To my mind, no one paints glass better than Dianne Massey Dunbar. Her depiction of things transparent is very carefully observed and yet painted with such intuitive confidence, dexterity, boldness, clarity, and excitement that one just marvels at her ability.
I first interviewed Dunbar in August 2012, and at that time only revealed half of the interview. Now, with a few additional questions, here is the remainder of that amazing interview.
Read Part I of Dunbar’s interview here
What would be your definition of art?
To me, art in its broadest sense includes music, dancing, acting, photography, painting, writing, and the like. It is a personal expression of oneself that generally involves creativity and honesty and an audience. It almost always requires a degree of skill. It is also, invariably, the end result of a process.
Narrowing the definition to drawing and painting, to me art is the creation of an image personal to the artist that is intended as a visual dialogue with an audience. When I stop and contemplate art, it is easy to think of eloquent paintings that have been carefully designed and executed. However, I have seen many rough drawings by children that have deeply touched me. So, I guess I would say that if a painting or drawing reasonably incorporates the principles of drawing and design and craftsmanship, and further inspires in me as a viewer a sense of awe or excitement, interest, beauty, or involvement…and if it is intended to be art, I would call it art.
Are you saying then that you believe art is really in the eye of the beholder?
In my opinion, everyone is entitled to his or her own definition of art. For me personally, I agree and disagree with the statement “art is in the eye of the beholder”. That phrase seems to infer our personal likes and dislikes. I do believe that our tastes influence what we enjoy in the way of art, if we are attracted to a particular painting, whether we like thick or thin paint, still life or landscapes, realism or abstract. It is our emotional response to a painting.
Can there be art if it doesn’t communicate with an audience, in other words, if it can’t be understood?
In order to answer this, I need to define “understood”. One might not recognize the objects in a drawing or painting, or fully understand what the artist was trying to accomplish or communicate, but that does not mean it’s not art. For example, a person that is not versed in biblical stories might not understand religious art. However, I think most people would agree that there are numerous examples of wonderful religious art. Another example is prehistoric art. I may not understand the symbols, recognize the figures or the animals, but I can still appreciate the lines and design. And, many people do not enjoy abstract art but once again that does not discredit it. Understanding a painting has absolutely nothing to do with the subject matter, and everything to do with the visual elements and execution of the painting. So, even if I do not understand the subject matter, I can still appreciate the shapes, the drawing, the lines, the texture, the design, and in that way it still communicates with me.
To be art it must be able to be understood from a purely rational point of view and be organized to create a visual statement. If a drawing or painting is so disorganized that I am unable to understand the visual elements, then I do not think it meets any definition of art. All art, including abstract art, must have drawing, shapes, and values. One can study the painting to see if it is balanced, and if the values and composition are working. Lacking any visual organization so that there are no shapes, values or drawing, well, it would be difficult to call it art.
Do you consider the process of painting more important than the result?
I think they are rather inseparable. If the result is a finished painting, you can’t have the result without a process of some sort. And, at some point in time the process of painting ends in a finished piece. I will say that for me, the process greatly influences the result, which includes all my preparation before I begin a painting. I will also admit that for me the most important part of the actual painting is the beginning, because it will set the tone for the remainder of the painting.
No, what I mean is…Do you consider the act of painting itself…one’s personal joy in applying paint, experimenting and creating…more important than the physical result?
I wish I could answer yes to that question because it would be so freeing to let go of the end product and simply enjoy the process of painting. Also, if creating art was merely the act of painting with no regard for the outcome there would not be the inherent fear of failure or the discomfort when we are outside our comfort zone. However, being a professional artist is a career, a business, and so one must consider the end result as well. I think that there needs to be a balance between the creative process and respect for the end result. If it is all about the act of painting, experimenting and being creative, which incidentally can be quite frustrating on occasion, then we are on a journey that does not go anywhere. If it’s all about the end result, I think over time we become bored, don’t take risks, become too comfortable and our art grows stale and predictable. So, I think the process and the end result are inseparable, and I can only hope that as I paint I am aware of and can appreciate the joy and frustration of creating.
Where does creativity come from and how can it be nurtured?
I believe that creativity is a gift from God. I also believe we all have some degree of creativity and that creativity is not reserved for artists, musicians, actors, writers and the like. Everyone from plumbers to lawyers, teachers to advertisers and to builders, all encounter problems that require creativity to resolve. Mulling it over, it seems to me that creativity is often the result of problem solving, curiosity, need, a willingness to explore and a desire to be creative. Creativity also requires imagination and an open mind. To nurture creativity, we need to emphasize and value exploration, give others enough tools and knowledge to be able to explore different options, and offer problems that require imagination and problem solving.
You said in our first interview that you love to play with paint…to smear it, scrape it, splatter and flick it…using all manner of tools. Were you a pretty creative child?
Probably yes. I was rarely interested in playing with dolls or dress up although I loved stuffed animals. What I really liked to do was make things. So I played with Lincoln Logs and Tinkertoys. I had a small tool set with a hammer and saw, and I would use wood and nails to build things. One Christmas I was given a wood burning set so that I could decorate the things I made. I liked crayons. I started drawing at the age of six, and started art lessons and oil painting at age seven. I also use to write…primarily poetry.
How does your work reflect your personality?
First off, I think I am somewhat sentimental, so much of my work is derived from my life experiences. It is my impression that no matter who we are or what we do, most of life is lived in the ordinary, not in the extraordinary. I think there is something special, maybe even sacred, about the ordinary stuff of life. I want to somehow honor those things we use or images we see in our daily lives that often go unnoticed. I appreciate the ketchup bottle I pulled out of the refrigerator nearly every day when my sons were young. I can find beautiful colors in simple jars. There are surprising greens in a stack of French fries. The world is full of wonderful shapes and color everywhere, even where least expected. I hope that people can see the world a little differently as a result of my painting.
How does one find their individuality as an artist?
I would say finding individuality is a process. Where you begin will likely be very different from where your journey of art ultimately leads you. I also believe that individuality is a result of passion, excitement, exploration, risk taking, failing, succeeding, practicing, and honesty. Paint the subject matter that excites or interests you. Play with paint. Splash it, brush it, knife it, smear it, and make puddles. Try different surfaces because I am learning that they too make a difference. Be creative because after all, we are artists. Some paintings won’t succeed but will boost you to the next painting. Eventually you will have enough paintings behind you, that instead of you finding your individuality, I imagine your individuality will find you.
You use a very extensive palette of colors. How do you manage to maintain control of the color harmony in your paintings?
What advice do you have for a young artist/painter?
Making art is a journey and not a sprint. There are no real road maps beyond practicing and attempting to master the basic skills involved. It requires a great deal of passion, commitment, dedication, practice, and courage. Along the way there are wonderful highs and times of utter frustration. Being an artist is not at all what one envisions being an artist should look like. I believe it is about 85% work, 10% fun, and 5% inspiration. Also, I am not at all sure that we choose being artists. I rather think art chooses us. I cannot imagine not painting.
Primarily, I would suggest that you practice drawing. Drawing is absolutely essential to whatever type of art you eventually choose to do. Painting is nothing more or less than the completion of shapes. You need shapes to put value and color on. Those shapes need to be drawn, whether you do abstract art or representational art. I cannot stress the value of drawing enough. Also, if you are having problems with a painting, check your values. I have found that color can be rather forgiving, and that a problem with a painting is more often a value issue. Experiment, play, scrape, and learn what paint does (and doesn’t) do.
Find a mentor; an artist that is better than you, whose opinion you trust and who is willing to critique your work and offer suggestions along the way. Avoid asking others what they think of a painting or project, for opinions are as varied as the weather…and often not helpful. So, get a mentor/teacher to help with this process. Learn from your failures. Take those to your mentor as well.
Don’t be too quick to approach galleries. Everyone wants to be represented by a gallery and many young artists make it their goal to be invited into galleries. Instead, your goal should be to focus on your art and make it as outstanding as possible.
Lastly, keep some of your early work. I have a painting up in my studio from several years ago. When you get discouraged, and you will at times, look at that painting and spend a minute being proud of your progress.
Finally, be aware and prepared for the fact that painting is expensive and for most of us it takes time and practice to get to the point of earning any money.
Oil Painting
Workshops, Workshops, Workshops…
It doesn’t matter if you’ve been formally trained or not, or how long you have been painting: if you feel stuck or uninspired as an artist, it can help to take a workshop.
But why not just buy another set of DVDs or the latest how-to book? After all, many of them offer a viable option to the expense and effort of attending a workshop. But books and DVDs are limited by how they are written and can only present a one-way flow of information – even the best of them can’t respond to the way you might learn. When you work face-to-face with an experienced teacher the instruction you receive becomes more fluid and tailored to your capabilities and interests. When you get stuck you can ask the instructor a question, and question the answer, and the teacher has a chance to clarify anything which still may elude you. Painting may not be as complicated as brain surgery or rocket science, but there are times when a little back and forth between you and a real person makes all the difference in the world.
Admittedly, it can be difficult to decide which workshop is best for you. Why? Because you may not know what you don’t know and picking one workshop out of the thousands which are out there can be daunting. It can feel like playing roulette. So again, hedge your bet by asking yourself specific questions such as these: Do you want to learn how to create harmonious color relationships? Do you want to learn how to paint using a limited or extended palette? Do you want to become a loose and expressive alla prima painter, or focus on developing a disciplined multi-session approach? Do you want to learn how to recognize, alter, or transform reality, or do you simply want to paint what you see? These kinds of questions help clarify your goals as you choose a workshop. You can probably come up with many more. (Please post your own questions in the comment section below if you wish to share them with your OPA members. I will read and respond.)
Once you have a better idea of what you want and have settled on a couple of options, contact the instructors and inquire about their teaching methods. Yes, shoot them an email or message them on Facebook. They will respond. Ask for student referrals too. If the teacher you are considering is noted for his or her instruction, then approaching a few students for bona fides will not be awkward. You are just doing your homework like any new student should.
However, once you’ve signed on, show up fully prepared and ready to go. Your instructor is sacrificing valuable painting time to teach the class so give it your all. Come with an open mind and let him or her deliver the voodoo they do. Accept the expertise and advice they have to offer. Keep what works and discard what doesn’t – after the workshop. Arrive with high expectations for yourself but don’t necessarily expect to produce paintings ready to sell or hang on a wall. The things you will be asked to do may fundamentally challenge your previous working methods, or what once felt safe and comfortable, but still, remain open to what your instructor is offering. Accept that there will be moments of exhilaration and moments of frustration, with all of it impacting the way you paint that day and the weeks and months which follow. It may even feel as though the instructor is sowing seeds for a later harvest as you fumble with the present. If so, then you are in the presence of a master teacher.
It also means you are likely to continue reaping a rich reward from a short investment of only a few days for years and years to come…
What you should expect from your workshop:
- An immediate but fair evaluation of your present painting ability.
- An clear and effective set of goals scaled to the length of the workshop.
- An instructor who can demonstrate what he or she teaches, and who is fair with the one-on-one contact time.
- An instructor who creates a critical, yet respectful space for you to take a risk in.
- An instructor who can respectfully identify the negative, yet teach with the positive.
- An efficient and organized itinerary appropriate to all students in the class.
What you want to avoid:
- Vague or ill-defined goals for you and the class, or too much improvised instruction.
- Insufficient painting time for you. Demos are fun to watch but you must paint too.
- Instructors who make the class all about themselves. (Hmm…need I say more?)
A few more thoughts…
Here is a hint: If you are thinking about taking a number of workshops over the next few years then consider attending a few national or regional art events to meet and preview potential instructors. When Oil Painters of America presents their yearly exhibitions they often invite signature painters to come and present demos and quick workshops. The same is true, if not more so, for the folks who host the Plein Air Convention and Expos, as it is true for the American Impressionists Society, the Portrait Society of America, and other groups. These events offer you a chance to meet instructors with little fuss or muss, reducing the likelihood you will sign up for an experience that isn’t a good fit. Sure, most of these events charge fees, but weigh those costs against the time and expense of a couple of bad workshops and you may decide the entry ticket is worth it. Plus, while you are there you can network with your fellow artists and talk to those who have already studied with the teachers who most interest you.
However, be wary of guarantees when speaking to a teacher. Be realistic. Even if you do take a workshop from a master painter don’t expect to become a master yourself after taking a single class. And multiple workshops will not make it happen either. What you can learn from the workshops you take is how to become a better painter over time. The unavoidable truth about becoming masterful at anything is there are no short-cuts. A good workshop may save some time by pointing you in the right direction but you still have to clock in the hours yourself. So play the long game. Don’t measure yourself by the successes you experience along the way, measure yourself by the miles of canvas you cover. For it is only through your discipline and practice that the things you struggle with today become reflexive and unconscious tomorrow. That much can be guaranteed.
I hope this post helps you make a good workshop choice. If you are interested in my approach to teaching, and the methods I’ve developed over the last twenty years while working with individuals and groups, as well developing and running an accredited BFA program, visit www.thomaskitts.com. I’d love to hear from you.
Great Expectations
21 Days “Painting” on the Road
“The only people for me are the mad ones, the ones who are mad to live, mad to talk, mad to be saved, desirous of everything at the same time, the ones who never yawn or say a commonplace thing, but burn, burn, burn like fabulous yellow roman candles exploding like spiders across the stars.”
― Jack Kerouac, On the Road
Like so many of my fellow artists I suffer from unrealistic expectations. This means when I set out to do something, though it may not be grand or expensive, (it usually is), it certainly cannot be ordinary or dare I say easy. I believe this affliction is a common character trait of artists — a main driver for the skill of being able to dream big dreams and imagine impossible ways to make them come true, an asset in many ways because it gives us the guts to try and put our work out there to be considered by the world.
However, gone unchecked, these Wild Toad expectations sometimes can drive you right over the ledge. First stop, my most recent adventure into the land of great expectations, a 21-day road trip. A working/vacation trip to California via Kansas, Colorado, Utah and along Nevada’s loneliest highway into Yosemite’s Tuolumne Meadows and up and over into the Valley and out the other side — in the first week. Week two would begin in San Francisco where we would visit my husband’s relative (whom was to celebrate his 110th birthday in October) then drive down the Pacific Coast Highway touching base with my family in Huntington Beach, stop to take a one-day workshop with Jeremy Lipking in Agoura Hills, to me the pinnacle of the trip. On to San Diego by week three, then wrap around towards Vegas and the North Rim of the Grand Canyon and find our way home through Oklahoma City.
At some point the reality of 21 days on the road set in. How would I practice for Lipking? Would I forget everything I think I know? So with a percentage of my recent OPA Spring On-Iine Showcase winnings I purchased my first real grown up plein air easel and in true form set myself up with all the gear to paint plein air on the road.
This will be easy. I’ll paint the morning of the Hot Air Balloon Rodeo in Steamboat Springs! I’ll paint El Capitan in Yosemite! I’ll paint on the beach in Surf City! I’ll paint up to four pieces a week, if the kids are having fun and I get up in time for sunrises. Ha! Ha! I’m a genius. By the time I get to L.A. I’ll have 6 to 8 pieces under my belt and be practiced and ready. Heck, I’ll even sell them on Facebook and make a little vacation spending cash!
Can you hear them yet? The pieces of my broken heart and impossible dreams tinkling to the cold hard floor? I didn’t have a clue what plein air painting really requires, having only painted plein air maybe 4 times. Ever. In my two whole years of painting. At all. I vaguely recall now that I actually hated plein air painting all those four times. Something about bees, or maybe it was hornets, comes to mind.
Why didn’t I stop myself? No, I drove right off. And the air was clear and blowing fresh in my face. Just like it is any time you drive off a cliff.
My first warning, the flashing red hand, “Do Not Cross” sign should have been the incredible amount of crap I was packing. I actually brought more in cubic square feet of painting gear than I did in clothing and toiletries. Real plein air painters know how to get around needing everything studio artists require.
I was so proud of myself when I managed to do color charts while riding in the passenger seat. I paint mainly portraits. I’m not familiar with very many blues, or green at all for that matter. I-70 is flat and there was plenty of sky and vista to reference. I only clobbered my clothes and the interior of the door. It was all good. Incidentally, the dash is a great place to dry paintings.
In my dreams I was to be awake fresh after 11 hours of driving and set up in a perfect position for the gorgeous morning of the Hot Air Balloon Rodeo in Steamboat Springs. In reality, we set out on our bikes together to watch the launch. I would go back to the RV for my paints after I scoped out the scene. I had plenty of time, right? But as the sun got higher and we finally found parking I got more and more, lets just say, frustrated. By the time we parked our bikes and walked forever to get right up under the baskets of the balloons, I was down right fit to be tied. I knew then the balloons would launch and set back down in a matter of minutes. I might get far enough away to get a photo or two, but it would all be over before I had so much as set up a palette.
Okay, major plein air painting realization: The sun moves quickly and so do hot air balloons.
After hot miserable tears, I resolved to paint the view from our RV later that evening. I left everyone to setup and make dinner and insisted on having 2 hours to myself to paint. And I did sell that little painting on Facebook. See! I can do it…
That little piece was the only piece. All in all I painted en plein air 3 times, four if you count the time I set up my easel at the beach but had to run through the hot sand half a dozen times to get the essentials I realized I’d forgotten, such as brushes and then paper towels, etc. I never actually painted that day. I gave up after two hours of struggling to set up and was then overwhelmed by beach umbrellas.
Essentially, I was worse for ware by the time I sat in Lipking’s workshop. (But you’ll have to read about that on my blog.) I have since recalculated my plein air expectations to include admiring those incredible artists who do it so well and simply doing it more often myself. Yes, more practice. That will have to be good enough.
The Best Oil Painting Critiques Advice
Recently, I had the pleasure of participating in the Oil Painters of America Critique Program. For a nominal fee of $25.00 (which helps fund the program), artists have the opportunity to have a signature or master level member review their work and give instructional advice on how they might improve their technique.
Looking back through the critiques I have done for OPA, there are certain techniques I see repeated by beginners. If I could give just one important bit of advice, it would be to use more paint. One of the most beautiful benefits of oil paint’s properties is the viscosity of the paint itself. Juicy impasto adds tremendous interest and excitement to a painting.
Look at your current canvas sideways across the surface and take note of how thick the paint actually is. My guess it’s pretty thin. Begin to think sculpturally. Squeeze lots of paint onto your palette. Once you do this, you will feel compelled to use it up. Do not be miserly, even with the more spendy pigments such as lead white. In the above painting detail, the generously and freely built up texture adds sparkle as the light hits the surface of the canvas.
In this painting, I have used natural cinnabar, which can be expensive, but I did not let that hold me back. Both smooth and heavily textured strokes portray the pattern of the fabric. The texture can actually be felt if you run your fingertips across the dry surface.
Use the thick strokes of paint in your area of focus. Place pieces of paint and leave them alone. Do not fuss and over blend. Be bold. Make a statement with paint. This painting is from the Minerals, Metals, and Dirt project and painted on copper. Because the copper is completely non-absorbent, the paint builds easily on the surface.
Contrarily, use thin translucent paint in the areas of shadow and background. This push and pull will give the viewer lots to do while their eyes travel around the composition. Give them something to think about so they don’t exit the painting too quickly. The tulips in Cupid’s Arrow illustrate both thickness and brushstroke varieties (directions).
Experiment with some of these ideas and watch the surface of your paintings come to life with splendid thick juicy paint, crisp and blurred edges, and textures you can sense with your eyes. Your viewers will never walk away for lack of interest again.
Click here to learn more about the Oil Painters of America Critique Program
2014 Spring Online Showcase Winners Spotlight
The OPA Spring 2014 Online Showcase was held from March 1 to May 17, 2014, open to Associate members only and awarding $5,000 in cash awards. The Online Showcase runs three times each year and is completely digital competition held at www.opaonlineshowcase.com for only $14 per entry, with no limit to the number of entries allowed.
These award comments are thanks to our Spring Online Showcase judge, OPA Signature member Tim Deibler.
The Summer 2014 Online Showcase runs from June 1 to August 15, 2014 and is open to OPA Associate members. Enter Today!
by Tina Garrett
24 x 20 Oil
First Place Tina Garrett “Gaze”
This work caught my attention the first moment I saw it on the monitor. The expression “one in a million” kind of describes my feelings for this piece. The artist’s skill in portraying this rather unusual subject is nothing short of masterful. This has been painted as the eye would see it rather than how a camera would see it. The most intense color and sharpest details are on the face. The more you move from this area the less obvious things become. The accuracy and delicacy of the floral pattern is still distinct, but does not compete with the face or the frame. The background has totally gone out of focus making the figure even more dimensional giving it the feeling of existing in real space. The drawing is impeccable, the edges amazing and the color harmonies are beautiful.
by Robert Christian Hemme
9 x 12 Oil
Second Place Robert Hemme “Global 1200”
I found this painting totally fascinating and returned to it over and over. The artist’s sensitivity to form and light combined with the very careful use of values and edges makes this an amazing piece. The limited use of color makes the sense of atmosphere so strong that I feel like I am there observing the scene. Because of the careful use of values and temperatures, all of the little railings and details give reality and dimension to the scene without distracting from the larger shapes
by Nancy Boren
20 x 16 Oil
Third Place Nancy Boren “Stepping Out”
The various textures and the strong sense of light and shadow are what I really admire in this piece. The artist has created a visual experience that almost rivals reality. The mane feels like it has just been combed and braided, I can feel the various textures in the head piece that has just been tied on. The leather bridle, the abstracted and unfinished ground and of course the warm sunlight. The exceptional drawing and the energetic brushstrokes literally transports me to the scene, I feel the sun, I can run my fingers through the mane and I hear the surrounding sounds.
by Christina Grace Mastrangelo
30″ x 50″ Oil
Honorable Mention Christina Mastrangelo “America’s Cup”
My favorite part of this painting is the artist’s amazing ability to guide us through the scene through the use of white. The white sails, the white stripes of the flag, the white candle and finally the white book. The shallow depth of field, the careful use of hard edges, limited color range, accurate drawing and almost theatrical lighting make this a very powerful painting. It is her careful use of values and temperatures that makes this piece worth serious study. What color is white you may ask?
by Doohong Min
30 x 24 Oil
Honorable Mention Doohong Min “Brunch”
This painting is all about mood. It creates a sense of warmth and intimacy. The softness of the edges, the backlighting of the figure, the subtle and beautiful blue and orange color harmonies create this feeling. The artist’s sensitivity is wonderfully conveyed in a very personal way.
by Loretta Fasan
24″ x 30″ Oil
Honorable Mention Loretta Fasan “Costume”
This painting has a real WOW factor to it. This painting radiates with light and warmth. I love the beautiful and delicate way the face is treated. The various textures that surround the face add excitement to the work but does not over shadow the beauty and sensitivity of the portrait. The sense of design, the rich fiery color and the skill of the artist make this one of the most unforgettable images I’ve ever seen.
by Michael DeVore
24″ x 24″ Oil
Honorable Mention Michael DeVore “Pueblo Pot”
The simplicity of the design along with the beautiful drawing and value arrangement caught my attention on this piece. What the artist has created feels so real and natural, that I believe I could walk around the corner and see it. It doesn’t feel forced, contrived or staged. The colors harmonize, the pottery has weight and dimension, the whites are different and beautifully painted. The artist has skillfully created a sense of reality on the canvas using a bare minimum of shapes, values and colors.
by Karen Blackwood
18″ x 24″ Oil
Honorable Mention Karen Blackwood “After The Storm”
Once again this artist has managed to transport me from my home in Colorado to the ocean. Through the controlled use of shapes, values, minimal color and edges, the artist has created a scene so real and vivid that I want to go and get a jacket. With only a few mid values and a single dark mass, this piece is basically a symphony in white. The control of values and temperatures in the white and the use of soft edges make this a piece I will be personally studying for a long time.
by Scott Johnston
30- x 24- Oil
Honorable Mention Scott Johnston “Peter Devine”
Another example of impeccable drawing, superb value control and minimal color. This painting is so real and life like that I keep expecting it to start talking to me. The textures of skin, hair, material and paper are all so realistically portrayed that it leaves me speechless.
by Vicki Walker
20″ x 16″ Oil
Honorable Mention Vicki Walker “Similarities”
The artist has simply and beautifully captured the innocence of childhood. The blue dress act as the compliment to the child’s reddish orange hair and the orange. The simplicity of the background enhances the simple beauty of the child and her clothing. I like the way the sense of light and shadow has been handled, staying away from strong value contrasts.
by Zimou Tan
48 x 72 Oil
Honorable Mention Zimou Tan “Relief”
It would be difficult to find the words to express all of the human emotions that the artist has expressed in this painting. Looking at it from an artistic point, I find the drawing and the arrangements of all the various bodies very intriguing. This complex composition highlights the artist’s drawing and composing skills to the max. The individual expressions, subtle color and tone shifts and superb paint handling make this a truly remarkable painting.
by Sergio Roffo
24″ x 36 Oil
Honorable Mention Sergio Roffo “Spring Covering”
This is an excellent example of a painting that is full of light and air. This piece has beautiful color, a wonderful sense of depth through careful value, color and detail gradations. The placement of the rock and the way it is painted leaves no doubt to the focal point of this piece. I was enjoying the sunshine on the rock and water long before I even noticed the town in the background.
by George Bodine
24″ x 36″ Oil
Honorable Mention George Bodine “Alley Chef – Paris, Artist’s Copy”
I really like the originality of this kitchen piece. I actually feel like I am peaking through the window and seeing a chef busily at work. The composition is perfect down to the tiniest detail of the most unimportant article. The artist has created the mood and atmosphere using carefully designed values and shapes.