Have you seen the stunning still life paintings by artist Marie Tippets? If you saw my write up about one of her paintings, you may have been introduced to her work then. Whether you know Marie’s work or not, you’re in for a treat!!

Don’t know Marie’s work? Here’s a teaser:

Bio for Marie Tippets

A native of upstate New York, Marie Tippets received a Bachelor of Fine Arts Degree from Nazareth University. Her current residence in Southern California has afforded her numerous opportunities to not only work in the art field as an award-winning graphic designer, but to exhibit her work professionally for over 15 years. She is the recipient of numerous awards and has also been honoured with several distinctions: Eminent Pastelist, the highest commendation of the International Association of Pastel Societies; Signature -Distinguished Pastelist by the Pastel Society of the West Coast; and Signature Distinction by  the Pastel Society of America. See more of her work here.

And now here’s Marie!

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My still life work has no hidden meanings.  It incorporates no use of “Vanitas,” the use of symbolic objects designed to remind the viewer of their mortality and of the worthlessness of worldly goods and pleasures. Instead, it’s straight forward. 

Each piece to me is a unique experiment. Each piece explores what might happen when shapes, patterns, and colour harmonies combine with direct sunlight to create new patterns, highlighted focal points, darkened intrigue, and a magic that I like to call serendipitous. It’s that “something” that I hadn’t quite planned on when setting up a given still life: magical shadow patterns and the chiaroscuro effect created by the long-slanted light of the afternoon setting sun. Sometimes, as in The Tangerine Branch, it’s those shadow patterns that really excite me and draw me to the easel. Sometimes, nothing happens, and it’s back to another day of attempted setups.

Each still life painting begins with a favourite object (or two), something that caught my eye in a friend’s home or on a shopping expedition. That piece may be strong enough to stand alone, or, it may work well in a grouping of other similarly coloured objects. It may need the addition of fabric, foliage, or fruit. 

In an attempt to not repeat the same solution to any given still life, I may peel a piece of fruit and keep the peel in the set. I may wrinkle fabric to incorporate the folds as a dynamic secondary interest. I may add elements or take them away. I am conscious of colour harmony and of the balance of the objects used, and I view composition as the key element of any still life that is set up.

Since light and shadow patterns are key to my work, I take multiple photographs throughout the course of the afternoon as the sun begins to lower in the sky (utilizing a perfect southwest facing set of French doors in my dining room). When I get the perfect photo with just the right shadow patterns that I was searching for, I use that photo as the reference for my painting. 

I then make a notan to determine whether this setup will have a good composition. 

• Is there a strong focal point? 
• Is there a good flow around the composition to direct the viewer to that focal point? 
• Is there enough intrigue in the setup to keep the viewer engaged in what might turn into a painting?

These are all questions that I ask myself while studying the photos from a day’s session of setting up and photographing. If it isn’t perfect but 90% there, and it’s something that I feel I can “adjust” during the execution stages, then I proceed to the easel. If not, then that set up comes down and another set up begins the following day. 

I work at it until I either abandon an idea or move forward successfully with it. That being said, some paintings still fail and others win. Nothing is a given. But any attempt is a part of our growth curve as artists, and one that I pursue passionately and with love. 

In The Tangerine Branch, it was no secret that I absolutely LOVED the shadow patterns inside the white bowl.  A simple branch laden with tangerines…a simple white bowl.  The sunlight did all the magic and I was so excited to start work on this particular piece.

This is often the case with my work, and I attempt each and every time to bring that joy into the painting itself. If successful, it translates into a meaningful connection with the viewer and a painting finds a forever home, as did The Tangerine Branch.

As I mentioned earlier, I do not have any hidden meanings in my work. During the COVID pandemic however, I was drawn to eggs as symbols of new beginnings and rebirth. I utilized white vessels to indicate sustenance and white birds as a symbol of hope. I worked in black and white because the world seemed to have become so strongly polarised. Those elements still often appear in my work.

As an aside, I remember reading once (darned if I can remember where) that Michelangelo was made to draw eggs in his apprentice years to help train his eyes to SEE. Since no two eggs are alike, his assignment was to see their differences and capture that difference in his drawings. Training our eyes to see things that others don’t immediately see, and incorporating those elements into our work, give our work life and meaning. It takes it above simply copying.

Autumn Splendour was another painting inspired by something as simple as my daily walk. I grew up in upstate New York where Fall was absolutely magical – colours of all imaginings: burnt umbers, golden yellows, burgundy reds, oranges, bright yellows, and more. The foliage blazed with colour and the ground was covered with fallen leaves. I can still remember the crunch beneath my feet. Now, living in Southern California where there seems to be only one season, I have to search for a small hint of seasonal change. A few trees change colour, and the leaves in this painting were from one of them. 

One fall morning, out for my daily walk, I gathered a large bunch in both of my pockets and once home, set them up in a nambe bowl. The bowl I knew would pick up the colour on the inside as I’d utilized that bowl before for that specific desired effect. The leaves sticking above the rim would capture the light as it came through them. A birds-eye perspective was perfect for this idea, and I was quite pleased with all of the effects that were captured.

I often use a birds-eye view rather than a traditional straight-on setup because I don’t want to be predictable. I also don’t want the viewer to dismiss my work as just another boring still life.  Some of my favourite pieces have been created in this format.

In regards to composition, a centred object can often be difficult to get just right. Using the rule of thirds (dividing our board into 3 parts horizontally and 3 parts vertically), at each of 4 possible intersection points, there’s an opportunity for a focal point. In Autumn Splendour, it is the brightest and most vibrantly coloured leaves in the lower left. Note how the stems point (subtlety) towards that grouping, and how the rim of the nambe bowl directs our eye around and towards that point. Yet, along the way, there’s no boredom to be found – the bright highlight of the leaves as the sun glows through them is captured along the inner rim of the bowl. Magic to me, and I hope for the viewer as well.

The Green Jug started out with hopes of being a horizontal piece that utilized two jugs rather than just one, and a lot more leafing of the tangerine branch. Having not been successful with that setup, I purchased beautiful eucalyptus leaves complete with blossoms. I peeled a couple of tangerines and again set to work on the set up the following day.

The sun was perfect and the favourite photograph captured was this one. 

Notes:

• The chiaroscuro effect to the left of the pot and the way those two tangerines are hidden but partially visible to the viewer 
• The reflection back into the pot of the tangerine that’s placed in the foreground 
• The beautiful long reflection cast by the peel of that same tangerine 
• The reflection onto the surface of the table of the two slices of fruit. 

The composition couldn’t be more perfect. 

As a young artist, I trained my eye to see these things. They are the hidden gems of my work that bring to life a simple grouping of mere “things.” This is what creates a magic for both me, the artist, as I bring excitement to the easel, and to you, the viewer, as you become intrigued with the work.

I recently began a new series titled “WHITE.” 

The colour white can be so beautiful to me. It can be ethereal and dreamlike. It can represent stark reality. It can symbolize new beginnings, fresh starts, and hope.

What is White? In colour theory, it’s the combination of all colours that creates the perception of white. 

Some thoughts about “white” from other artists:

“Renoir said once that nothing was so difficult, and at the same time so exciting, to paint, as white on white.” ~ Ambroise Vollard, French Contemporary Artist 1866-1939

“Working in white makes people look into it.  White is ethereal.  There’s a purity to it, it makes things look elevated in a way. There’s a whole palette of white…” ~ Jonathan Milne, creator of carefully crafted sculptures in white

“White…is not a mere absence of colour; it is a shining and affirmative thing, as fierce as red, as definite as black…God paints in many colours; but He never paints so gorgeously, I had almost said so gaudily, as when He paints in white.” ~ Gilbert Keith Chesterton, British author 1874-1936

“White is the most wonderful colour because within it you can see all the colours of the rainbow. For me, in fact, it is the colour which in natural light, reflects and intensifies the perception of all the shades of the rainbow, the colours which are constantly changing in nature, for the whiteness of white is never just white; it is almost always transformed by light and that which is changing: the sky, the clouds, the sun and the moon.” ~ Richard Meier, born 1934, American Architect whose designs make prominent use of white.

Baker’s Dozen is another example of an “almost birds-eye” perspective. It’s tumbled towards the viewer, creating a dynamic effect of movement. The stripes of the fabric help to accentuate that effect. 

I particularly liked the distortion of the stripes as they appeared through the glass bowl, and the odd reflection of those stripes along the rim of the bowl. It may not be something that is readily apparent to the viewer, but that’s okay. These are the small things that bring a painting to life and give it its uniqueness. None of us wants our work to be glossed over or dismissed so we look for ways to keep the viewer engaged with every individual piece.  

As I’ve mentioned, during the pandemic, I was quite drawn to eggs and working in black and white. In Baker’s Dozen, I’m again using eggs – always fun to paint. And that fabric with those stripes – oh my – how I love to work with stripes and folds. This is one of my new favourite pieces!

Regarding my choice of paper and pastels, I use a textured paper because I like the particular way it holds the pastel layers and still allows some texture to be seen as well.  Even though I’m a realist, I prefer to see the buildup of texture along the way rather than a blended photographic look (the reason for the textured surface).  Also, I use the harder of the “soft” pastels – Holbein, Caran d’ache and Carb Othello. I use Terry Ludwig pastels and others for backgrounds or large areas of colour.

In closing, I always like to remind young artists that there are no failed attempts at the easel.  Each represents a growth curve along this journey called artist. Have fun. Bring the love of painting into each piece that you create, and don’t dwell on the show rejections, or the failed pieces. Paint what you love and be joyful.

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Inspiring right??! Doing still life paintings is such a great way to learn about value, shape, colour, composition, edges etc. And I’m hoping the work by Marie Tippets encourages you to go paint a still life. They don’t need to be complex. As Marie says, be observant, and be open to the magic that can happen!

Let’s hear your thoughts! If you have anything to share with Marie or have questions for her, please do leave us a comment!

Until next time,

~ Gail