In addition to my rabbit greeting cards, I’m now offering a new still life greeting card set. This set includes all 12 monthly miniatures from the Flights of Fancy series. Each painting in that series features birds, something from the Seattle Art Museum collection, and fruits, vegetables or flowers that were in season in the month in which it was painted.
Lots of people had been asking if I would release prints from recent paitnings. I found a local printer I love and am now offering some for sale in my store. I just received several beautiful images from my lovely client Theresa, showing how she framed hers. The backdrop of her beautiful farmhouse in Indiana decorated for the holidays is just magical. I loved seeing these images and I hope you do to!
She very kindly offered to share where she purchased her frames and mats. Contact me if you’d like information on where they came from and I will pass it on! Everything was ordered online and she was able to easily fit them together herself.
Breakfast for Two
I’m thoroughly conditioned to associate November with food. Though we had an unusual Thanksgiving, we did our best to maintain tradition. This year, for me, it felt more like a necessity than ever. I also felt the need to make a painting about not just what I’m thankful for, but also my hopes for the future. So this month’s painting is full of bright colors, food and reminders of family.
I’m originally from Ohio, and my family still reside there, apart from a nephew in California. I was excited to bring a little of Ohio into this month’s painting a male and female Cardinal, which is the state bird. Although they are common, I would never call them commonplace. Their color is extraordinary, especially when you find them on a snowy-white day, sitting on a bare branch.
My mom has a huge garden and chyrsanthemums are one of the few flowers still blooming at the beginning of November, though they disappear by the end of the month with the first snow of the season. I thought of mom especially when I added these ‘mums. Though I haven’t been back for Thanksgiving for many years, I have seen my mom and step-dad at least once a year since I moved out here around twenty years ago. Until this year. I am hoping for a future when we can visit again, and where the world my son grows up in is a little closer to the one where I grew up. I think one thing that people across the globe will all soon have in common (at least for a little while) is not taking the time we have with friends and family for granted.
The plate pictured from the Seattle Art Museum is one of my favorite pieces in the Porcelain room, and I’ve been hoping to figure out a composition I could fit it into. It is so cheerful and bright and makes me smile to look at it. When I was thinking of it, I had it in my mind that it was Japanese, but it’s actually a perfect example of chinoiserie. Chinoiserie is the European interoperation and imitation of Chinese and other East Asian artistic traditions. The porcelain is English and was made in the late 18th century.
I hope you made the most of your Thanksgiving holiday! Although we put off our feast a day to make cooking easier, we made up for it with waffles for breakfast (they’re a favorite around here, but you probably noticed that already). We had an intimate Thanksgiving dinner celebration with just my husband, four year old son and myself. We made far too much food and got all dressed up. Isaac had a blast. We did end up cooking a turkey, despite shortages of the smaller birds, but I don’t know how much longer my son will partake; we might have a budding vegetarian on our hands:
Isaac: “Where’s the turkeys head?”
Me: “Well they cut it off when they killed it.”
Isaac: “They killed the turkey?! Did they go to jail?!”
Thanks so much for continuing to follow my work! All my best to you and yours for the holiday season.
CA. 1772-75, ENGLISH, WORCESTER
Collection of the Seattle Art Museum, on view in the Porcelain Room Gallery
Soft paste porcelain, Diam.: 8 1/4 in., Kenneth and Priscilla Klepser Porcelain Collection, 94.103.79
Provenance:[Mr T. Leonard Crow, Tewkesbury, England, 1948]; sold to Mr and Mrs Kenneth and Priscilla Klepser, 1948-1994 (cf. Mr Crow’s letter dated March 6, 1948 to Mr Klepser); gift from Mr and Mrs Kenneth and Priscilla Klepser to Seattle Art Museum, Washington, 1994
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.
1736 – 95
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
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.
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!
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!
|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.
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.
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.
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”
Taking the time to smell the roses (or peach blossoms) is making a big comeback this year. One of the unexpected benefits of our isolation is finding time to connect with what’s growing and living outside our front doors. I have five fruit trees in my garden that I spend time with every year while I prune, mulch, and harvest the delicious bounty they finally bring me. Yet I rarely get the opportunity to marvel at the beauty they bring me each spring, when they are covered in a plethora of delicate fluttering blossoms. This year, I’ve been able to take that time. There’s are so many things still to be done, but now simple enjoyment is on that list.
My fruit trees were the first inspiration for this painting, and since the Seattle Art Museum is now closed, I searched their online database for my SAM inspiration. I choose this lovely piece, one of my favorite treasures of the porcelain room. It’s just as much a sculpture as it is a vase, and the masterful painting recalls the delicacy of the garden. Filling it with the branches from a fruit was an idea that came from a recent commission (pictured below) for Ping Foong, Foster Foundation Curator of Chinese Art at the Seattle Art Museum.
The violet-green swallow can be found all over the western coast of North America, but you’ll most likely find them near open evergreen and deciduous woodlands. In the Seattle area, keep an eye out from March to September to spot one!
Wishing you all warm, healthy regards and some time to smell the roses.
JINGDEZHEN WARE VASE
1736 – 1795, Qinglong period, Qing dynasty (1644-1912)
Hard paste porcelain
8 1/4″ x 13 1/2″
stamped Qinglong reign mark in seal script Seal mark of Ch’ien-lung on base
Eugene Fuller Memorial Collection
Photo: Paul MacapiaCollection of the Seattle Art Museum
The Qianlong emperor’s love of antiques inspired porcelain imitations of ancient lacquerworks and bronze vessels. The burnished dark green appearance of this vase recalls an ancient bronze.
The Western Chamber
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.
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.
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