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Puggle portrait painting (cape implied)

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

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Self Portrait – Expecting is a finalist for the ARC Salon 2019!

My Self portrait painting has been selected as a finalist for the ARC Salon 2019 Competition!

I was fortunate to have my painting, “Admiral Vox” travel for last years exhibition and I couldn’t have been happier with how the Art Renewal Center (ARC) handled everything. It was such an incredible experience to have my artwork hanging alongside so many extraordinary pieces. I traveled to Barcelona to see the final installation of the exhibit at the MEAM which is a beautiful space. It’s inspiring to see so many contemporary artists pick up the tradition and make interesting work that’s relevant today. I couldn’t be happier to have another painting selected as a finalist.

Learn more about “Self Portrait – Expecting” in my previous blog post.

This year they received over 4,300 entries from 73 countries. The number of entries grew by more than 1,000 from last year! Winners will be posted July 1– please wish me luck!

CLICK TO VIEW FINALISTS

About The Art Renewal Center

“Leading the revival of realism in the visual arts, the Art Renewal Center (ARC), a 501(c)(3), non-profit, educational foundation, hosts the largest online museum dedicated to representational art and includes works by the old masters, 19th century, and 21st Century Artists as well as articles, letters and other online resources. The ARC is the foremost and only vetting service for representational art schools ensuring that the teaching curricula and quality of teacher and student work meet our strict standards to become ARC Approved™. The ARC Salon Competition, which is the largest and most prestigious competition in the world for realist artists painting, sculpting and drawing today with eleven categories and thousands of works competing, culminating in a traveling live exhibition of many of the winning works. The ARC works with other ARC Allied Organizations™, artist groups, museums, and publications to become a central news hub for the 21st Century Representational Art Movement. Read the ARC Philosophy written by ARC Chairman, Frederick C. Ross, to learn why ARC is so passionately dedicated to representational art.

Congratulations to all of the finalists!!

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Feature in The Stanger 2019 Pet Issue

Every year Seattle’s last surviving newspaper, The Stranger, does a feature issue all about pets. Art critic Jasmyne Keimig interviewed four different artists who immortalize animal friends and I was delighted to be among them. Read the full interview on the Strangers website.

Thank you to the folks at The Stranger that continue to produce such a well loved local paper and for the yearly focus on animals. And a big thank you to Jasmyne for putting so much into writing a lovely article. I’m honored to be included!

They used an image of my portrait of Shiloh, oil on aluminum, 18″ x 12.5″ for the article. Go to my Pet Portraits gallery to see more examples of my work and go to the commissions page to learn about having your very own painting made.

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Self Portrait – Expecting

The idea for the painting “Self Portrait – Expecting” came back when I was six months pregnant with my son and most of my reference images were gathered at that time. Rabbits were a big part of my childhood and I had two rabbits that lived in my painting studio. My rabbit Eleanor, was a natural addition to the painting. Not only did she sit at my feet while I painted, her species has been seen as a symbol of fertility for more than seven-hundred years.

I didn’t start painting “Self Portrait – Expecting” until my son was two and a half and after a series of miscarriages, I had recently learned that I was pregnant again. Eleanor had passed away since the photos were taken and right in the middle of working the painting, I lost yet another pregnancy, the fourth since my son was born. The act of making this painting was such a bitter sweet experience. The painting is about fertility, yet while making it, I was experiencing so much loss. I think that some of my resolve, the strength that I had to keep up for the sake of my two-year old made its way into my expression which changed throughout the painting process. In the end, the painting has become a reminder for me to be grateful and never give up hope.

This painting is on view at Arcadia Contemporary in the group show “ARC Visions 2019“ through March 2nd 2019.

Arcadia Contemporary
39 E. Colorado Blvd.
Pasadena, CA 91105

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“Arlington” at The CVG Show

Making large paintings takes me a very long time since I put so much detail into my work. Arlington took almost two years to complete with breaks in the schedule for finishing commissions and Monthly Miniature’s. The painting was exhibited Santa Fe in the 14th International Guild of Realism exhibition, hosted by Sugarman-Peterson Gallery and it has also been selected to be included in The 12th annual Collective Visions Gallery (CVG) show. This exhibit pulls together artwork made in every quarter of Washington state that exhibit the best qualities of contemporary and traditional art. The show is considered Washington’s richest juried art exhibition and is one of the biggest in the Northwest and I’m really excited to have my work included in the exhibit. 131 artists’ works were selected by Gary Faigin, co-founder and Artistic Director of the Gage Academy of Art from nearly 1,200 submissions.

The exhibit opened on Jan. 26 and it closes Feb. 23 at Collective Visions Gallery, 331 Pacific Ave., Bremerton. It’s a lovely show and great excuse to take a ferry ride over for a weekend adventure! Go to my figurative paintings gallery to see more works in the this series.

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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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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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Realism Exhibition in Santa Fe

If you’re in Santa Fe this coming weekend, please stop by Sugarman-Peterson Gallery to see my painting, “Arlington” oil on aluminum, 24″ x 36″. The gallery is hosting the 14th International Guild of Realism exhibition, which will feature a blend of contemporary and classical realism. Stop by the gallery anytime from October 5 to October 29 to see some amazing work from 91 different artists. The reception is this Friday, October 5th from 5:30 to 7:30pm. View the whole show on the gallery’s website.

About IGOR

The International Guild of Realism, also known as IGOR, was founded by a group of renowned realist artists in 2002. They now represent the work of over 390 members from over 35 countries. The Guild’s mission is to advance realism in fine art. They do this through organizing museum exhibitions, art gallery shows, workshops and education programs, marketing support, and internet exposure.

It’s inspiring to be a member of guild filled with so many talented artists. I exhibited two paintings in the 13th International Guild of Realism exhibition last year in Carmel.

Please go to my figurative painting gallery to see more paintings in this series. If you’re interested in purchasing this painting, please contact the Sugarman-Peterson Gallery.

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Painting of Silkie Chicken in the ARC Salon Traveling Exhibition

First stop: New York City!

My portrait painting of the silkie chicken, Admiral Vox, will be included in the upcoming 13th International ARC Salon Exhibition. The exhibit consists of 89 Contemporary Realist works selected from over 3,750 entries from 69 countries. It is the most prestigious realist art competition in the Americas and perhaps the world.

New York, LA, & Barcelona: three stops over the next six months

The ARC Salon Exhibition will be on view at the Salmagundi Club, 47 Fifth Ave., New York, NY from September 21st—October 2nd, 2018. The public opening event on Saturday, September 22nd from 11am to 3pm. Entry is free. The exhibition will then travel to Sotheby’s, Los Angeles where it will be on view from December 4th—December 13th, 2018 with the opening reception on December 4th from 6pm to 8pm. The show will then travel to the MEAM Museum, Barcelona, Spain from February 8th—March 31st, 2019, with the opening event and award ceremony starting at 7pm on February 8th. To learn more, go to the ARC Salon website

The ideas behind the painting of Admiral Vox

My early memories are few but vivid, with joy and sorrow in equal measure. When I was small, I discovered the aftermath of a weasel attack in the hen house. Yet I also remember the sole survivor, a newly hatched chick who followed me everywhere. As my father succumbed to Multiple Sclerosis, the rest of us took more responsibility for the animals, and I reveled in it.

Now I paint animals, revisiting memories of my dad and the wonder of growing up on a small farm. I compose portraits of animals the same as I do portraits of people, seeking not only likeness but the beauty particular to them.

Admiral Vox is one of my mother-in-law’s flock. Despite his stern expression, he is gentle with people. Here he guards his hens in the dim of his coop, which has been lighted to personify the rooster without embellishment in a classic and dignified pose.

View more paintings in this series

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Children of Artists, Miniature Portrait Painting of the son of Barbara Robertson

Portrait of Sean

Sean, the happy kid featured in this month’s monthly miniature, is the son of artist Barbara Robertson. I was first introduced to Barbara in the basement at the Seattle Art Museum many years ago and have been following her brilliant career every since.

There is a fear for many women that their career will not recover after being put on hold to raise kids. That is no less true for artist moms, who deal with the additional challenges in being a woman artist who have historicaly been less recognized in museums, galleries and art history publications. Every step forward in a victory, and Barbara is another inspiring example that it can be done. Among other things, the story she tells below highlights how powerful it is to have a role model. Thank you Barbara, for being another incredible inspiration!

Paintings in this Monthly Miniature series fall somewhere between commission work and my original works. Like a commission, source images for these miniatures may come from family photos or be taken by me. But whereas I involve clients in my commissions, both in selecting photos and composing the painting, I take full control in the Monthly Miniatures. Most parents see these portraits for the first time when you do, here in the newsletter. I love the process of composing a painting in collaboration, but having complete freedom gives me a different connection to the painting, and it is helping me develop confidence in my choices.

Barbara (far right) pictured with her family. Her son Sean (left middle row with green hat), husband, step children, grandchildren and nieces and nephews.

Words from Barbara, on being an artist and mother:

When my son was born, I really didn’t know what it was like to be an artist, or anything else, except being a young girl. I had wanted, and dreamed, of being an artist since I was fourteen when I met my first professional, working artist. I was full of the enthusiasm and optimism of youth.

She was the mother of my best friend. I had not dreamed of being a mother. But when I had my baby at age 19, at least I had a great role model for how to be an artist and a mother. My friend’s mother had a studio in her home, with a door that she kept closed; her own private space. I was often invited in to see her work and receive her advice when I was in high school.

My baby was a surprise, of course…who plans a baby at 19? I was a freshman in college, so had taken a few introductory courses and loved it. I was determined to get my degree in art and determined to get my MFA, which I did. It took me ten years, going part time, to get my BFA. I was so naïve, that I did not know that no one takes you seriously as an artist if you are a woman and certainly not if you are a mother. If someone had told me that, I would not have believed them. I had my friend’s mother as an example and I just proceeded as if I had no impediments.

By the time I was in graduate school, my son was ten, and being a parent and a beginning artist was much easier but still a challenge. I was always juggling commitments to find time to make some art. My son often came to UW with me in the evenings and rode his skateboard down the halls of the art school building befriending and charming some of the other students.

Being a young parent definitely has its advantages; you can carry your child around for a long time without getting tired, have endless energy and certainly no carpel tunnel stress that most mature mothers experience. You have lots of stamina and optimism but, the downside is that you are not very smart. And you don’t know what you don’t know. I’m pretty sure that was a disadvantage for him. So my son and I grew up together. He went everywhere with me and lived around creative people and “alternative” life styles and was always a welcome part of the group. This has, I think, contributed to him being a tolerant, wise, independent and intelligent person. As he got older, I devoted more of my time to my art and I think that he thinks that having an artist mother is a natural thing. He is a self -employed craftsman and an amateur chef.

"Rough Cut 3" acrylic and collage on paper, 44" x 30", by Barbara Roberts

“Rough Cut 3″ acrylic and collage on paper, 44″ x 30”, by Barbara Roberts

Barbara Robertson

Seattle based artist Barbara Robertson is known primarily for her work in experimental printmaking. Recently, she has expanded her practice to include digital animation and sound installations. Awards for her work include grants from the Seattle Office of Arts and Culture City Artists program, 4Culture Individual Artists award, 4Cullture Artists Projects grants, Artists Trust GAP grant, a KALA Art Institute Fellowship and the Neddy Fellowship from the Behnke Foundation.

In 2004 her work was included in “Events,” a collaboration with the Merce Cunningham Dance Company, Joyce Theater, New York. In 2012, her work in animation was exhibited at the 4Cutlure Electronic Gallery in Seattle, in 2012 at “aproject space” in Seattle, Washington, at Trykk 17 Art Center, in Stavanger, Norway and at the Eleftherias Art Center in Athens, Greece.  In the winter of 2013, her animation “Three Phases,” was exhibited on a large outdoor screen at the Gates Foundation in Seattle.  In 2014, three animations and one work on paper were part of a large special exhibition at the Tacoma Art Museum, titled “Ink This! Contemporary Print Art in the Northwest.” Robertson’s work shown in 2014-2016 as part of “The Intersection Between Science, Art and Technology” exhibition at the American Embassy in Bern, Switzerland. In 2015, her work in animation and print was exhibited at “Impact”, Hangzhou, China. Three animations were shown in 2016 at 4Cullture’s E4C electronic gallery.

Robertson’s work is included in private and public collections including the State of Washington Percent for Art, King County Public Art Collection, the City of Seattle Portable Works Collection, Harborview Medical Center, Tacoma Art Museum, University of Washington Special Collections, US Trust and Safeco Corporation. She has a Master of Fine Arts degree from the University of Washington, Seattle. She established the print art program at Pratt Fine Arts Center in Seattle, served on Pratt’s board of directors and is the founder and past president of Seattle Print Arts. In 2016 she curated and organized a satellite exhibition in conjunction with the Seattle Art Fair, “In Context” exhibiting large scale work by thirteen regional artists. In 2017, her large scale, sight specific animation installation, “Architectonic” was exhibited at Oxbow Art Space in Seattle.