Sam and I became friends many years ago attending an open-studio gathering hosted by a mutual friend. She loved cats and talked about them all the time, but I was shocked to hear she didn’t have one! She and her husband were catsitters for one and they were very much in love.
After four years, Angus’s human saddly passed, but Sam and her husband were able to adopt him. He went from one very loving home to another. Soon after the adoption was official, she contacted me for a portrait of her favorite kitty.
Hand-Finished Antique Frame
I offered one of my antique frames that my sister found several years ago at a The Castner Picture Frame Company, made in the early 1900’s. You can see my finishing process on a previous post. It’s incredible to watch the transformation they undergo and I love the warm tones in the frame with his fur colors.
INCREDIBLE! Truly amazing. I can’t thank you enough. I absolutely love it and can’t wait to see it in person.
The theme for my new still life series will be the idea of “Simplify”. I’ve been thinking a lot about simplifying my life and trying to learn how to set aside much-needed time for relaxation and contemplation. I’ve titled my series for this year “Simplify” and I’m hoping to bring that idea into my life in the coming year. Contemplating the idea in how I’m composing my work seemed like the perfect way to start (but it’s harder than you might think!).
Oranges are in season now, at their peak of flavor during these cold winter months. Beyond being delicious to eat and beautiful to look at, for me oranges have become a personal metaphor for pushing through and staying alert.
Years ago, I worked full time as a mount-maker for the Seattle Art Museum while also painting full time. I was also an avid hiker and practiced ballet and Iaido (a Japanese martial art). Each day was packed full. And each day around three o’clock my body would protest and demand that I take a nap. After trial and error with way too much coffee and chocolate, I found that oranges not only tasted refreshing but made my whole body feel refreshed. Oranges perked me up perfectly and gave me the second wind I needed to get me through until I could take a nice, long nap on the bus ride home. “Orange time” soon caught on with my coworkers and became a daily ritual.
I hope you enjoy the first painting of this new series! Sign up for my Newsletter if you’d like to see the series as it unfolds.
September has been a crazy month. As you may have noticed, my little garden gives me a lot of produce, and I’m a bit obsessed with not letting it go to waste. I feel like I jumped from a plum roller coaster right into an ocean of pears! I’ve canned 50 jars of pears (underestimate), eaten a million pears (overestimate) and baked a decadent French Pear Tart.
My mom gave me my pear tree 12 years ago, and it’s getting really big. Since our cherry tree came down, the pear is the new favorite for the birds. Our resident Steller’s Jays like to nip at the fruit on the top of the tree, so it felt perfectly natural to invite this Jay to the French Tart party.
Speaking of a crazy month, my own little bird (five your old son) started kindergarten, and talk about roller coasters. My emotions keep going up and down with excitement and fear. Except for a few school bus mishaps in the beginning, it’s been a pretty smooth transition. He is such a sweet little guy, and he really appreciates special homemade treats like this. He loved the tart, but he REALLY loves the canned pears. I have every faith that we’ll go through those 50 jars! The tart was incredible, but with a 21 step recipe, it’s a once-a-year occurrence.
I haven’t quite accepted that fall is already upon us and plan on staying in denial for as long as possible. I hope you enjoy the sunshine and warmth while it lasts and take some time to enjoy a special treat too.
Despite the bumpy start to 2021, I still have high hopes for where this new year will take us. I’m looking forward to saying goodbye to the “new normal.” Meanwhile I thought we could all use some warmth and comfort to cheer us along the way. Each painting of this year’s monthly miniature series will have the theme of “creature comforts”, such as food and drink that makes us feel warm and cozy.
Let’s start this year with a toast. I made you a pomegranate champagne cocktail. Pomegranates are a symbol of plenty, youthfulness, fertility and good luck. Combine that with champagne, overflowing with abundance and joy, and you have the perfect drink to welcome the new year.
Here’s my toast:
The last year has been both terrible and wonderful. Despite a calamitous year, I’ve had the rare privilege to begin painting as a full-time artist without also working a second full-time job. I could not have done it without you, so I propose a toast of thanks.
Your subscription to my newsletter cheers me along. Every time you share my work, you help me grow my audience. Every time you buy a painting, a print or a greeting card, you support me doing something I love for a living. So cheers, and thank you for your continued support. I wish you a new year that overflows with good luck, plenty, and joy!
In 2018, the Portrait Society of America added a new category to its annual Members Only competition: “Animals as Subject”. Since then I’ve entered every year and have been incredibly fortunate to have my work selected either as one of the winners, or as a finalist (top twenty).
My painting of Harrison was selected as a finalists in this years competition. Thanks so much to the Jurors for selecting my work and thank you to the Portrait Society of America for their dedication to furthering the traditions of fine art portraiture. Congratulations to all of the winners and finalists in the competition!
What do these two paintings have in common? They’re both finalists in the Richeson75 Animals, Brids & Wildlife 2020 Competition! Visit the online exhibit to see all of the work included in the show.
Jack Richeson & Co. is a fine art materials manufacturing company and part of their mission is to directly support the visual arts community. They operate the Richeson School of Art & Gallery and have created a series Richeson75 International Art Competitions.
“The Richeson75 competitions are meant to offer a venue in which established and emerging artists may show their latest, best work to a wide and appreciative audience. The 75 finalists for each regular contest will exhibit their work in our beautiful Richeson Gallery and in the online exhibit. The Richeson75 online competitions also reach a wide audience with online exhibits of the 75 finalists’ work.”
All Richeson75 competitions are accompanied with the publication of a collectible, limited-edition, full-color, hardcover exhibit book which includes the artwork of the finalists and other meritorious entries from the competition.
The competitions showcase artwork made in the realist tradition. I’m honored to have two pieces among such a technically well-crafted mix of styles and subjects. Congratulations to everyone in the show!!
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
This colorful painting is made with hopes for the future. We’ve all had our share of negative transformations over this past year, and I am reminding myself and you that not only is our current situation temporary, but everything is temporary. Seeking the best of every situation will keep us strong and help us persevere.
I recently went to the Asian Art Museum at Volunteer Park and found a shocking patch of weeds where the Dahlia garden usually resides. The Puget Sound Dahlia Association, whose members have been planting the garden each year since 1984, didn’t get to plant this year due to Covid-19. I assumed the decision not to plant was to discourage people from congregating in close proximity. They were a favored feature of the park, and I have high hopes they will return next year.
Luckily for me, I also used dahlias in last October’s miniature and had taken dozens of reference photographs that I could use for this painting. I paired the blooms with a Korean vase from the Seattle Art Museum’s collection. I love the subtle colors and the design that reflects the joy of the flowers in full bloom. I want to celebrate and remember the beauty that we once so freely enjoyed and will enjoy again.
I was saddened to hear earlier this week that the Seattle Art Museum’s downtown building would need to close again due to wintertime’s rising Covid-19 numbers. It does make sense to close nonessential businesses to keep us safe. But my gosh, I’m just so happy that I decided to highlight works from the museum back in January. It reminds me how grateful I am to have these beautiful pieces on view to the public, and I hope it reminds you as well. Please think about your local art museum this holiday season. These closures make a huge financial impact, so if you can help them out, please do so.
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.
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 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 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