I was reading about the painter Duccio di Buoninsegna who worked on an altarpiece for the Siena cathedral between 1308 and 1311. I was interested to read about the civic enthusiasm for his work. Completed on June 9, 1311, the altarpiece was carried through the streets in triumph from Duccio's workshop to the cathedral and was cause for a citywide celebration.
A contemporary account tells us: "On the day when it was brought to the cathedral, the shops were shut and the Bishop decreed a solemn procession of a large and devout company of priests and friars, accompanied by the nine Signori and by all the officers of the Commune and all the populace; and one by one all the most worthy persons approached the picture with lighted candles in their hands and behind them the women and children in devout attitudes. And they accompanied the said picture to the cathedral, marching in procession round the Campo, as is the custom, while the bells sounded the Gloria, in homage to so noble a painting as this is. And they remained all day praying and gave many alms to poor persons praying to God and to his Mother, who is our patroness and with her infinite mercy defends us from every adversity and evil and preserves us from the hands of traitors and enemies of Siena."
-wow! now *there* was a celebration of art!
I'm hoping local artists will be more celebrated when I finish the portrait series and they are shown in City Hall. There is a lot of talent out there- but I'm not expecting a Duccio-style procession!

Seventh Annual Art About Finn Slough Show

This weekend, March 9th to March 11th is the Art About Finn Slough Show in the Lecture Hall, Richmond Cultural Centre - 7700 Minoru Blvd. Viewing is Friday March 9th from !0 am to 9 pm., Saturday March 10th from 10 am to 5 pm and Sunday March 11th from 10 to 3 pm. There will be a celebration on Friday evening from 7-9pm. Please feel welcome to come. A special treat this year will be BC writer Daphne Marlatt who will read at 7pm. I have three smaller paintings in the show this year- and there looked to be lots of other paintings, photographs and Finn Slough information to see. Drop in to have a look. It is always fun to participate in this show.

"Which Picasso"

I'm working on my series of portrait paintings of Richmond artists which will be shown in Richmond City Hall in September/October. In the process, I often see the artist's studio and their work both past and present. It is interesting to see how styles change and how the artist has gone through various stages. These changes of styles are also noted in renowned artists and we see an artist such as Picasso going through changes so distinct that each has been endowed with a name of its own- such as the Blue period or the Classical period. I have been going through old issues of Horizon magazine and, in an article about Picasso, the author, Alfred Frankfurter, states "In a remark that may be apocryphal yet remains sympathetic, Picasso is said to have answered someone's criticism, "I don't like Picasso," with the response, "Which Picasso?"
Most serious artists do move through various "periods" as life and experience change them. I'm continuing my fruit and veggie series for now (remember, I didn't get enough cherries so that some survived to be painted!) but the portraits are different again. One of the "Fruit Period" paintings - if it may be given such a grand title- is showing from February 20 to March 9 at the Federation Gallery on Granville Island. Look for "Black Friars".
-and- if you have time for an interesting video of a talk on creativity- go to:
www.ted.com/tedtalks/tedtalksplayer.cfm?key=ken_robinson&gclid=cJjqh

New Year and New Galleries

I've been waiting to make a new post - thinking to come up with a profound statement to start a new year - but no profound thoughts have occurred. So, I'll just comment on the new galleries. The Fruits and Veggies are part of a series of small paintings. Almost all have metallic paint backgrounds. There are actually more- about seventeen varieties of apples so far. Each seems to have its own personality. I still haven't found a Gravenstein or a Northern Spy- and a few other varieties I know exist. I haven't done tomatoes yet. White onions and red onions - but not yellow ones yet. Somehow, cherry season came and went without cherries making it to canvas. So, maybe there is a New Year's Resolution after all-" buy enough cherries that they all don't get eaten immediately!" I can't promise you a whole bowl of cherries but maybe I'll paint at least three survivors.

Fruits & Veggies and Gallery 2006 now available!

Two new online galleries have been added:

- Fruits & Veggies (2006)
- Gallery 2006

You can also access the online galleries through the Gallery Teaser pictures, or clicking the 'Loraine's Digital Gallery' link below the Gallery Teaser.

Making a Mark

It often takes the correct outfit, the right place and position or the right music to set the mood for creativity. Many artists have special painting clothes - the right cap or apron, for example. An apron doesn't do it for me- I always seem to get my arms into it and acrylic paint can be permanent on fabric. I wear a lab coat I have owned for years. It was found in a science cupboard when my husband moved to a new school. Although it had a name sewn on it, no owner could be found and so it came home where I claimed it. Over the years, it has become a Joseph's coat of many colours but this past year it has also become tattered. With the collar half off and the bottom ripped across where it once had been hemmed, it was time for a new one. I wanted heavy cotton, not unbreathable, flimsy polyester and I put it on my Christmas wish-list. Santa, in the form of my son, came through. The new lab coat is almost dazzlingly white but time will take care of that. First, I have to take the old name tag and sew it onto the new coat. The tag says "Mark" and I've worn it to make my mark and marks. The tradition will continue and my painting outfit, labeled "Mark" will help set my mood for each painting session.

Beginning

What triggers the desire to be an artist? I knew I wanted to be an artist from the time I was small enough to walk under the counter-height entry gate to the secretary's office in Vancouver Art Gallery. Mary, the secretary, was a friend of the family and visiting her at VAG was an expedition to a magical world of enormous gilt-framed paintings, shining floors that seemed to go on for miles and an exciting bronze-figured fountain. VAG was then a small institution with a basic staff of three- the Curator, Mary, and Tommy the caretaker. Tommy disliked small children who slid on- and marked- the polished floors but my blonde curls helped win his approval and I even was allowed close to the enticing fountain.

After some experiences with plasticine in Grade One, there was little art instruction in elementary school. Nothing as messy as paint ever entered the classrooms. We made many paper boxes with designs cut out of squared construction paper and pencil crayons were an accepted medium. The illicit eating of library paste was as wild as it got. Somehow, I still became the "class artist".

Because of Mary, my Mom knew about free Saturday Morning Art Classes at VAG. My school hadn't been aware of the classes but a note from Mom produced the required recommendation. My Saturdays turned into special days. VAG was closed Saturday mornings and classes were held in the galleries, right under the paintings. We lay on canvas on the floor with drawing boards while another strip of hung canvas kept our feet from scuffing the walls. Local artists, including Peter Aspell, taught the classes which began with a talk to inspire a theme and ended with a critique. I've never looked at "Rain" the same after it was one Saturday's theme. The artists tended to be "hands on" but a dapper art-critic teacher would remain standing and carefully point his polished shoe at the finished painting he was discussing. I don't think we ever took any artwork home. Sometimes students' work was displayed. My "Storm at Sea" was shown in a department store window- my first public success! Another painting of a peaceful world went to a UNICEF display. By rotation, we had the opportunity to work in a basement studio with a well-known sculptor, Beatrice Lennie. I remember doing a frieze about fire. Sometimes we talked about the paintings on the walls. There were several by Emily Carr, even then BC's most famous woman artist. Paintings by the Group of Seven hung as well as many very traditional works. It was an art exposure I would not have had otherwise.

After three years, most students were beyond the age limit, but a smaller number of us were invited back as Class 4A. We formed a tight group although we were from all over the city and never saw each other except for Saturdays. Our instructor, Orville Fisher, a well-known artist, taught us to look around with artist's eyes. At that year-end party, I received a scholarship to Saturday art classes for the following year at Vancouver School of Art. I also started Junior High School - with a real art teacher in a real art room where even "messy" paint was allowed. My art education took a leap forward- but it had all started with stepping under that counter in the old Vancouver Art Gallery.

Further note- Alas, my blonde curls turned to straighter brunette. Interestingly, the bronze fountain was removed after a wealthy patron tumbled into it as he stepped backward from painting inspection. Vancouver Art Gallery is now in a different building and Saturday Morning Classes have been replaced by once a month Family Sundays.