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Oil Painting of a Unicorn for Group Exhibition

Antler Gallery in Portland is hosting their ninth annual group exhibition, Unnatural Histories. Artists are asked to depict mythical creatures from existing lore, or their own imagination, with reference to traditional natural history paintings, drawings and sculpture. When invited to make a piece for the exhibit, I had no choice but to make an oil painting of a unicorn. 

I have a four year old son who is obsessed with these horned beasts. Unicorn drawings and parts of unicorn costumes have found their way all over my house and my painting studio. 

I wanted ground my fantastic creature in traditional equine painting. I love the full body paintings of horses that were popular in early Georgian England. The masters George Stubbs and Jacques-Laurent Agasse are particular favorites of mine with their mix of landscape and formality.

The model for my unicorn was my sister in law’s Polish Arabian horse Vibey. Molly used to spend one day a week with Isaac until he was two years old and I wonder if she my have influenced his love of unicorns? When she saw the painting, she said, “you’ve painted the unicorn horn that I could always see”. Vibey was a rescue horse and she and Molly were very close. When asked to write a story about the painting, I imagined a fantastic setting with a little Molly saving Vibey, mirroring the true story between these two.  Go to the galleries website to read my story.

Vibey was born on Whidby Island here in the Pacific Northwest. Placing her in a setting where she could see and hear the water felt like I was paitning her at her home.

in progress oil painting of Polish Arabian horse as unicorn by Rebecca Luncan
oil painting of Polish Arabian horse as unicorn by Rebecca Luncan

Summer’s End
oil on aluminum, 11″ x 14″

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Coming in for a Landing


The last several months have brought so many unforeseen changes to each one of our lives. It’s been disturbing in the best of circumstances and devastating in the worst. For this month’s painting, I chose subjects that bring me peace.

The black-capped chickadee came to mind first. Of about five different species I watch splashing in the birdbath while I sip my morning tea, the chickadees are my most frequent visitor. They are also the only type of bird I’ve seen sharing the bath with another species.

The vase is another from the Porcelain Room at the Seattle Art Museum. In this gallery, the curator, Julie Emerson, filled each niche in the room with pieces related by color and theme; usually they’re grouped by nationality, manufactory, or date. It was a pretty revolutionary idea, and it so clearly demonstrates our common search for perfection and beauty. My favorite niche is the green one. The color green simply makes me feel happy. Though I didn’t get to make the mount for this vase like many of the other works I have painted, it gives a feeling of contentment.

The pears are from my own little pear tree. There’s nothing like spending time harvesting in my garden for grounding me. It brings life, health and joy to my family and fills me with such gratitude for the bounty of nature.  

I hope you enjoy this month’s painting. I’m sending you as much strength to hang in there as I can. Embrace uncertainty and change because it’s not over yet, but keep looking for the silver linings, and keep faith for better times to come. ? 

vase in the collection of the Seattle Art Museum

GOURD-SHAPED VASE

1736 – 95

CHINESE , JINGDEZHEN


From the Seattle Art Museum website: “This large flask-shaped vase features a special monochrome glaze that is poetically known as “tea-dust.” In Qing dynasty texts it was referred to as “imperial kiln official glaze.”

Hard paste porcelain, 19 x 15 (48.3 x 38.1 cm), Eugene Fuller Memorial Collection, 37.109
Photo: Paul Macapia

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Limited Edition Print, Birds of the Pacific Northwest

I’ve had several people ask me to make a limited edition print from various paintings I’ve made over the years. People wanted a print from one of the paintings that was already sold, or they wanted a more affordable version of the original. It took a while for me to offer them, but I was listening! Finding a printer that could make accurate and high-quality reproducsions was a must. After trying out several printers and having around a dozen test proofs made, I finally found a printer that meets with my demanding standards.

My painting, “Birds of the Pacific Northwest”, got the most requests and it is now being offered as a limited edition print of 50 in the shop. Each limited edition print is printed on high quality acid free paper and comes with a signed Certificiate of Authenticity.

“Birds of the Pacific Northwest” was painted for my “In Season” monthly miniature series. Learn more about this painting on a previous blog post.

I’ll be offering a new print each month for the next year so keep checking back. If you have a special request, please let me know and I’ll get it on the list!

Limited edition print of birds of the pacific northwest from original paintings by Rebecca Luncan
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Original painting featuring porcelain from Seattle Art Museum collection

Birds in a Net


I paired this exquisite Japanese vase from the Seattle Art Museum collection with Japanese plums from my back yard. The gold leaf complements the gossamer glow of the plums, while this month’s birds are nested in my depiction of another artist’s work.

I’m beginning to feel a bit like a captured bird myself. Now it’s not the pandemic keeping us inside but the dangerous air quality from wildfires raging across the west coast, with no end in sight. But we are making the most of our time with projects and creative play, and I try to think of my own netting as a shining protector, not just a restraint.

Vase Decorated with Flying Birds in a Net is porcelain with an enamel glaze, gilding and wire. Now think about that for a minute, how much skill must it have taken to make this object by hand! It was made in the late 1800’s, and the intricate perfection in the wire net is astounding.

I can’t look at this vase without thinking about the precise labor that went into its perfection. I’ve long admired it but never considered how intense it would be to paint such an object. It turned out to be a great challenge, but the effort only deepened appreciation for this splendid piece.

Different curators have different ideas over the years about the ideal front of the piece, and that means that sometimes a new mount is required. I’ve made two mounts for this piece myself, and it was the first that our new mount maker Ken Kelly made in preparation for the reopening of Volunteer Park (fall ’19). Sadly, VP wasn’t open long before COVID shut it down again.

I do have some good news though. The Seattle Art Museum is finally OPEN! Unfortunately, the Seattle Asian Art Museum, where this piece is on display, and the porcelain room in the downtown building, are still closed. I’ll keep sharing as many porcelains as I can in the coming months, though. 🙂

We all continue to survive this difficult year, and I hope my work brings you some peace and joy in these crazy times. I also hope you can look at your own situation and count your blessings from within your own gilded net. Some people are not so lucky. ? 

Vase in Collection of the Seattle Art Museum

Vase Decorated with Flying Birds in a Net

Japanese, Late 19th century

Porcelain with enamel glaze, gilding and wire, 6 1/8 in. (15.56 cm) Diam.: 4 5/8 in., Nasli and Alice Heeramaneck Collection, 66.71
Photo: Elizabeth Mann

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Poison Garden, forest floor still life paitning for group exhibit

Poison Garden, Antler Gallery, July 30th – August 23rd

Forgotten Garden, oil on aluminum, 9″ x 16″

In my “In Season” Monthly Miniature still life series, I studied and paid tribute to different artists of the Dutch golden age of still life paitning throught the year in which I completed that project. One of the artists I stumbled upon was Otto Mardeus van Schrieck. He created these incredibly detailed paintings that so perfectly contrasted the dark and light of the natural world. For that series I made a painting titled, “Forest Floor with Rabbits“. This painting was quite different than the others in the series that were more tradidional table top still life paintings. I think it was an important one to make for me to understand more fully the genere of still life in the 1600’s though.

I’d been toying with the idea of dedicating my next series of miniatures to “forest floor” paintings and decided on something different. When I got the invitation from Antler Gallery to participate in their Poison Garden exhibit I immediately knew exactly what I wanted to paint.

Years ago, I invited my neighbors foxglove flowers into my own garden when she was digging them up in fear that her dogs would eat them. The poisonous but beautiful flowers quickly bagan popping up in new places throught my garden and I encouraged them. When I had my son, however, I began to question that decision. Especilly since he loved foraging for different edible berries on his own. I began pulling them up, but there was no way I could get them all. The model for his painting is one of my survivors. My son still forages, but he’s a quick leaner and is very careful around the flowers. He actually held up a huge sheet of black paper behind the plant for me while I photographed it for reference for this paitning so that I could make the shadows and highlights more accuratly.

I included insects that are also poisonous, some with stings, others bites and I didn’t know this, but most butterflies are also toxic. Not that I’ve ever tried to eat one.

I hope you enjoy the painting and I hope you’ll go to the Antler Gallery website to see some of the other artists beautiful pieces for the exhibition.

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Summer still life paitning

Gifts of Summer, finding gratitude in difficult times

Sometimes inspiration comes from distant shores or precious objects, but for me, most comes from the world outside my window. In my backyard garden I find plants and creatures that add meaning to my life, remind me of my community, and inspire my work.

I just reached the fourteenth anniversary of moving to my house. It came with four fruit trees, a half dead lilac, and rhubarb plant. The rest was grass, weeds and more weeds. Now hundreds of plants grow in the garden where I designed and built 14 tons of slate walls and paths, with the help of some very kind friends.

Central to my garden’s design was a prolific cherry tree. Although it came with a forked trunk and showed some evidence of rot, we cared for it as best we could. It started to lean more this spring, yet it also produced more fruit this year than it has for many years past, which encouraged us. The cherries on this tree have always brought so many wonderful visitors to nibble on cherries, which are neither too sweet nor too tart. Each year brings a new surprise bird: last year a huge pileated woodpecker gorging on cherries, and this year several vibrant yellow and red Western Tanagers. I’ve never seen these timid birds in the yard before, and I was able to photograph them from my bedroom window.

Two days after the photos were taken however, we woke to find that overnight, the leaning tree had become the laying-on-the-ground tree. We didn’t hear a thing, but just like that it was gone! Luckily we had a cold spell and over the next two days, I went through the branches and saved all the cherries I could. It was a surprisingly huge amount, since I could easily reach all the branches!

Some of those cherries are here in my painting, beautifully paired with a vibrant yellow porcelain from the Seattle Art Museum. This bowl is one of a pair recently installed at the Seattle Asian Art Museum in Volunteer Park (hopefully soon to reopen!). When I held these bowls during their installation, they immediately reminded me of a piece I got to know early in my career at SAM.

Many years ago, I made mounts for the Porcelain Room, and I handled hundreds of fine porcelains (just about everything had a custom mount for earthquake mitigation purposes). I would carefully pick up each object and take it to my work table to fit for its mount. I picked up a bowl that was one of a pair, remarkably similar to the yellow bowls but glazed blue. I stopped halfway to my table in surprise. I could feel it. After holding hundreds of pieces in my hands, I could feel absolute perfection. The yellow bowls have the same breathtaking feeling of quality, and are identical as far as I can tell, which is quite a feat for a handmade piece!

Every other detail of the painting is special to me in some way. The dragonfly visits me almost daily in my vegetable patch, flying in precise yet economical loops. The pink poppy I grew from seeds originally gathered almost 10 years ago from my neighbor’s yard. I grow poppies because my dad grew poppies, and his dad before him. The delicious orange orange raspberries come from plants given to me by the talented artist, Rachel Maxi. And last but not least, Isaac found a weed on a recent hike that he picked for me to put in my next painting. I treasure his involvement and interest, and his selection balanced out the yellow in the composition nicely. Plus, how could I resist his imploring little face!



In these times of social distance and other disconnection, I hope you can look around and enjoy your own personal gifts of summer. Please enjoy this month’s painting, keep well, and enjoy the sunshine!

BOWL

1723-35, Porcelain with yellow overglaze
height 2 5/16 in., diameter 4 in., 
Gift of Mrs. John C. Atwood, Jr., 70.37.1
Photo: Paul Macapia 

From the Seattle Art Museum website:
Colored wares require a second firing at a lower temperature to fuse the enamels to the transparent porcelain glaze beneath. They distinctly reflect the imperial taste for exquisite design and potting. The combination of white interior and yellow exterior is a color code for wares made for the first-rank concubine, as specified in the Regulations of the Palace of the Qing Dynasty.

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Portrait of an Alpha Rooster

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.

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Peace and Love, new still life floral paitning

Each painting in this “Flights of Fancy” still life series includes a piece from the Seattle Art Museum collection. Unlike all the other miniatures in this series that included bowls and vases from the collection, the piece featured in this miniature painting is another painting. 

Albert Bierstadt was known for rendering these sweeping, romanticized scenes, this one of a place he had not yet been. In this piece, “Puget Sound on the Pacific Coast”, Bierstadt portrays Native Americans and the Pacific Northwest in a scene equally idyllic and dramatic. 

Albert Bierstade, Puget Sound on the Pacific Coast

The flowers in the painting are peace roses and love-in-a-mist nigella. I worked on this painting during the time when protests began to sweep across the world calling for justice against racial discrimination. My work is not political, but it is very personal. My response is subtle, but it is genuine. I wanted to bring something into the world that held these two ideals. That of peace and love, hence the flowers and the title.

The birds are a pair of house finches, common in the Pacific Northwest, that I found in my pear tree in the back yard. I heard a rustling noise and upon investigation, realized they were mating! Something I’d never actually seen before. I’m hoping that’s a good sign for things to come. 

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Capodimonte Porcelain Still Life Painting

When I started this painting back at the beginning of May, Italy was often in my thoughts with its explosion of COVID-19 casualties. Having spent a little time in Italy, it felt especially devastating because it struck me as a place so full of life, beauty and passion. This painting became my homage to Italy during a time of so much suffering, to remember the Italy I had known and to wish for it’s speedy recovery. 

I chose two porcelains that seemed to speak to one another, each made in the Capodimonte porcelain manufactory Real Fabbrica di Capodimonte, operating in Naples Italy, 1743 to 1759. One features the two men playing cards in the sunshine, and the other a playful figurine of Columbine, a saucy and clever character of comedic Italian theater. 

At times I felt like I was going to make myself go blind with some of the tiny details in this piece, but my quilting magnifying glass was a life saver—I can almost see numbers on the cards! These two objects are part of the Seattle Art Museum’s collection, and both can be seen in the Porcelain Room when the museum reopens. Links to the objects on the SAM website can be found below.

I wanted the painting to burst with the same life and passion I felt in Italy. My son and I cut a rainbow of blossoms from the garden, including the beautiful namesakes of Columbine. I count my blessings every day, and am thankful for my little pocket of paradise I have been so fortunate to be able to build. 

DISCOVERING THE CAPODIMONTE PORCELAIN MANUFACTORY 

For over a year I helped create mounts for the Seattle Art Museum’s porcelain room and learned about how Europeans were obsessed with learning the secrets of how the “white gold” was produced. With over a thousand objects in the one room, I completely overlooked the Capodimonte pieces. It wasn’t until recently that I learned about porcelain from this region when SAM hosted the exhibition, Flesh and Blood, Italian Masterpieces from the Capodimonte Museum. The exhibition had little to offer in the manner of porcelains, but it was a feast for the eyes for a painter. I studied many of the pieces in the exhibition while in college (I even wrote an essays on one of them!), and it was such a privilege to see them in person. This led me to research the Capodimonte collection, and as it turned out searches for Capodimonte turn up not paintings but porcelains.

The factory was founded by King Charles and his wife Queen Maria Amalia Valpurga, who was the granddaughter of Augustus the Strong, the founder of the Meissen factory and one of the earliest champions of European porcelain. They recruited chemists, painters and sculptors to work at the factory. One of the biggest challenges in creating porcelains in southern Italy was that kaolin, a type of clay considered essential to porcelain, was in short supply. By experimenting with different combinations of clay, they developed a unique recipe that resulted in a warm white tone, bringing a distinctive appearance to the works from the Capodimonte factory. The factory was in operation a short time, between 1743 and 1759. In 1759 Charles inherited the Spanish throne, and when he left, the entire factory went with him to Madrid, becoming the Real Fábrica del Buen Retiro. 

Though the Capodimonte manufactory did create pieces in a chinoiserie style (the European interpretation and imitation of Chinese and East Asian artistic traditions), I was struck at how very Itallian these two pieces felt to me. The attire, setting and even the poses of the figures were likely taken from direct studies taken from life in the region. I remember when I was making mounts many years ago and being particularly fascinated by the chinoiserie style. It felt a bit clumsy and seemed just a bit off in what I found to be a very interesting way. These clearly European pieces felt too fussy in contrast. Now here I am, years later, learning everything I can about Capodimonte porcelain. 

Visit my Monthly Miniature page to see all of the paintings in this series.

URN-SHAPED JAR 1750-57
CAPODIMONTE MANUFACTORY, ITALIAN
Soft paste porcelain, 6 1/4 in. (16 cm), height, Dorothy Condon Falknor Collection of European Ceramics
Photo: Paul Macapia

COLUMBINE 1750 CAPODIMONTE MANUFACTORY, ITALIANThis figure represents a character from Commedia dell’arte, the farcical Italian theatre. The character of the servant Columbine is witty, bright, and full of intrigue. She is often depicted dancing.

Soft paste porcelain, 6 in. (15.2 cm), height, Dorothy Condon Falknor Collection of European Ceramics
Photo: Paul Macapia

More Images of “Capodimonte“, oil on aluminum, 4.5″ x 5.5”

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Portrait of a Rocky Mountain Horse

My latest commission is a portrait of a Rocky Mountain horse named Chief. He has a beautiful dual colored mane and he is such a sweet horse. I’m in Seattle, but have family in Ohio and travel back to visit (don’t know when the next visit will be at this point though!). I got to meet my client who lives in Ohio in person last year and spend a lovely morning with her and a mutual friend taking reference photographs. Horses are tough to photograph and horse people KNOW their horses so you have to get it right! It’s quite the experience to soak in this amazing bond. I hope these two have many many years to enjoy each others remarkably warm company.

Date of Delivery

This painting was due to be completed for Bobbie’s birthday. I was dismayed that it was my very first and hopefully last commission that wasn’t finished on time. I have a clause in my contract in the “Date of Delivery” section that states, “This completion date shall be extended in the event of delays caused by events beyond the control of the Artist.” 

My husband and I suffered nasty bout of illness in early March, followed by the challenging transition to working-and-schooling from home.

Being sick while caring for a 4-year-old was really difficult. My husband and I were both sick for the entire month of March, and we took turns resting while we did our best to keep Isaac fed and out of trouble. I wasn’t able to venture into the studio for the entire month and it threw a big wrench in the works for my paintings schedule. 

Once we finally recovered, I got back to painting and I have never been so thankful for my health, the sunshine and wonderful clients! Bobbie was so kind and forgiving and I’m very grateful. Wishing you all a very healthy spring.  ?