"Limpid"

I've been noticing lately how one word often keeps cropping up repeatedly. Right now, for me, that word is "limpid". This is *not* a word that I am especially fond of. I somehow get a mental picture- if the word is used as "limpid blue eyes" - of someone with a vacant stare. Must be the "limp" part! I prefer to use "clear", "translucent" or even "pellucid". .. Anyway, this "limpid" keeps cropping up in a book I am reading about the Impressionists. The current one is a history - but, before that I read "The Swan Thieves", a novel by Elizabeth Kostova. The novel is about an imaginary woman painter during the time of the Impressionists but there are actual historical references too - such as the Prussians destroying hundreds of Pissaro's canvases. An interesting novel. I enjoy reading *real* art history and also historical fiction. I liked Susan Vreeland's "Luncheon of the Boating Party" - all about Renoir and the painting of his masterpiece. Some other glimpses of Impressionists were in a few of the stories in her "Life Studies" too. Thankfully, neither Kostova nor Vreeland were addicted to the use of "limpid". I'll post a painting that was in the recent show at the Federation Gallery - Roman winter- are the colours "limpid"? I think of it as clear winter light...

Life Drawing

For the recent "DoorsOpen", I made a display on one wall that had drawings from one life-drawing session- Iva in her ballet outfit- and then I posted the following explanation. Life drawing is called "life drawing" because it is drawing from life - from a live model. The model is often "undraped" (nude) in order that the artists can better understand anatomy. Sometimes the model is "draped" (clothed)- which can actually be harder as besides needing an awareness of how the body is moving under the clothing, the artist has to draw the clothing itself, with all its folds and drapery. Each life drawing group has its own format as to how the poses are set up and the timing planned. One person is the timer and, usually, another sets the lighting. Some groups are silent but it is more usual to have music playing. Again, the music will vary with the group. In the group in which these drawings were done, the format is five one-minute poses, five two-minutes poses - for warm-up - then four five-minute poses which are actually the same pose but the model rotates 360 degrees. This rotation pose is excellent practice in anatomy and drawing from different angles - along with the problems of "foreshortening", the term used to describe perspective relating to the human form. Then, in this group, we do a "long pose" - half an hour, then a coffee break followed by a return to the same pose for a further hour. The last hour is in two half-hours to give the model a break between.

Brushwork Variety reception-

Last night was the opening reception for "Brushwork Variety". The Federation Gallery looked great and the paintings were all nicely grouped and displayed to advantage. The back wall had at least one from each of the seven artists in the show- which was a really nice touch. We had a good turn-out and everyone seemed to enjoy the food. I did a bit of sitting after the concrete floor got to me. (I found I was stiffening up with standing!) However, a night's rest cured that. This painting is one that is in the show. It is "Trastevere September" and is just a walk down from where my daughter was living in Rome. I love the way light comes down between the buildings and catches on the cobblestones. It is amazing how the streets last through time. Apparently, drainage is actually better with cobblestones. Another thing is that they are endlessly recyclable so no doubt are more environmentally friendly than our flat asphalt. My paintings are from the trip to Europe but the rest of the show has a lot of variety and much appeal. It runs through to May 2nd and is worth a trip to Granville Island.

The Diva

Tomorrow is "delivery day" for the Finn Slough paintings. Then the exhibit will run Thursday, Friday, Saturday and Sunday just to noon (pick-up time). As noted last post, the reception is Friday evening. On Valentine's Day, a number of artists were invited to a tea at Finn Slough. This was a very nice event and all of us who went, really enjoyed it. I was pleased to meet "Barbra", the subject of this painting. The cat is actually a male, but is a real diva. He looked so elegant sitting in the window, backlit. I was able to get a number of photos. (Cheers for digital when you can just keep snapping away and not "waste film" if the subject turns his head.) At any rate, this was fun to paint and will be something different for the show.

More Events!

Much is happening. I've finished two new paintings for the Art About Finn Slough show and will be taking them over next week to the lecture hall in Richmond Arts Centre. The reception will be on Friday evening, April 9th, from 7 to 9 pm. A lot of planning is now going in to the Federation of Canadian Artists Group Show in which I am to be one of seven selected artists. We are: Bob Araki, Sharleen Hartfiel, Etsu Inouye, Michael Knox, Larry Tillyer. David McHolm and me, Loraine Wellman. We are calling it Brushwork Variety. This will run from April 2oth to May 2nd in the Federation Gallery on Granville Island. We are having a reception on April 22 from 6:30 to 8:30 pm when the artists will be there and there will be refreshments in abundance. Bob is bringing sushi and I'm making butter tarts - and there will be lots more! ... and May will start with DoorsOpen May 1st and 2nd from 10 am to 4 pm, when I will have an Open Studio... more on this later. Last blog showed a Finn Slough painting- so this one will show one from Granville Island - not one in the Group Show, but one that is currently up at Omega Gallery.

Finn Slough

Right now, I'm working on two new paintings for the Finn Slough Art Show, which will be April 8, 9 and 10th - with the reception being on the 9th from 7 to 9pm at Richmond Art Centre in the Lecture Hall. The one I did last year is "Finn Slough Spring" and is one of the five paintings up at Omega Gallery.
Finn Slough is one of the few remaining pieces of natural near-wild riverside environment. It dates back to the early 1890's when a group of Finnish people arrived in south Richmond. That, of course, was before the area was even known as Richmond. Because of flooding - hand-built dykes did not really keep the river off the land- a lot of the houses were built on pilings. The settlers were mainly fishermen and needed a safe harbour for their boats. Today, there are still fishermen, fishing nets and fishboats but many of the people living at Finn Slough are active in the arts- painting, design, music and so on. They have a society which is endeavouring to preserve and maintain the heritage values of Finn Slough. For a painter, the place is a "natural". I wonder how many paintings and photographs there are of the "Mermaid III" ? I was sorry when the old net loft collapsed into the river as it was lovely to paint- with the interesting shadows created by its boards. Every painting I have done of the "Eva" has sold - but, no, I'm doing something different this year.

Lanterns at Omega

I was up at Omega Gallery today - and noted that traffic definitely seemed lighter. Could it be that more people decided that the Canada Line is the way to go? It certainly makes it easy if you are going downtown but it doesn't work for going to Dunbar with canvases in the trunk! Tien Ching decided to keep five for now. One is "Blink" from a couple of blogs ago and one is "Lanterns" which I'll post here. The miner's lantern is a real one that was actually used by my Dad at Coleman, Alberta. Later, he wired it so it could be used as a lamp. I don't actually use it but I'm glad to have it as a bit of history with a personal connection. Tien is not displaying these paintings right now but a person can always ask to see them! This was interesting to set up - first I had a lighter background because I liked the cast shadows of the lantern plant (Physalis alkekengi ) but then it didn't seem right to have a miner's lantern sitting out in the light, so I re-draped the stand and settled on the darker background. After adjusting the light, I was fairly pleased as I felt it captured the glow that lanterns provide.