In the shower the other morning, I was pondering what I could write about in my next blog post. And then as I grabbed my big fluffy towel, it came to me – I’d find images by Edgar Degas (1834-1917) of women after the bath, drying themselves. Surprisingly, I realized I hadn’t yet written about Degas’ pastels on this blog. Time to rectify that! (You can read a blog I wrote about some of Degas’ work on my gailsibley.com blog by clicking here.)
Do you have any idea how many paintings (pastel and oil) Degas painted around this topic?? Plenty! And you can find so many of these images online. What I found though was that much of the information was incomplete – no size, no location. It took me some time to weed through them – I only wanted to present to you work that I found on museum websites with the full information on each piece. All the images here were taken from those websites as I suspect they show the most accurate colour.
After 1875, Degas began to use pastel frequently, even using the medium for finished pieces. In May 1886, at the Eighth (and last) Impressionist Exhibition, Degas exhibited a series of several pastels of nude women involved in bathing – washing, after the bath drying themselves, and combing their hair. They were the talk of the exhibition with some viewers criticizing the ungainly and awkward poses while others commented on the honesty of the depictions and Degas’ use of colour. Certainly, they weren’t idealized pictures of women but rather, images of the modern woman going about her daily ablutions.
Degas continued with this interest in using pastels through the 1890s and into the 1900s. By then, his eyesight had begun to fail and the work became more abstracted and more about the formal elements of painting. The women are less individualized and more a collection of line, colour, texture, and form.
Let’s take a look at some of his pastels of women after the bath, drying themselves (earliest to latest).
Eventually purchased by Claude Monet, this piece shows a figure and surrounding room. The woman and her towel cast a shadow on the bed and this is balanced out by the white petticoat with its highlights and shadows on the right. All the accoutrements of bathing and after the bath are visible – the shallow tub with sponge, the basin and pitcher, and various perfume bottles. The woman is completely at ease looking at herself in the mirror. The open door with its dark rectangle suggests the possible entry of someone, perhaps a client. The figure forms the central pivot around which a picture full of diagonals and parts of objects (the bed and petticoat) swirl. Don’t you love the red slippers? (This painting was painted over a monotype. Degas made a first monotype and then printed a second one over which he created this painting.)
A woman kneels in the tub, drying herself. What looks like a dressing gown lies on the nearby sofa. Like the pastel above, a door is open behind her. We have no sense of this woman’s social class or if she works as a prostitute. She could be any woman at her toilette. Degas’ rendering of the soft glowing skin with its subtle colours and shadows is exquisite. The angle of the head, face hidden in shadow, hair coiled on top, is so beautifully drawn as is the rest of the body. I particularly love the reflected light on her right thigh near her knee. The woman is calm and intent on what she is doing, oblivious of being watched.
Another earlier piece, this pastel feels full of movement with the blur of the towel in motion as a woman dries off. Another brown sofa with towel or dressing gown over it, it supports a kneeling woman, head down and face hidden. I find this piece has a tension in it unlike the pastel above – it comes from the action of the towel and the awkward precariousness of the figure on the sofa. My favourite parts are her feet, right over left, balancing the body, and also the floral wallpaper
This pastel was one of the suite of nudes shown at the Eighth Impressionist Exhibition. Hard to believe that the critics could have found this beautiful nude to be ugly. In the quiet of her room, this young woman, hair loose, carefully dries her foot while sitting on a chair covered with her dressing gown. She is in her own world, totally oblivious of being watched by us through the open door. This side view is a difficult one to give form to and Degas has done a refined and elegant job of it.
This pastel may well have been in the Eighth Impressionist Exhibition as well. Here we have the full bathtub being used to prop the bather’s foot as she dries it. Is this the same auburn-haired model as in the above paintings? It appears Degas blended areas of the pastel (her centre back, the bathtub, her right leg) as well as leaving areas of hatched lines. There seems to be a strange confusion in the area around the right hand drying the foot – do you see what I mean?
This is a curious piece, with soft and polished parts where the texture of the paper is hardly visible, and other parts where the texture of the paper is clearly evident (at the top). There is none of the hatching or cross-hatching we associate with Degas’ work. There is a fold in the paper near the top which Degas did nothing to hide. This woman sits on a sofa, reaching up to dry the back of her neck. You can see the bathtub barely shown in the background top left.
Like the pastel above (and below), this woman dries the back of her neck. Degas was obviously fascinated by this everyday pose as a woman goes about drying herself after the bath. The gesture creates a tension in the back which allows for more evidence of the forms beneath the skin. Face hidden, the woman is completely anonymous especially when compared to the earlier work. The focus is on the woman’s back, so much so that it’s difficult to tell what happens with the rest of the body, for instance, how do her legs fit into the picture? She appears to be seated and surrounded by colourful clothing perhaps from which she will choose. This pastel has a more abstract feeling with intense colour and various pastel textures. Notice it was created on tracing paper. Click on the link to the museum above and go to ‘See all Paintings’ to read more. (For some reason, I was unable to directly link the image above to the one on the Museum’s website.)
This pastel is large, almost double the size of the one above. Degas seems to have begun the piece as another close-up view of a woman’s back as she dries her neck. In the end though, he extended the composition, adding more paper to the top and bottom of the composition. One of the parts of this painting that stand out for me is the pink pastel hatched over the gray areas of her back. Delightful!
This piece really begins to show the more vigorous stroke of Degas’ later years as his eyesight continued to fail. Curiously, the towel seems to be gathered along one edge almost suggesting a piece of clothing that she is slipping on. Yet the bathtub stands in front of this woman and she appears to be drying off. Again I am in awe of the subtle variations of form in her back that Degas has managed to achieve. A close look shows hatching going every which way and lost and found edges to create the illusion of skin. Marvellous!
All those different textures! Skin, towel, tub, upholstered chair, carpet, wallpaper. It’s fascinating that Degas chose to parallel the edge of the bathtub with the woman’s left arm rather than say, hide it with the arm. An interruption is made by the awkward movement of the right arm drying her left side. It appears that Degas may have added another piece of paper along the bottom. Can you see the dividing line? (There is no mention of it in the Courtauld Institute notes.) I love the redrawing of the right knee and perhaps there is also a change in the left (raised) hand. Oh to get a close look at these pastels in the flesh so to speak!
Definitely a later piece, Degas focused fully on the woman’s back and surrounding cloth. What looks like the bathtub is shown at the lower left of the picture. Look at that wondrous hatching of different colours, for example her lower back – greens, reds, pinks, blues! Such confidence of pastel application!
Compared to the images above and below this one, this pastel looks positively refined and delicate. I am surprised it’s dated so late! The woman sits on the edge of the bathtub and dries her neck. This time, her hair is caught up in a pnoeytail rather than loose or in a bun. I rather like the panels of different colour behind her – they form an abstracted background as it’s difficult to make out what each represents. They almost look like curtains from the ruffling at the top. And what’s that dark shape to the right? The skirt of a woman come to help her? (There are other paintings by Degas of woman being helped by another – click here to see an example – but these were beyond the scope of this post!)
From around 1905, this vigorously painted pastel shows the decline of Degas’ eyesight. He uses the female form to create a montage of movement and colour. When I first looked at this painting, I couldn’t make out where and how her limbs worked. Finally I saw it – the limb that at first looked like a badly attached right arm is actually her left leg resting on the sofa while her right arm is mostly covered by the towel. I think it’s the conglomeration of limbs and right breast with little differentiation that create the confusion. You can see that Degas is no longer attempting an accurate drawing but instead appears to be reacting to the movement and colour he sees.
I hope you enjoyed this blog as much as I did putting it together. I’d love to know which is your favourite piece (I have numbered them) and why. Leave a comment or reply to me and I will post the comment for you.
Until next time,
Pastel of Dried Roses
My plan for this post was to show a step-by-step progression of my pastel of dried roses in a vase. The roses were a gift from my honey for my birthday in August but it wasn’t until well into September that I painted them. They were beautiful when fresh and still beautiful once they had dried.
When it came time to put this blog post together I realized that, silly me, I had only videoed the process ie I’d taken no stills. I also hadn’t taken a photo of the set-up. Argh. Since I had my heart set on sharing this pastel and since I couldn’t think of an alternative, I decided to go through the videos and take a few screen shots. This I did. The only thing is, because the camera isn’t facing the pastel straight on, the photos are slightly skewed and not as clear as I’d like them to be. Nevertheless, I think you’ll get the picture.
First off, here’s the final piece (taken with my camera not the camcorder).
Starting at the beginning….
Here are a few close-ups of the finished pastel:
And here are the Great American pastels I used:
Hope that was helpful. I’d love to hear any feedback!
Demo at Opus!!
I also wanted to tell you about a demo I am doing in December. It’s going to be at Opus Art Supplies here in Victoria on Sunday 7th December, 11am-1pm. It’s called “Colourful Still Life in Pastel” and I’ll be demoing a small pastel with a limited palette using Schminke’s box set of 20 pastels. Click here to learn more.
I’m prrrreeeetttty excited to be doing this. It’s my first time demoing with Opus. It’s free but you’ll need to register in advance by calling them at 250 386 8133 or going into the store.
And thaaaaaaat’s it for this time. Hope you’ve had a lovely weekend.
Until next week,
PS. If you looked closely at both photos showing the pastels I used, you will have noticed I forgot to include the darkest pastel in my cleaned up photo. Mea culpe.
PPS. Here’s a photo of the roses in my bedroom when they were fresh!
PPPS. The Berlin Wall came down 25 years ago – 9 November 1989!! Do you remember when that happened? I do. I also remember when I was in Berlin at Checkpoint Charlie 32 years ago, looking over at the grim buildings in East Germany and imagining the people walking on the other side of the wall. Wow – what a change when the wall came down. I can hardly believe it’s been 25 years ….
Then go check out this amazing art installation!!
At the end of last month, I posted the first of these ‘pastel gems’ blogs. It was a very informal, totally personal selection of pastel gems that came across my computer screen through the month of September. It was so well received, I’ve decided to make it a monthly feature.
Last time I said I would keep my choices to only 10. Was I crazy???? That’s waaaaaaay too difficult! But yeah, I know, I promised.
One of the difficult things in choosing was liking pieces by artists already featured last month. Well, they had to go first. (Maybe in a couple of months I’ll permit myself to post their beautiful work again.) Others didn’t have complete information so I edited those out too (as much as I hated to do so). Then I looked and whittled, looked and whittled. Terrible to have to make these kind of choices. No envy of jurors that’s for sure (I’ve only had the pleasure of being a juror twice). So from 35 plus, here are my 10 pastel gems for this month. Like I say, purely subjective. My own delight really but I do hope you will come away with some awe and pleasure.
Let’s take a look.
Arlene G. Richman, Quick study, pastel on prepared BFK Rives paper, 11 x 11 in
I love the simplicity, the colour combinations, and the design elements of this study. Arlene does these quick studies when she needs to keep the creative juices flowing. She started them because she “was up against a wall vis a vis a more serious piece and … just needed to keep going and painting….. I start with a mark – either a color shape or a directional line or two – or both. Then the rest of the painting is an exercise in solving the problem I presented to myself. I usually feel viscerally whether a color or line is correct.” To see more of her work, click here.
Linda Dessaint, “The Secret Spot,” pastel on Wallis paper, 12 x 9 in
There’s such an immediacy and vibrancy about this pastel! It looks as if it’s done on location but I don’t know this for sure. Happily for Linda, it recently won the Terry Ludwig award at the Pastel Society of New Hampshire‘s National Juried Show (hanging until 30 November). Check out her other pastels on her website.
Ginger M. Urick, “Blue on Black #2,” pastel, 19 x 19 in
Completely different from Linda’s pastel above (which makes me think ‘glorious day’), Ginger’s piece is moody and evocative of the power of nature. I’m in awe of her technique and ability to capture this moment in the sky. I couldn’t find a website for Ginger but found her Artist Facebook Page instead. I hope you’ll head on over and Like it!
Aline Ordman, New Mexico workshop demo, Terry Ludwig pastels on Colourfix paper, 9 x 12 in
Another glorious example of painting en plein air. Aline’s colour always astonishes me. And look at the simplicity – so much said with so little. Head on over to her website to see more of her fabulous work!!
Bonnie Paruch, “Algoma Shadows,” pastel on sanded paper, 14 x 18 in
I love that Bonnie could make such a beautiful and bold painting out of this ordinary subject matter. Evidently so did the judges at the September Bold Brush competition who awarded her an Outstanding Pastel award. This painting is one of seven completed for a group invitational show at the Charles Allis Art Museum. The show runs until 11 January 2015. Check out more of Bonnie’s work here.
Supapong Yuneyong, Portrait, pastel, 17 x 12 in
I was rather taken with the vigorous nature of this portrait and the way the artist captured this man’s personality. I could find neither a website or a Facebook Artist Page for Supapong Yuneyong but he is on facebook. Click here to see his page and learn a bit more about him.
Gisele Hurtaud, “Le Chapeau de Marjolaine,” pastel on pastelcard, 13 x 13 in
I found this portrait delightful – the smile about to crack open, the glance away, the smooth skin contrasted with the wooly hat, the curl of hair escaping, the warm pastel in her cheek and the background. To see more of Gisele’s work, check out her website.
Daggi does some amazing portrait and figurative work. This month, this was the pastel that caught my attention – the incredible realism of the head (with the water reflections above the eyes and the drips of water) contrasted with the abstract quality of water that still appears perfectly real in the whole. You can see part of Daggi’s painting process here. How does she get such detail???? Check out more of Daggi’s work on her website.
Leo Loomie, “The Red Booth,” pastel on ersta paper on foamcore, 20 x 16 in
I love the feel of this pastel – I could walk in and sit down and then be mesmerized with all the reflected goings-on as I listen to the juke box. This pastel is part of a body of work Leo is creating called the Americana series. There are some fabulous pieces and it was difficult to choose which to include. Unable to find a website for Leo, I did find his Artist Page on Facebook – click here and go Like his Page
Diane Rudnick Mann, “Silverware in Glass,” pastel, 26 x 21 in
I had two of Diane’s pastels to choose from. I decided to go with this one since the other, “8 or 9 Glass Bowls,” (which just won First Place in Still Life category in the 2015 Pastel Journal 100 Competition!!) is on the front page of her website. Go check it out! I think this pastel is equally amazing. Not only am I stunned by what she was able to do with a handful of silver utensils , I am intrigued by the velvety blackness of the background. How did she achieve this??
So there are my ten pastel gems for October. Difficult choices!! But some pretty awesome work don’t you think?
I’d loooooove to hear from you!!
Off to drool over this work some more….
PS. Happy Halloween!!
Check out these adorable children’s pastels of pumpkins!
When I first started blogging on www.gailsibley.com, I wrote a post about an artist I had recently discovered – Joan Eardley (1921-1963). I was blown away by her work and still am. Recently I borrowed a book on the artist via interlibrary loan. I could only keep the book for two weeks and I knew pretty quickly that really, I needed my own copy. So I treated myself! The book, Joan Eardley by Christopher Andreae, has arrived and now I want to share with you some of Joan Eardley’s powerful pastels reproduced in the book.
Born in Sussex in 1921 to an English father and a Scottish mother, Joan spent her childhood in England but lived most of the remainder of her life in Scotland after the family moved there to escape the bombing in London in WWII. (Her father had taken his life earlier; he never got over being gassed in the trenches during the First World War.) In 1940, Joan enrolled at the Glasgow School of Art (GSA).
After her successful studies (she won a prize for her one and only self-portrait), war work with a boat builder, further studies at GSA followed by a trip to Italy on a travelling scholarship, Joan set up a studio in the tenement area of Glasgow in 1949. There she painted the local children. It was her drawings and paintings of these slum children that brought her recognition initially even though it is the work of wind and sea from her Catterline studio for she is most well-known. Below are a few of the pastels she created of the tenement kids she came to know.
Eardley continued to paint children throughout her life (which was sadly cut short by cancer in 1963 when she was only 42 years old). In a BBC interview in January 1963, she said, “…the [children] that I want to paint I try to get them to stay still but it’s not really possible to get a child to stay very still –mostly I just watch them moving about, and do the best I can.” (pg19-20)
You can see her sympathy for these children of poverty. Yet there’s certainly no sentimentality evident. She paints them as she sees them, all grubby and yet with the charm of children.
You can feel the individuality of these children – they aren’t just a ‘type’. The more I look at this work, the more I feel that.
I like what Andreae says about these portraits: “…the Glasgow slum children. They are portraits not caricatures. She had too much rapport with them for such distortion. And direct, daily experience of them meant she knew them well and painted them in their world….They were..impoverished tenement children, and Joan studied and explored their community and their place in it with great concentration and poignancy. Nor for the most part, did she let sentimentalism sift sugar over her understanding of these kids. She knowingly celebrated the vibrant character of their burstingly energetic existence. She portrayed them with a kind of fond and tough sense of reality.” (p.127)
And just to situate where these kids lived and where Eardley worked:
When I started this post, I was going to also include images of Eardley’s pastels of Catterline landscapes but I think I will leave those for another time.
What do you think of Eardley’s portrayals of the Glasgow slum children? Are you as taken with the directness and energetic interpretation in pastel as I am?
As always, I look forward to hearing from you.
Until next time, keep pastelling!
PS. The FABULOUS book I reference:
To buy in Canada click on image:
I’ve just uploaded a video about high key painting and what it means. Have a look and let me know what you think.
Here’s the set up I was painting. You can see the beige paper behind the daisies that I reference in the video.
If you squint, you can see that the shadow at the centre of the right hand daisy is pretty dark. I decided to take license and make it lighter than it shows in the photo. In this way, I kept the painting high key.
Here is my thumbnail of the set-up. It’s not the clearest job dividing the work into three values (parts of the background look too dark) but doing a thumbnail allows me a chance to become familiar with the subject so when I come to paint it, I have a better understanding both of it and how I want to portray it.
And here is the set of Schminke pastels I chose from:
(I have sorted this box of Schminke pastels into values. For help sorting a box of pastels into values, click here to see my video.)
And the final painting:
High key paintings are ones that feel airy and light. Often the light source washes out the scene and there are very few deep shadows. The subjects can be white or light-coloured themselves – eggs, a snow-covered landscape (with no dark trees), puffy white clouds, a white-sand beach for example.
The main thing is that the values are in the lighter part of the scale.
How are you feeling about your understanding of a high key painting? Have you made a high key painting? If so, why not send it in and I will post it on a future blog showing various high key paintings!
All for now
I got thinking the other day (oh yeah!). While cruising around the web, I see so many inspiring, delightful, surprising, beautiful pastels done by artists working today. So, my plan is, at the end of each month, to share a few of the pastel gems that caught my eye. There will be many to choose from but I promise to keep the selection to 10 and under. That’s gonna be difficult I know!
So let’s get cracking! Remember to keep an eye on the sizes of these pastel gems.
- Bruce A Gomez, “Punto Amada,” plein air pastel on Arches 140lb CP w/c paper, 8 x 10 in. I can feel the cool of the shade and see the sparkle of sun glinting on the water. Bruce says he sands the tooth of the paper down using 80 grit sandpaper until it feels like suede. It apparently holds the pastel beautifully! Click here to see more work.
- Barbara Newton, “Fond Memories,” pastel, 7.5 x 7.5 in. Small and magical! This pastel recently won an award. Click here to read more.
- Jacob Aguiar, “Untitled,” pastel on UArt 500 paper, 12 x 16 in. Aren’t these trees lovely? I wanted to put a link to Jacob’s website but I couldn’t find one…I guess because he works full-time as a naturopathic doctor! Really?? Wow that’s all I can say. You can find him on Facebook.
- Tony Allain, “Towards Cable Bay,” pastel on sanded paper, 18 x 18 in. I admire the way Tony puts down a stroke so confidently and then leaves it alone. His colours and compositions are always so powerful. Click here to go to Tony’s website.
- Casey Klahn, “The French Moderists,” pastel, oil bar and graphite on 100% rag paper, 11 x 9 in. I love this piece. I’m not sure why. There’s something about the colour, the texture, the content, that keeps me looking. It reminds me of still life paintings by Giorgio Morandi. Click here to see more about this painting.
- Catherine Meeks, “Sunlight and Shower,” pastel on pastelboard, 16 x 10 in. I am delighted by the colour, lightness, and abstract quality of this pastel. Click here to go to Catherine’s blog.
- Ruth Mann, “Girl in Pink,” pastel on Fisher 400, 16 x 12 in. Look at all those colours in there!! To see more of Ruth’s work, click here.
- Joni Beinborn, “Bertha,” pastel on pastelmat, 26 x 19 in. I have to say I am generally not a big fan of animal art but this blew me away! To see more of Joni’s equine work, click here.
So that’s the first edition of my blogs on pastel gems found on my internet travels. What did you think of the pastels? What do you think of this monthly sharing? Helpful? Valuable?
Please let me know by commenting on this blog. (To do this, click on the title of the blog which will take you to the post on my website. Scroll to the bottom of the blog post and write your comment there. Then you’ll need to “Verify your real existence” by following the Captcha instructions. Once you’ve done that, remember to click the Post Comment button!! Whew! OR you can reply directly to me and I’ll manually post the comment to the blog for you.)
Until next time,
A couple of days ago, I was flipping through a book I have on the American Impressionist Childe Hassam, Childe Hassam: Impressionist, when the pages opened to a couple of delightful floral pastels. I’m not sure about you, but I only vaguely knew he had done some pastel work. So I thought I’d share a few pieces with you.
Born outside of Boston, Childe Hassam (1859 – 1935) made a successful early life for himself as an illustrator. In 1883, he made a trip to Europe but it wasn’t until he spent three years in France (1886-1889) that he came under the influence of French Impressionism.
“Au Grand Prix de Paris,” was done while in France. Rather than focus on the jockeys and their horses (as Degas did), Hassam instead shows us the spectators at the horse racing event. You can see how much he has absorbed the style of Impressionism. It reminds me both of the work of Edgar Degas and Mary Cassatt. This pastel is one of the earliest he created with this medium. Evidently it suited him well as he would become a major pastellist in America after his return there in 1889. His work was exhibited in the fourth and final show of the Society of Painters in Pastel held in New York in 1890.
Hassam became well known for his paintings of the urban life of New York where he lived on his return to America. Here’s a stunningly modern looking pastel of life in the big city. Interestingly, although the setting is a snow blizzard, the dark figure has not been obliterated by the white of the flying snow. Instead, Hassam seemed more interested in the design he could make with the dark figures cut out against the light coloured background.The tan paper and the yellow of the gas lamp give a warmth to what would generally be a very cold scene. This pastel is one of my favourites! You can read more about it on the Isabella Stewart Gardner Museum’s website.
Childe Hassam and his wife would summer throughout New England. One of the places they would travel to was Appledore, an island among the Isles of Shoals off the coast of New Hampshire and Maine. Appledore House, run by writer Celia Thaxter, was a summer resort with studios available for the artists who became part of her informal salon. (A side note, apparently it was Thaxter who suggested to Childe around 1883 that he drop his first name Frederick to become known by his Byronic middle name Childe.)
The next two pastels were done at Appledore in the garden Thaxter kept. In the 1890 pastel, with so few lines, Hassam gives us the feeling of poppies blowing in a breeze. Look at how much he uses the colour of the paper as part of his piece.
In the other pastel, we can feel the crispness of a summer day. With so little to indicate it we know we are sitting in a garden of intentional wildness planted close to the sea.
Another pastel done during the summer, not at Appledore but somewhere in New England, is “Summertime.” In parts, there is a single layer of pastel, in other areas, you can see where Hassam added a second layer to create an effect. Examples of this are in the verge on the lower left side where he has combined blue and yellow pastel to create a brighter green, and in the lawn and trees behind where he has added a layer of light blue to push that part of the scene into the background, giving it aerial perspective. You can see this more easily in the details below.
In this painting (much larger than the other two), you can see Hassam’s deftness with pastels. Look at how with a few vigorous strokes he gives us the images of a variety of flowers and a young girl crouching possibly to pick a flower. When you look at the work close-up, it becomes a mishmash of coloured lines; pull back and you have a very clear picture. Remarkable.
Okay, one more. I think the following pastel is stunning in its simplicity and abstract quality. It’s not a small piece either – it’s the same size as “Summertime” above. With vigorous hatching, Hassam gives us an animated yet calm scene of a single star as it appears at twilight or the ‘blue hour’. Again, Hassam has used the colour of the paper to warm this evocative scene.
While researching this post, I came across a wonderful description of this pastel in a short review of Hassam’s work at Blakeslee Gallery written in the American Athenaeum, Vol 3-No4, 15 December 1891. I have included a bit more than the description as it not only lavishes praise on Hassam but also gives a taste of the writing of the period!
“…To call attention to the works of this gifted young man [Hassam was 32] is but to do him justice. He has that quality in his art which commands the attention and respect of discerning men, and which, in spite of certain affectations, which are undoubtedly natural to the dashing development of such a rapid talent, show him to be an artist very much above the standard of the self-opinionated school which has undertaken to regulate everything artistic in America…
…In the pastels, however, the artist gives us something entirely superior to his other work….There is a night-piece at sea – a mere haze of palpitant gray-blue in which sea and sky are scarcely to be differentiated, and whose only point of light is a flashing evening star, which is, really, one of the finest effects of art I ever saw. It is so close to Nature, and so finely in sympathy with her, that it might make an altar-piece in her honour. The power and luminosity and vital spirit of this simple piece takes the life out of half the other pictures in the gallery….” The author is unknown but possibly it is the journal’s editor and proprietor, Alfred Trumble.
Childe Hassam (pronounced HASS-am) certainly followed his own credo (stated in 1892) about art, that ”the man who will go down to posterity is the man who paints his own time and the scenes of every-day life around him.”
Let me know what you think of Hassam’s pastels. I’d love to hear from you!!
Until next time,
So much for getting this post out by the end of August! What can I say – the summertime craziness has discombobulated me.
The Alaska cruise with my family was lovely (bar getting bitten by some insect which blew up my foot into an ugly puff ball). It was so wonderful to get together with my siblings, their mates, and my parents. Sad when it was over. But then we had the pleasure of my sister and her partner visiting for a fun couple of days. Now, I’m finally getting back into the swing of things.
Right, what’s on tap today. Well I thought I’d share the progression of a plein air painting of trees that I have just entered into the Sidney Fine Art Show (fingers crossed).
My Mum, Dad and I went out painting in July. Unusual for us, this was an afternoon outing (rather than a morning one). Since we would start losing light, we didn’t want to spend a whole heap of time looking for a spot so we settled on parking at the Long Harbour ferry terminal. There was water, trees, and buildings to choose from. Even so, I had a hard time committing to a scene. And then I turned around and saw this:
This painting was unusual for me. For one thing, there aren’t many layers. And for another, it painted itself like an abstract. I was in wonder at the end of the hour and a half. How did that happen??
Which reminds me to remind you that I am offering a pastel workshop, “Moving Towards Abstraction,” on Salt Spring Island on the last September weekend. You can read more about it here. Please tell anyone you know who may be interested!
I do hope the progression of my plein air painting of trees was helpful. Did I leave something out? Let me know!!
Until next time,
PS. I know it’s not a pastel painting but I could not NOT tell you my good news!! I was awarded the GRAND PRIZE for “Perchance To Fly” in the Federation of Canadian Artist’s show Painting On The Edge – an open international juried show. This prestigious exhibition is difficult to get into and I was thrilled to have accomplished that but to win the top prize?? Unbelievable, unimaginable, unthinkable. But here it is, I won!!
This is a quickie as I’m almost out the door as I write this! We are off to join my Mum and Dad on an Alaska cruise with siblings and their spouses – eight couples in all. It should be a heap of fun!!! And no internet – how great is that?? Well, mostly great but I’ll have to wean myself…
Before I left however, I wanted to tell you about an upcoming workshop. I am super excited about it as it really relates to the work I am doing now. It will take place on Salt Spring Island, BC, Canada 27-28 September at ArtSpring. As it will be in the Guild room, there will only be room for 6 participants. The price is $225. The focus will be working in pastel but you’re welcome to bring other media. (I will have a supply list when you register.)
Moving Towards Abstraction – a two-day workshop in pastels
Do you feel a pull to make your work more abstracted?
Are you feeling like you are in a rut with your paintings?
Are you searching for a way to move your work forward?
Are you interested in the creative process, in the journey?
Do you ever feel like you want to go beyond, deeper into, the representational pastel work you are doing now?
Then come to this workshop! We will take old work you are unhappy with and push it towards abstraction. We’ll also do plenty of exercises to unleash the intuitive part of you and create work from scratch.
But abstraction isn’t just about splashing on the pastel. It’s about looking at what you have created with an artistic eye, taking into account how the composition works, how the colours work, how the textures work, how the edges work, how the shapes work, how the values work. Is the whole unified with a path through it? Are the principles of dominance and repetition followed? Does it evoke a mood? Does it evoke an emotion? Does it say something to the viewer? Does it say something to you? These are some of the questions we will explore in this two-day workshop.
We’ll also begin to look carefully at the world and be inspired by seemingly innocuous objects, patterns, and arrangements. All these will feed into your creative soul and re-emerge from your creative hand, moving towards abstraction.
So come prepared to have fun, take risks, and blow caution to the wind!
How does that sound???
Plein air painting in pastels video
I am making progress on my videos on plein air painting. Since I still haven’t done the voiceover and I will be away for a week, this is YOUR opportunity to tell me what you want to know about plein air painting in pastels. Anyone who gives input on this topic will be entered into a draw for a free copy when it comes out!!! So come on, tell me all your frustrations, ask all your questions. When I get back I will be focused on getting it finished. So don’t delay!!
By the way, when you respond, I won’t reply right away because I will be away from internet (you see? it’s gonna be hard for me!!).
That’s it! I’ll talk to you when I get back.
PS. Please feel free to share this information with anyone who you think might benefit from it
I don’t know about you but my pastels get miiiiighty dirty when I use them. Whether you wear gloves or not, every time you pick up a pastel, you transfer particles from the pastel you previously held to the new one. And so the pastels get dirtier and dirtier. Ugh I say. So, cleaning soft pastels – what’s the best way?
When I was starting out in pastels, the recommended way of cleaning soft pastels was to put all the dirty pastels into a container that held some kind of gritty substance such as cornmeal (the most commonly suggested), rice flour (softer than cornmeal), rice (cleaner than either cornmeal or flour), semolina (I never tried that one) or fine sand (didn’t try that either).
Doug Dawson’s nifty idea of creating a wire sieve that fits inside the container certainly made it easier to remove the pastels from the container. I made one that was similar and carried it on location with a plastic gold panning dish (bought in Sacramento years ago when I took a workshop with Doug) into which I would pour the cleaned pastels. (See photos below.) Well, I just found all of that too tedious, time-consuming, messy and generally a pain in the derriere!
I needed an alternative!!!
Click the photo below to find out what it is
The pastels you see in the video were the ones I used in my pastelling glass bottles demo. Click here to see it.
So??? Did you figure it out before the video?? Do you use this method? It works so well for me for all the reasons I express in the video.
How are you cleaning soft pastels? I’d love to know what method you use. So drop me a reply and I’ll add the comment to the blog post. And feel free to comment below the video on YouTube. I LOVE getting feedback!!
Until next time,