The rooster in this portrait, Jupiter, is the master of over 30 hens in his little slice of paradise at a friends little farm on Vashon Island. My friend Michael has so many beautiful chickens, but this guy demands respect and admiration in a way that only an alpha rooster can. I work from photos and he was happy to oblige. He stayed right in front of the camera, though he never stopped moving.
My work is influenced by paintings made during the Dutch Golden age. Behind Jupiter, I have a background that is inspired by one of Rembrandt’s self-portraits. My intention in giving the painting of Jupiter a formal composition and background is not to anthropomorphize him, but to give him dignity of his own and to signify that this is his portrait, not just a portrait of a rooster.
Jupter, oil on aluminum, 15″ x 15″. Go to my available works page to purchase Jupiter and to view more works in this series.
Finally! My March spring flowers still-life painting was a bit late. After we suffered nasty bout of illness in early March, followed by the challenging transition to working-and-schooling from home, we’ve finally figured out my new painting schedule.
Being sick while caring for a 4-year-old was really difficult. My husband and I were both sick for most of March, and we took turns resting while we did our best to keep Isaac fed and out of trouble. I have never been so thankful for the sunshine and spring flowers.
The flowers for this spring flower still-life painting came straight from my backyard garden. I had to include daffodils, since they are the subject of my favorite poem (included below) and one of the first of my flowers to come in bloom. I have always told Isaac that daffodils are his special flower, since they were in bloom when he was born.
I wanted bold, bright colors to remind me that despite the unsettling news and unknowns in the world, spring is here, just like it is every year. The smaller blooms felt like the perfect companions for the strong and dramatic daffodils. These red and blue flowers come from my red flowering currant and Jack Frost plant. The red-breasted Nuthatch seemed to follow me around as I gathered my bouquet, and I decided he was as thankful for spring as I am.
The beautiful glass vase in the Seattle Art Museum collection is just the same bold yellow of a daffodil. It looks as if it could have been made by a contemporary Seattle glass artist, but it was was actually made in China sometime the 1700’s! Read below for more information on this piece featured from the SAM collection.
I hope you’re all staying healthy out there. If you feel sick, reach out and don’t be afraid. Despite the isolation, it’s been incredible to see how people have been coming together and supporting each other in unexpected new ways. Thank you to everyone who brought us groceries when were were quarantined, and for all the well wishes. Now if you can, go enjoy the sunshine, the flowers, and your own lovely company!
Got to my Monthly Miniatures page to see all of the paintings I’ve made for the series. And sign up for my newsletter for a first glimpse of the newest painting and for updates from the studio.
FLUTED VASE
Collection of the Seattle Art Museum (not currently on view) 1736-1795 Chinese Glass, 6 × 2 1/8 in. (15.2 × 5.4cm), Gift of the Estate of Robert M. Shields Photo: Elizabeth Mann
From the SeattleArt Museum website:
“This fluted yellow vase inscribed with the Qianlong emperor reign mark characterizes high-quality glassware of the imperial workshop in the Forbidden City during the 18th century.
Although glass was used in China as early as the Western Zhou period (ca. 1046-1771 B.C.), the technology developed slowly and intermittently. It was used primarily in accessories, e.g. beads or imitations of jades. As a medium, it was overshadowed by (and often imitated) porcelains: a 12th century glass dish from the Thomas D. Stimson Collection (47.152) is one such example. To some extent, this current piece was also inspired by a ceramic form (Song-dynasty vases of Ge/Guan ware), although the main catalyst for glass production in the Qing palace came from the Jesuits, who also served as artists and scientists in the court. It was through them that the Qing court re-discovered the beauty of glass. Octagonal, fluted glass vases featuring diverse colors were a common form. This type of vases was first made during the Yongzheng period (1723-35), and became popular – and thicker – during the Qianlong period, when this piece was made. According to the Archives of the Department of Imperial Household, this type of glass was given to high-ranking Tibetan monks. As such, their function extended beyond to serving as imperial playthings.
Robert Shields may have been known as “one of the Grand Old Men in Northwest architecture” (Pacific Northwest Magazine), but it is his enduring passion for art that leaves a lasting legacy at SAM. When Mr Shields passed away in the summer of 2012, he left his entire estate to the Seattle Art Museum, its value to be used in support of the Asian art program.”
I Wandered Lonely as a Cloud
by William Wordsworth
I wandered lonely as a cloud That floats on high o’er vales and hills, When all at once I saw a crowd, A host of golden daffodils; Beside the lake, beneath the trees, Fluttering and dancing in the breeze.
Continuous as the stars that shine and twinkle on the Milky Way, They stretched in never-ending line along the margin of a bay: Ten thousand saw I at a glance, tossing their heads in sprightly dance.
The waves beside them danced; but they Out-did the sparkling waves in glee: A poet could not but be gay, in such a jocund company: I gazed—and gazed—but little thought what wealth the show to me had brought:
For oft, when on my couch I lie In vacant or in pensive mood, They flash upon that inward eye Which is the bliss of solitude; And then my heart with pleasure fills, And dances with the daffodils.
This February I wanted some romantic imagery. This 18th century bowl with its imagery of lovers in a moonlit garden was just what I was looking for. You see a poor scholar, beckoning the aristocratic beauty he has fallen in love with, who is just behind a high wall with her maid. This story, “[Romance of] The Western Chamber,” was originally written as a tragedy, but was later altered to have a happy ending. The happy version seems to dominate and there’s no hint of tragedy in the synopsis written by the Beijing Tourism Bureau.
These little oranges are currently in season, and I loved the eye catching combination of the contrasting orange and blue. As I dreamed up this painting, I always imagined it with a parrot, never any other bird. I’ve had a fondness for parrots ever since my dad came back from Florida with a parrot named Charlie, when I was around 8 years old. I don’t know how my mom felt about it, but that was my dad. (My sister could tell you stories about bringing a baby cow home in the back of our station wagon.) Scroll down for a picture of little Rebecca petting Charlie.
Part of the fun of making still life paintings is to research historical symbolism and dream up my own hidden stories. Many objects have several meanings so the story can differ depending on who’s doing the dreaming. In this case, an uncaged bird symbolizes sexual freedom, and parrots specifically represent nobility, richness and self confidence. Oranges can represent abundance, longevity and beauty.
Everything was becoming a bit too sweet and easy for the lovers, so I added a fly to bring them back down to reality. I appreciate the description by Steven Connor in his article “The Painter and the Fly”, describing flies in art as the “embodiments of accident, of what just happens to happen”. And if you want to see how symbolism can be scrutinized by scholars, take a look his article which discusses the fly in art over the course of 500 years.
BOWL
Collection of the Seattle Art Museum (not currently on view) Qing dynasty, Kangxi period (1662-1722) Porcelain with underglaze-blue decoration, 3 3/4 in. (9.5 cm), height 8 1/4 in. (21 cm), diameter, Gift of Mrs. John C. Atwood, Jr., 70.42 Photo: Paul Macapia
“The fourteenth-century drama The West Chamber tells of a poor scholar, Zhang Sheng, seen here holding a fan, who falls passionately in love with Oriole, an aristocratic beauty. In this night scene, from behind a high wall and accompanied by her clever maid, Crimson, Oriole smiles at scholar Zhang, her hands raised in delight. Shining above them are constellations thought to determine the lovers’ fate. The scene appears to represent the two lovers by moonlight in the secrecy of the monastery garden.” Mimi Gardner Gates, “Porcelain Stories,” p. 118
The perfecting of the underglaze-blue technique made possible richer gradations of the blue color, seen particularly on wares from around the mid-seventeenth to the eighteenth century, and expanded the repertoire of design. Narrative scenes taken from lyrics, plays, and popular novels (like The West Chamber depicted on the bowl) became fashionable around this time, catering to the interests of the rising merchant class and the scholar gentry alike. These interpretive blue paintings told intimate stories to the viewer, and enriched the surface of the blue-and-white porcelain.
How to Purchase
Subscribe to my newsletter to get an email when each Monthly Miniature is finished and the chance to purchase the latest painting. I usually announce when the newest painting will be released for sale on Instagram and Facebook within 24 hours before sending the newsletter.
Each year I do a themed Monthly Miniature series and for 2019, I painted still life paintings. For much of my art career, I’ve been a “figurative” painter. Meaning almost all of my subjects for my paintings have been human figures. Since I first started my Monthly Miniature series of rabbits several years ago however, I’ve been inspired to enthusiastically embrace new subjects.
There’s nothing too terribly new about still life paintings. They’ve been around for hundreds of years and though artists are still creating beautiful, creative and inspiring works today, the basic principals are the same. My inspiration for the series “In Season” goes back to the roots of the still life genre.
Influence of The Dutch Still Life Genre
Adriaen Coorte, Three peaches on a stone ledge with a Painted Lady butterfly
Jacob van Hulsdonck, Still Life with Lemons
Oranges and a Pomegranate
Before starting this series, I had only made one still life painting in the last 15 years so a refresher art history course really helped. The artist of this genre studied in Northern Europe and were at their prime from around 1600 – 1800. Though I examined the artwork made by more than two dozen artists, each painting in my series had one predominant artist that influenced it. I’ve listed them all below, and upon close inspection, you’ll notice some duplicates.
It’s really hard to pick a favorite, but if I was forced to choose, I’d go with Adriaen Coorte (whose name you’ll find three times). His paintings are easily identifiable in the genre of Dutch Still Life’s because his paintings are unusually unpretentious. Another name you will find more than once is George Flegel. His paintings were more complicated than Adriaen’s, but the way he spaced the items in his compositions felt very ordered. The balance of objects felt sensible to me and I kept coming back to his work. I tend to like simple compositions and studying his work helped me feel more comfortable when I wanted to add more objects to my compositions.
One thing that struck me about the historical paintings was the fact that 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. For my series, I wanted to do the opposite.
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. Most modern viewers looking at a Dutch still life would have no idea that tulips and chrysanthemum would never bloom together.
Keeping everything in season took a lot of planning and compromising. Lucky know a floral designer and have a 1/4 acre garden filled with flowers, fruit trees and vegetables (sometimes) ripe for the picking.
Blue Blossoms
Vanitas with Flowers and Butterflies, oil on aluminum, 5″ x 5″
Flowers, Bird’s Nest and Insects, oil on copper 5″ x 5″
Finding the perfect blue blooms for paintings with lush bouquets was tricky. I heavily relied on my sister in law Molly (a floral designer) for help. Finding the perfect spring blue for my April painting, “Flowers, Bird’s Nest and Insects” seemed so easy at first. I’d mocked it up with Delphiniums and was all ready to start paintings and I sent the image to Molly for her stamp of approval. No Delphiniums till summer! After hours of searching and trying out different ideas, I finally redesigned the composition with Grape Hyacinths instead and got the nod of approval. Similarly an early mock up of my “Vanitas with Flowers and Butterflies” painting included blue anemones. I got the shake of the head again – blue anemones are not blooming in October. I needed the blue to balance the colors, so kept searching and was even happier to include thistles.
You could find just about any fruit, flower or vegetable any day of the year that’s grown in a hot house or on the other side of the globe. It’s interesting to have the limitation though and gives me a feeling of connection to the world outside my artificial constructs.
To learn more about specific works withing this series, visit the “In Season” entries on my blog.
I’m excited to share my first 2020 Monthly Miniature and announce the new “Flight of Fancy” series. I hadn’t done a still life painting for more than 15 years until last year’s series, so studying the Dutch masters for insight into the genre was crucial to that project’s success. This year I will continue in the spirit of Dutch still life and featuring birds together with items from the Seattle Art Museum collection, with which I’ve worked for the last 13 years. It’s too early for me to understand how the two relate to each other over a series of twelve, but that is the fun of the monthly miniature, to see where the journey takes me.
Inspiration From SAM
The first featured Seattle Art Museum object is a Square Serving Dish. It’s one of my favorite pieces in the collection, and I feel it’s the perfect piece to open the New Year and the new body of work. The piece gives me contrasting feelings of chaos and grace, yet feels so perfectly balanced. I have installed this piece numerous times, including twice in Japan. Most recently, I helped install it at the Asian Art Museum, scheduled to reopen February 8th after a recent renovation and expansion.
Pacific Northwest Gardens and Birds
If you live in the Pacific Northwest, you are likely familiar with the Anna’s Hummingbird. I used to have 6 hummingbird feeders all around my house, and at any time of day I could see an Anna’s feeding from some window or another. Once feeders are up in winter, though, Hummingbirds become dependent on the feeders for the season; after one very cold winter of continually defrosting a feeder for several weeks, I have given up the practice. Instead, I have filled the garden with plants that will feed them through the winter, including an Oregon grape outside my bedroom. I love waking and going to the window to watch these territorial birds feed from the yellow blossoms. My Oregon grape has become huge over the years, but that doesn’t mean anyone is willing to share.
Along with a sprig of Oregon grape in this month’s painting are Yuzu lemons my friend Hiromi let me pick from her tree in Seattle. (I also used these fragrant lemons in last month’s painting.) The beauty of these two plants comes at a price though. Both the Yuzu and the Oregon grape demand careful attention when you’re near them as they hide painful spikes. And yes, both these plants are also in season, a theme I enjoyed from the last series and will continue.
SQUARE SERVING DISH
Edo period (1603–1868), Japanese, Stoneware with underglaze decoration, 1 7/8 x 7 3/4 in.
Collection of The Seattle Art Museum Photo: Paul Macapia
Written by Hattie Branch, Blakemore Intern for Japanese Art:
“Employing vivid colors and energetic, abstract designs, Oribe ware is the most dynamic type of Japanese tea ware. The style takes its name from Furuta Oribe, 1591-1615, the great tea master of his age. Designed for use in the meal accompanying the tea ceremony, a square dish like this would be used to serve fish, slowly revealing the image beneath as the meal was eaten. Oribe ware, as this tray excellently represents, broke with a tradition of elegant restraint to embrace an unprecedented level of vivacity. This tray is meant to depict water, earth, and sky. We read it from bottom to top: Starting in the lower left corner, the tray was dipped into a green glaze which visibly pooled during the firing process, evoking water.
Moving upward, a pink-tan band provides a bed for two semi-circles with radiating patterns. This common decorative motif represents ox cart wheels soaking in water—wooden cart wheels needed to be soaked regularly to prevent warping. Between the two wheels, the pattern of squares and dots could represent a piece of dyed fabric. These are colors, images and activities associated with the earth.
The upper-most, tan portion encompasses a single large star, surrounded by three circles with trailing tails, likely comets. In the upper right corner, three arcing stripes abstractly render the long trailing clouds popular in Japanese painting. This band depicts the sky.
The ebullience that makes Oribe ware stand out amid tea ceramics reflects both the power and dynamism of the Momoyama Era (1573-1615), and, amidst political and social upheaval, a move to rebel against previous aesthetic rules, and the power structures they represented.”
I hope you enjoy the new Flight of Fancy series!
How to Purchase
Subscribe to my newsletter to get an email when each Monthly Miniature is finished and the chance to purchase the latest painting. I usually announce when the newest painting will be released for sale on Instagram and Facebook within 24 hours before sending the newsletter.
A pet portrait is a gift that will last a lifetime (and beyond!)
Pet portraits take some time to make. But they are worth the wait. The most important part of the process is the planning stage. I like to get the composition figured out right away and take the time to get it right. Carrie and I worked through several ideas until we found the perfect composition.
I put a lot of care into my portraits for two reasons. The biggest reason is that a true representation of the subject honors the connection my clients have to their pets.
I’m also doing it for myself. It’s important to me that my paintings last and using the proper materials and techniques is only part of the equation. Making a work of art that will be interesting to future generations means future generations will take care it long after we are all gone. Likewise, every time I exhibit my work, win an award, or have a painting published I’m adding to the provenance of all of my paintings. Which means they will have a historical context that will add to the future value of my work. Adding value to my work means it will be taken care of.
The Best Part of a Pet Portrait
All of that longevity is important, but the best part of a pet portrait is preserving a well loved smiling face. It’s incredibly meaningful for me to make the special connection humans have to our pets tangible. My glimpse into the bond shared between Carrie, Derek and Sophie was truly a gift and it was an honor to make Sophie’s portrait.
We received the painting and it’s absolutely beautiful! It’s perfect. Thank you so much! Derek can’t get over how closely you managed to capture Sophie, you’re just SO talented. I hope to work with you in the future!
Each year I do a themed Monthly Miniature series and for 2019, I painted still life paintings. For much of my art career, I’ve been a “figurative” painter. Meaning almost all of my subjects for my paintings have been human figures. Since I first started my Monthly Miniature series of rabbits several years ago however, I’ve been inspired to enthusiastically embrace new subjects.
There’s nothing too terribly new about still life paintings. They’ve been around for hundreds of years and though artists are still creating beautiful, creative and inspiring works today, the basic principals are the same. My inspiration for the series “In Season” goes back to the roots of the still life genre.
Influence of The Dutch Still Life Genre
Adriaen Coorte, Three peaches on a stone ledge with a Painted Lady butterfly
Jacob van Hulsdonck, Still Life with Lemons
Oranges and a Pomegranate
Before starting this series, I had only made one still life painting in the last 15 years so a refresher art history course really helped. The artist of this genre studied in Northern Europe and were at their prime from around 1600 – 1800. Though I examined the artwork made by more than two dozen artists, each painting in my series had one predominant artist that influenced it. I’ve listed them all below, and upon close inspection, you’ll notice some duplicates.
It’s really hard to pick a favorite, but if I was forced to choose, I’d go with Adriaen Coorte (whose name you’ll find three times). His paintings are easily identifiable in the genre of Dutch Still Life’s because his paintings are unusually unpretentious. Another name you will find more than once is George Flegel. His paintings were more complicated than Adriaen’s, but the way he spaced the items in his compositions felt very ordered. The balance of objects felt sensible to me and I kept coming back to his work. I tend to like simple compositions and studying his work helped me feel more comfortable when I wanted to add more objects to my compositions.
One thing that struck me about the historical paintings was the fact that 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. For my series, I wanted to do the opposite.
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. Most modern viewers looking at a Dutch still life would have no idea that tulips and chrysanthemum would never bloom together.
Keeping everything in season took a lot of planning and compromising. Lucky know a floral designer and have a 1/4 acre garden filled with flowers, fruit trees and vegetables (sometimes) ripe for the picking.
Blue Blossoms
Vanitas with Flowers and Butterflies, oil on aluminum, 5″ x 5″
Flowers, Bird’s Nest and Insects, oil on copper 5″ x 5″
Finding the perfect blue blooms for paintings with lush bouquets was tricky. I heavily relied on my sister in law Molly (a floral designer) for help. Finding the perfect spring blue for my April painting, “Flowers, Bird’s Nest and Insects” seemed so easy at first. I’d mocked it up with Delphiniums and was all ready to start paintings and I sent the image to Molly for her stamp of approval. No Delphiniums till summer! After hours of searching and trying out different ideas, I finally redesigned the composition with Grape Hyacinths instead and got the nod of approval. Similarly an early mock up of my “Vanitas with Flowers and Butterflies” painting included blue anemones. I got the shake of the head again – blue anemones are not blooming in October. I needed the blue to balance the colors, so kept searching and was even happier to include thistles.
You could find just about any fruit, flower or vegetable any day of the year that’s grown in a hot house or on the other side of the globe. It’s interesting to have the limitation though and gives me a feeling of connection to the world outside my artificial constructs.
To learn more about specific works withing this series, visit the “In Season” entries on my blog.
Most of my pet portrait commissions are based on images that come from my clients. I have a couple of blog posts for suggestions on getting photos of cats and dogs that can help get you started. What usually ends up working best though, is to take lots of photos (for dogs at least) when you’re running around at the park. I’m often altering the background of images to simplify it so that the attention is going to the subject of the painting. It’s not often that the background truly compliments the subject. When it does, though it’s something special.
The Historical Portrait Miniature
If you do a search for “Portrait Miniature” you’ll find countless classical miniatures, mostly from the 16th – 18th century. Popular in England, France and in the United States (There are probably a million portrait miniatures of George Washington).
At least a third of the paintings that come up in these searches have a blue sky with clouds in the background. They put it perfectly in an article about the representations of clouds in art by the Lawrence Wilson Art Gallery of the University of Western Australia. “The physical position of the clouds, situated between heaven and earth, associates them with a higher order, a characteristic that recurs in art through the ages.” The association is then tied to subject placed in front of the clouds.
I’ve been dying to do a portrait like this for ages. And was fortunate that Theo (aka Thelonious Monk ) has the bearing to pull it off. I can’t look at this painting without imaging a cape on her back. I think of it as puggle portrait painting that reveals the true size of the personality held in such a tiny body.
From Tina:
It’s perfect!! Thank you so much! Melanie LOVES it, and we found a central spot to hang it. Just in time for her birthday and a gift for the ages…both with Theo, and beyond. Eternally grateful
A few months ago I reached out to my Instagram and Facebook community to help me choose which chicken painting to enter in the annual Portrait Society of America’s member’s only competition. I was having trouble picking and thought there would be a clear favorite. After almost a hundred votes though, it was almost exactly a tie! Even so, it still helped me choose. People were very passionate on either side, but people typically liked the hen because the painting was more unique. For right or wrong, I liked that rational and went with it. I’m happy to share that she was a finalist in the animals category. Perhaps the rooster would have done even better in the competition, but you never know!
The rooster or the hen?
Both of these paintings have backgrounds that reference Rembrandt self-portrait’s. I’ve always been a huge fan of his work and wanted to portray the chickens in a formal Dutch Portrait style. I helped install an exhibit at the Seattle Art Museum of artwork from the Kenwood House Collection from London several years ago. One of my favorite pieces in the exhibit was his Self-Portrait with Two Circles. This was the painting that inspired the background of my hen. She’s one of four girls that lives in Seattle in my friend Paige’s backyard. As the henpecked bird, she was making a grand show of bring larger and fluffing out. I was very fortunate to actually get a shot of the demonstration during my photo shoot for reference images.
You can find her on display along with the rooster at Winfield Gallery. Go to my Available Works page to see all my paintings currently available in galleries and from the studio.
I’ve been planning this still life painting since April when I made a special In Season larger work of citrus fruit. A common pairing to citrus fruit is the pomegranate, and although you can find some citrus growing in early spring, the pomegranate’s growing season is limited to September through December.
Seattle Art Museum Porcelain
The Seattle Art Museum has a beautiful bowl in the Porcelain Room with pomegranates that I’ve really wanted to paint, but I’ve had to wait for months for pomegranates to be in season. You can’t see it in the painting, but this SAM page shows the four-toed dragon that decorates the center of the well of this piece. Four of the eight panels are decorated with pomegranates, the other four with precious objects. You can also see it on display in the Porcelain Room in the museum.
Cara Cara, Yuzu, and Pomegranate in Chinese Porcelain, oil on copper, 5″ x 5″
I’ve paired the red fruit with Cara Cara oranges and three spectacular Yuzu lemons from my friend Hiromi’s garden in Seattle. She took me into her unique and magical garden and handed me a pair of cutters with instructions to watch out for the huge thorns that grow on the Japanese trees.
I’ve loved working on this series of still life paintings and hope you enjoy the final miniature of “In Season”. See them all on my Monthly Miniatures page! And sign up for my monthly newsletter to see new painting for 2020.
