoy a peek into her life as an artist mom, through her words and images below.

Please visit the gallery of Monthly Miniatures, and learn more about all of the Artists featured in the series in the Archive.

Words from Jennifer, on being an artist and mother:

Jenny Zwick, art and family

Jenny Zwick, art and son Owen

My first thought is to write about how the restrictions of parenting have affected my work: how, when I was first pregnant, I could no longer build large sets, so instead made tiny wearable rooms (which I call “head sets”) with dollhouse hardwood floors and framed artwork which attach magnetically and look hilarious and unreal; or when I was pregnant a second time, and so large I could barely move, and my art grew even smaller still, making miniature watercolors of Nintendo game systems.

But if I focus away from how parenthood makes one’s artistic career smaller (no residences; harder to attend openings; expensive child care; higher stakes and confusion about if making art really is a priority), I see that it was a very natural thing for me to incorporate parenthood into my artistic practice and output.

Jenny Zwick, art and sons Owen and Silvan

Jenny Zwick, art and sons Owen and Silvan

Before pregnancy, my work often focused on what I experienced as a child – things I thought might be possible, or wished could happen, or might as well have.  My obsession with optics, with the disconnect between how our senses literally perceive the world, and then how our brain translates these into the impression of a coherent experience, this was amazing to see firsthand as my children learned about object permanence, or how proximity affects scale (older son’s first airplane trip: “when do we get small?” since he’d only ever seen airplanes flying overhead, in perfect miniature distant detail), or what aspects of a world we will completely take for granted, and what sticks out as wrong, or as special, or as notable.  One ongoing photo series of mine involves building set-based narrative photographs depicting young girls in surreal circumstances, staging remembered childhood ideas and atmospheres.  I was recently able to create several new images, and for the first time, there are adults – two of the photos have mothers; one with her daughter, and one hugely pregnant.

Jennifer Zwick, "Hello 2" 2010 21" x 31" Archival pigment print

Jennifer Zwick, “Hello 2”
2010, 21″ x 31″
Archival pigment print

During my first pregnancy I had a show called “Partum” which was hung in three sections: First Trimester, Second Trimester, Third Trimester – the work was all very distinct, as I adjusted to giving up Ritalin, then as I became anemic, and then as I dealt with acute nervousness and humor about the impending birth.

Recently I revisited a photograph I made for that first “Partum” show, which was about how the female body is treated as a public object. For that photograph I stretched chaotically patterned fabric on a frame, cut a hole in it, and stuck my third-trimester belly through. Photographed head-on, it is a strange exercise in depth, with the flat fabric directly parallel to the picture plane, and the belly jutting out, impossibly round. In the new iteration, I mounted the life-sized photo on foam core, cut the belly button out, and attached it to a small motor which I wired to rotate, comically spinning in the middle of this huge belly, just as weird and humorous and insane as it is to grow a freaking person in your body.

Whenever possible, I love having my kids help with my projects, building or installing or whatever won’t 1) derail the project 2) ruin everything or 3) kill them.

Jenny Zwick, art and sons Owen and Silvan

Jenny Zwick, art and sons Owen and Silvan

Additionally, making large-scale art projects means I end up with interesting and odd materials – one project involved taking site-specific photographs of banal locations at Seattle Center, then printing them out life-sized and reinstalling them on location as photo opportunities.  In order to ensure I had the exact right focal length and composition I made several rounds of large black and white test prints at copy centers.  I did not end up creating a piece at the Kobe Bell Pagoda location, so my then 5-year old son had a great time using all the huge images for his own purposes.  One of them became the backdrop for a “play” he wrote about ghosts, and we brought it to the pagoda and he performed the play (which involved a surprising amount of jumping in dried leaves).

Jennifer Zwick, "The Moment" 2017, 28.8" x 40" Archival pigment print

Jennifer Zwick, “The Moment”
2017, 28.8″ x 40″
Archival pigment print

Jennifer Zwick

From Jennifer about her artwork: Trained in photography, I work in a variety of media, including large-scale installations, wearable sculptures, painting, interactive video installation, printmaking, and photographic processes. I am particularly interested in optics, symmetry, humor, one-point-perspective, anxiety, repetition, repetition, and repetition.  I create artwork which requires the viewer to reorient themselves, using one-point-perspective, in- camera techniques, site-specific construction, and sculptural installation, presenting nonlinear narratives depicting the fraction of a second where something fundamentally concrete is shifted just enough to turn an ordinary moment into something gently surreal.

I firmly believe that by making art which looks fantastical but is constructed rudimentarily, “in real life”, an opportunity is created for the viewer to think about what we will accept as real; about how much our brains miss when we move through the world; about what we take for granted and how much power we truly have to reshape our reality.

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Artist Choice Award

As customary during their annual juried exhibitions, the International Guild of Realism (IGOR) asks the gallery hosting the exhibition to appoint a guest judge(s) to award ribbons in different categories for outstanding artwork. I’m happy to share that I was awarded the Artist Choice Award for my portrait of my sister in law, painted with oils on aluminum, “Arlington”.

Congratulations to the Winners!

Best of Show – Ed Copley “When the Sun Rises”
American Art Collector Editor Choice – Ed Copley “The Torn Hat”
Bill & Sue Rowett Collector’s Choice – Lee Alban “May the Warm Winds of Heaven Blow Softly upon your House”
Robert Kirkpatrick Best Still Life – Sandra Robinson “Monkeys”
Best Figurative – Duffy Sheridan “The Whale Watcher”
Best Landscape – Lee Alban “May the Warm Winds of Heaven Blow Softly upon your House”
Best Tromp l’Oeil – Jorge Alberto “Allegory of the Arts”
Director’s Choice – Sandra Kuck “My Dear Angus”
Pioneer in Realism Award – David M. Bowers “Animal Instinct”
Creative Achievement – Marissa Oosterlee “The Forever Search”
Artist’s Choice Award – Rebecca Luncan “Arlington”
Best Floral – Jane Jones “Three Graces”
Best Wildlife – Camille Engel “Patient Observer”
Best Drawing – Heather Ward “That was You?”

Take a look at the whole exhibition online on the Sugarman-Peterson Gallery’s website.

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American Art Collector Magazine

You still have two weeks to see the juried exhibition of International Guild of Realism artists artwork at the Sugarman-Peterson Gallery in Santa Fe! Thank you to the American Art Collector magazine for featuring my painting, “Arlington”, in an article about the exhibition in their October issue. The gallery is hosting the 14th International Guild of Realism exhibition, which features a blend of contemporary and classical realism.