Searching for small pastel papers to continue my journey back into pastel, I came across 3 plein air studies I’d done in 2013. Just after Dad died, I attended a plein air painting event in western Maryland. Mountain Maryland Plein Air in Cumberland and Allegany County is a wonderful intimate event. I welcomed the chance to paint in some beautiful private gardens.
Stumbling across the old paintings in the drawer, they felt dark and lifeless. It got me wondering how they would look today. I set one beside a fresh pastel paper and began blocking in the background shapes.
I resisted the temptation of painting back into it directly. Moving on, I worked with the new palette for awhile. Nothing like it’s inspiration piece, I felt unsure.
I sucked it up and kept going.
A Peek into Joy’s Garden
Setting it in the frame helped me step back and see it away from my previous vision. I like to keep a few frames in the studio for just that purpose. So many times I can’t see a painting’s strengths and weaknesses until I see it in a frame.
A day later I found myself in the botanic garden photographing tulips. Sitting in the cafe garden with a cold drink, I felt at home. Mind racing with painting images, colors for the new palette I’d ordered. I can taste the sweetness. Can you feel the shift in the two paintings?
I sure can. The difference between saying goodbye to Dad and stepping into Joy’s Garden is profound. I hadn’t realized until I finished writing this, that today is the anniversary of Dad’s passing. Rest in Peace Dad.
Paintings are like dreams. They come into the artist’s vision filled with symbolism and messages from the creator. Like most people, deciphering them is still a mystery to me.
I have explored dreams and paintings avidly for many years. Over time I have acquired a substantial vocabulary and a systematic approach to working with them. In this new series of posts, I will share what I have learned.
I invite you to participate by adding your thoughts in the comment section. Together we can use this opportunity to discover what I believe will be a deep connection via dreams and paintings.
This painting is inspired by a plein air pastel I painted three years ago as my father lay on his death bed. Not sad, rather inspiring as he took me to the river with him as he crossed. I watched his spirit rise on the other side. Last week I felt compelled to paint this large oil painting based on the pastel.
If this painting were YOUR DREAM …
While this painting may have personal specific meanings to me. It also carries personal meaning to others who are attracted to its colors and imagery. Dreams and paintings are universal connections that we share.
SO . . . If this painting were YOUR DREAM, what would the line of trees symbolize to YOU? What other symbols jump out to YOU in the painting?
When I decided to live in Tuscany for nine weeks, to absorb the Tuscan Lifestyle into my life and art ~ I’d hoped living the Tuscan lifestyle would cure the workaholic in me.
A new friend from Naples got it completely. “It’s unknowable,” she uttered, looking at my paintings scattered about the room. She was in my incubator and she knew it.
Immersed in the joyful way my new friends and neighbors went about daily life, I’d already realized how truly and dearly “I LOVE to paint! There is nothing I’d rather do. This isn’t work at all!”
My Tuscan friends had knocked on my door, bringing me ripe figs, plums, tomatoes, chestnuts, wine and more. They seemed to squeeze every drop of goodness from each and every grape. I looked for something to offer them in return. “Would you like to see the paintings?”
“Oh yes, we’d love to!” Week by week, they knocked at my door and each time I answered I experienced “the art bridge” in a new way.
In those very last moments of October, they knocked on my door once again. This time Danilo invited me to come to the family’s olive grove to see how olives are harvested. Down the steep slope of the mountain, zig-zagging dirt path to a vista overlooking the Arno Valley, Danilo roared the four-wheel drive like any Italian driver ~ fast.
Late afternoon sun shone through silver olive leaves. Tiny Tuscan olives once light green, were now black and full of oil. Danilo demonstrated climbing a ladder on each tree. Pruning, shaking until ripe fruit fell from the branch into a fine mesh on the ground.Tree by tree, each olive in the 12 acres is picked by hand and hauled in buckets to the olive press in the next village.
Danilo reached for a bottle of the family’s own wine from a shelf in the tool shed and poured three glasses. Sipping sweetness, I felt the glow. Did I know I was ripe for harvest too? No. Sweetness of sharing friendship, beauty and bounty I thought was all about Tuscany.
I flew home the following week and immersed myself in a show deadline, a bid proposal, an application for a gallery and a national show. The last thing I needed was a new idea. When it first surfaced last week, it seemed so far off base from my Tuscan series, I put it out of mind.
A dream this past week urged me to take another look at the idea. Did I know that it was the “unknowable” I was searching for in Tuscany? No.
“OK” I thought, “I won’t have to stop what I am doing to make a few thumbnail sketches in my journal. ”
In less than an hour, I’d filled three pages with value studies a series of landscape designs I didn’t have time to paint.
Intrigued, I decided I would “test” the designs quickly with pastels. I cut several sheets of pastel paper into 9″ x 12″ rectangles.
I hadn’t used my pastels in over ten years. I laid my trays out on the table and sorted values. (Yes, I AM aware of how my own values changed in Tuscany. No mistake that I would have to come home and sort them out in my palette. Life is always a metaphor for Creator’s gifts.)
By lunch I had all the pastels arranged by values. Instead of searching hue by hue, having to check each value against my paintings one by one, I would be free to paint quickly, easily seeing subtle shifts in hue and chroma.
You can see how all the lightest (# 9 & 10 values) are in the far left of both trays. Cooler in the foreground tray, warm ones in the next tray up. Darks (#1 & 2) are all along the far right of each tray in the same manner.
In the center four rows of each tray, the cool and warm tones are sorted by values; #3 & 4, then #5 & 6, then #7 & 8 ~ warms in one tray, cools in the other.
The realization that my abstract thumbnails were my “pond in the woods” series came to me in the shower. Ideas seem to flow in the shower as they do in dreams. Why did I think my Tuscan residency was about painting Tuscany? Well it is and so much more. It’s about assimilating the Tuscan lifestyle here in Virginia ~ on my pond in the woods.
Standing over the table with my view of the pond, I drew from 15 years of memory. By four o’clock I had a series of pastel studies. I chose one and took it to the easel. A 24″ x 30″ canvas I’d primed with gold under-painting for another project awaited me.
Mixing my colors to match the pastel, I painted until it was too dark to see. The oil painting on my easel looked like pastels I’d painted as a young artist. I laughed out loud as I recognized the vibrant strokes.
Another dream puzzled me the next morning. Writing it down created more questions than answers. My tried and true methods of deciphering dreams yieded a new direction.
Picking up the phone, I called a friend, a soul sister who leads a parallel life to mine. “How are you?” I listened intently as she explained how coughing was helping her clear out old scar tissue, making way for new tissue to grow, healing her lungs.
“Ummmmm,” I wrote some of her words in my journal. “Scar tissue” stuck out like a sore thumb. I knew immediately what mine was. Unfinished paintings I’d stacked up in guest room to get out of my way in the studio. I wanted only to work on new ideas from Tuscany.
I shared my sketches with her so she could derive inspiration of her own. After I hung up, I unrolled two unfinished paintings and sat down to look them over. I sketched a thumbnail of one. Then made a second thumbnail, abandoning the first completely.
Wanting to see my sketch in color, I used pastel to test it out. I liked the study, though troubled by the dark positioning of the cypress trees, went to the easel to block it in over top of the unfinished painting.
The same day I also blocked in several other oil paintings. One based on a pastel, two others based on thumbnails in my journal. Working back and forth from one to the other, I used ideas from each to help me see my way through the group as a whole. My “scar tissue” helping me paint the whole group.
Looking at the group of deadline paintings, now they look like scar tissue. The deadlines evaporated as checks arrived from the sales rep I’d hired in the spring.