Happy 2014! A glance back and a look ahead

Happy New Year everyone! I'll be sharing my final post on the Tuscany painting I've been working on later this week. But since this is the first day of a brand new year, I thought I'd write about my one single solitary goal for this year. It isn't really even art-related, though it affects my art and pretty much everything else in my life. So I hope you bear with me while I meander off the art topic for a moment to tell you what it is:

To feel good.

I have alluded to my health struggles a couple of times on this blog, but since my goal will likely require a period of absence from posting, I feel like an explanation is due. After the birth of my daughter I was challenged with an autoimmune condition. While thankfully it isn't usually life-threatening, it can really diminish the quality of life, and, for the past three years, wellness has eluded me. In fact, I can count on two hands the days when I have woken up in the morning without chronic pain and utter, utter exhaustion. Layer on top of that a high energy tot who deserves time/love/attention from Mama, and the guilt and regret of not being able to give my all, either to her or to my former workhorse standards in my art career, and you have lots of gaps in studio hours and blog posts, and a lot of feeling not so good about myself in general.

In spite of all of that, 2013 was a phenomenal year for me, career-wise (go figure!) Some really neat show opportunities, and a big jump in sales made last year one of my best since the "bottom went out" in 2008. The Tuscan Sun Wine label project kicked off 2013 and came to me completely unexpectedly. It was a really exciting opportunity for which I feel extremely grateful and proud. But it required a tremendous amount of work in a very short window, and during that whole project I basically ran on fumes (and coffee). It was probably not the best thing I could have done for my health, but I just "powered through", waking at 5 am to work before the roosters (and my own little chickadee) rose, regardless of how little sleep I had gotten or how lousy I felt.

It's all worked out and I feel wonderfully blessed in my life. But I'm at a point where I'm really tired of "powering through", and I'm coming to realize that working smarter, not harder is not a "want" but an absolute must. This means taking some REAL time for some self care and really paying attention to managing my stress and health. Otherwise, I am not going to be able to maintain much of an art career or be a very good wife or mother, either.

I've had incremental health improvements in the past year, but I still have many, many days where I will take a nosedive and I can find nothing in particular that I have done to cause it. So starting next week I will be embarking on a month-long elimination diet, designed to identify foods that I may have unwittingly become sensitized to. I've had some "food allergy" suspicions lately and I have, for some, time eliminated gluten. But for the next month I'll add dairy, sugar and alcohol, legumes, and grains to that list of no-no's. If you want to know what's left to eat, you can read more about my game plan here. Now, I am a former vegetarian and I love my dark chocolate, my cheese and my good glass of red wine (hey, what can I say? I'm half French) so this whole concept ain't an easy one to swallow, so to speak. I already consider myself a pretty healthy eater, but this way of eating is going require a whole lot more time and effort. More cooking, a lot more planning, and I won't have all of those starches I relied upon to round out my family's meals (and get it quickly on the table).

So January is going to be all about food logs and meal plans and sourcing grass-fed, pastured what-nots, and less (or maybe none) about painting. It's possible my energy could go through the roof and I'll have so much excess that I won't be able to keep myself away from the easel. (Wouldn't that be nice?) But it's just as likely that things will get worse before they get better, so starting next Monday I'm giving myself a pass, officially, on painting for the next 30 or so days. Hopefully it will take less time than that for things to normalize, but I just don't know. In any event, it's my hope that the effort will be worth it and that I will be at least on the road to becoming a stronger, better, healthier happier person (and thus being a better, more focused artist.) And speaking of health and happiness, here's a gluten, alcohol, sugar-free (and then some) toast to yours in 2014 too!

Summer's End

The Paint Annapolis plein air exhibition ended on Sunday, so on Monday I drove up to Annapolis to pick up unsold work from the competition. It would have been nice to do some more painting up there while I was at it, but I had to get back home so it was rather a whirlwind trip. I rather like this little skipjack, patiently waiting for some action as it sits in a drive just behind a veggie garden. It's probably my favorite piece from the event.

"Summer's End" Oil on board, 9x12"

Small works invitational

There's been a lot happening around here so unfortunately the blog neglect has continued! I do hope to ramp up to more regular posting (and painting!) by early next week. Meanwhile, here are two new little Key West pieces I've done for a small works holiday invitational that opens at the Miller Gallery on November 20th in Cincinnati.

"The Shady Side" Oil on Canvas, 6x8"

"Towering Bougainvilla" Oil on Canvas, 6x8"

I am so honored to show my work in such a lovely looking gallery alongside artists of such fine caliber. Check them out!

Post- Paint Annapolis

Sorry to say, my blog has suffered a bit from benign neglect since I left for my travels a few weeks ago. Rain and 30 mile/hr wind consumed most of our beach vacation, so while it was still beautiful, there was no chance of painting boats or coastal motifs before the Paint Annapolis competition that followed just a week later. Paint Annapolis itself was fun and enlightening, but since I am still dealing with shoulder tendinitis and pain, it was physically stressful and pretty exhausting. For the first two days, it seemed that I had brought the crappy weather I'd had at the beach right along with me up to the Annapolis event. The weather did turn beautiful during the last portion, but I think I kind of "blew myself out" trying to get something interesting down early on while the weather was gray and the light exceedingly flat.

The previous paragraph makes it sound like I didn't enjoy myself at all, but that was not the case! In fact, while I didn't come home with any prizes, I still received a lot of reward. My early struggles notwithstanding, the city of Annapolis is charming. I had a lovely host for the event, and everyone I encountered in the event organization, and even in the town at large, was warm and friendly. AND I'm delighted to say that I sold a study right from the easel!  :-)  I also found myself among some incredibly talented painters and it was truly inspiring to see so much fine work being produced by my contemporaries. Almost all of the artists were friendly, uplifting, and inclusive, making the atmosphere feel more like a (highly motivated) community than a competition.  So much so, in fact, that by the time it was all over with, in spite of my exhaustion, I was actually sad to see it end.

"A Banner Day", Oil on linen, 12x12"

As a painter, I also I learned a lot. I learned that if it isn't happening, don't force it. I learned that if the light is truly uninteresting, you're better off sleeping in a day or two and staying up at night to paint nocturnes!  I learned that in the overwhelm of an unfamiliar environment, I'd be much better off painting simple studies successfully than failing at capturing a very complicated scene. I learned that even in the anxiety of knowing you only have 3 days to paint,  you really do have to pace yourself, take care of yourself, be kind to yourself, and give your mind and body enough time to rest and relax. And I learned that all of the things I thought I knew can so easily fall by the wayside in this thing called "competition".

As is usually the case with me, I learned much of this more through error than through trial. In a way, the lessons I learned at the competition are only larger-than-life versions of the lessons I learn all the time through the act of plein air painting. These paintings can be like mini thrills-of-victory or agonies-of-defeat, though often they fall somewhere in between. Much is made of the victories (and with good reason) but for the painter who is fortunate enough to recognize it, they all hold value. The value lies in what you take away from it.

p.s. The painting posted was painted during the sunny portion of the event. It's from the quick draw called "Dueling Brushes". Please contact me for purchase inquiries. I posted about this event also last year and you can read my account here.

"All Things French" opens tonight

Off to Greenville for the show opening. Y'all come! For those who can't make it, here's a slideshow recap of work I've delivered for the show:

Where: City Art Gallery, 511 Red Banks Rd., Greenville, NC 27858 When: Opening August 6, 6-8 PM. Show continues throught the month of August. What: All Things French! Paintings from France travels by Jennifer Young and Hilarie Lambert

Ahh, oops, ah-ha, and ouch!

I have one more work to share today from the group I'll be taking to North Carolina for the "All Things French" show next week. This was done alla prima. More fun with light and shadow, and lots of paint! Ah, it's been such fun revisiting these lovely places through the act of painting them.

"Coleurs dus Sud" Oil on linen, 20x24"

For this painting and the last one I posted, I experimented with an interesting double primary palette- Titanium white, Cad Yellow Pale, Golden Ochre (Rembrandt) , Organic Vermillion (Daniel Smith), Quinacridone Rose, Ultramarine Blue, and Manganese Blue (Old Holland).  I must say it was a lot of fun playing with these different colors. The gold ochre is dangerously lovely, and the organic vermillion was nice change up from cad. red light. In fact, it's similar, but the tinting strength isn't quite as strong so in some ways it was easier to use.

I went with this palette for a couple of reasons, but the key word is "economy". First it's an economy of time. The increasing pain in my arms was making it difficult to spend an inordinate amount of time mixing certain colors, even though I've learned enough about color mixing to know how to acheive most of what I need. I almost never use any color directly from the tube any way, but it helped to have a premixed earth, for the buildings for instance, and when such warmth in the scene predominates.

Second, it's an economy of money. I mentioned before that I have a lot of art supplies that kind of fell by the wayside once I discovered some preferred methods and materials, but now I'm starting to revisit those supplies to try and economize where I can. All of the paints and substrates are archival, quality materials, but I do have some far-out tubes of colors--some dating back to before I started painting landscapes!

The paint department at the Lowe's hardware store near our house has something they call the "oops bin". These are mixed paints of specialty colors that presumably didn't come out as expected. I guess you could say that I have my own "oops bins".  After limiting myself to nothing much larger than a double primary palette for years (without much variation), I think it's time to mine some of these strange old friends. Maybe the "oops" will even lead to some ah-ha's along the way!

p.s. I think I'm narrowing down what the problem in my arms might be. Unfortunately it's not limited to just my arms and hands, but radiates from my neck and shoulders all the way down both sides. It's taken a couple of days to write this post, so suffice it to say that my blogging will slow down a bit for a while. (I know I said that before but I really mean it this time!)  Sadly, I will probably have to take a brief rest from painting too. And gardening. I'm typically not too good at "resting" so let's hope I don't go nuts in the interim!

Dusk Approaches

If you're tired of French paintings, don't read this post! I've been on a roll. Here's another one of the Dordogne, with my favorite light and a play of long shadows:

"Dusk Approaches" Oil on Linen, 20x24"

The paint is thick and it's still a bit soft, but if it sets up enough to receive a retouch varnish, I may include it my show of French works that opens next week. This new piece was done on a rather rougher weave linen than I'm accustomed to using, but since I'm trying to economize, I'm working my way through the art supplies I have on hand (rather than just ordering more of my 'preferred' materials.)

The linen is a quality product, just not as fine a weave as I normally like; so up to now these canvases have been collecting dust. It came stretched and pre-primed, but I did add a couple of extra coats of gesso beforehand (with sanding in between) which helped to smooth the surface a little. But still its grip on the paint was significant, so some use of the palette knife came in mighty handy.

One of these days I will do a serious update to my website and post my new paintings there as well. But in the meantime, please contact me for purchasing info.

Le Bateau Rouge

Well the week has flown by and I'm still working away constantly getting ready for the show at City Art Gallery (final touches, varnishing, framing, etc.) Meanwhile I have developed some kind of tendonitis in BOTH of my arms, starting from my shoulders and running all the way down to my wrists and hands. This has been coming on for a while but now it's raging. Fabulous. It also hurts to do any kind of computer work, so since I haven't trained any other appendages to hold a paintbrush, right now if I have to limit one activity it's going to be the computer. Needless to say, blogging may be spotty at best over the next week or two, but I will try to keep posting here and there if I can. Today's painting is again of a scene in the Dordogne. I worked from sketches and a photo. The tree in my photo was very much like a reverse version (in type and lighting) to the plein air painting I did not too long ago of the backlit willow, so I for that part of the painting, I found my plein air work to be a better reference. A little bit of Virginia in France? Hey, if it makes a better painting, I'm all for it.

"Le Bateau Rouge" Oil on Linen, 24x30"

French market painting #2

Here is something of a companion piece to the other Cahors market painting I posted a couple of days ago:

"Legumes du Jour" Oil on Linen, 20x16"

For both this painting and the previous market painting I have again experimented with a single primary palette of just 3 colors (red, yellow, and blue) plus white. I don't normally use a huge palette any way, but sometimes I feel I can become over-reliant on certain colors. Using a very limited palette helps me to feel as if I am taking back in control of my color mixing and really forces me to think more about color relationships. It also pretty much ensures more unified color. My three primaries for these two paintings were cadmium yellow pale, cadmium red medium, and ultramarine blue, and the white was titanium.

Upcoming Events

Just a quick note to share a couple of upcoming art events. First, I am very excited to learn that I was one of 24 artists selected to participate in the The Paint Annapolis 2009 juried competition in September. Longtime blog readers may recall that I went up and participated in just the quick draw portion last year. But this year will be my first time as a juried participant in a week-long event of this size. The entry juror was the very talented painter Scott Burdick, whose work, his portraits particular, I've long admired. Second, I've been invited to be a featured artist with painter Hilarie Lambert in an upcoming show at City Art Gallery in Greenville, NC. The show will feature works from our European travels, and opens on August 6th. Here is one of my new paintings I've done for the show:

 

"Market Price" Oil on linen, 16x20"

One of my favorite parts of my trip last year (okay, I have a LOT of favorite parts!) was visiting the incredible market in Cahors. It was a true French market with all the goods--meat, veggies, cheeses, flowers, oils, soaps, and linens--and none of the tourist tchotchkes that you can see in some of the European markets of the well-traveled cities.

I painted a flower stand in this market en plein air, but this is an alternate view from the same day. The flower stand is in the distance, beyond what you see in the foreground- a stand of sausages (saucissons- pronounced somewhat like SO-SEE-SAW). I'm not a meat-eater now, but once upon a time I tasted some country French sausages like these. They were very rich, but pretty darn tasty at the time. I've lost my taste for it now, but it's still fun to say "saucissons"!

Studio building updates; plus a sale

Well, it looks like the moving schedule madness is now taking hold, so I make no promises of posting many new paintings over the next several days. I have a lot of work ahead of me and a lot of decisions to make as I move out of my current studio space. The new studio will be less than half the size of my current one. This isn't a complaint, mind you (after all the space will be my very own.) But I will have to make the most of the space I have. So in between the packing, I'm prepping for a Studio Moving Sale this coming Friday and Saturday at the gallery.  I'm being pretty ruthless about what I'm allowing myself to hold onto (believe me, no easy task but it must be done.) As a result I'll be offering some great sale prices on selected works from my inventory (mostly older landscapes and plein air studies); plus sale prices on prints,  some picture frames (new, used, and 'scratch and dent') and a few art supplies. If you're in the vicinity come on by and check out the sale. You can read more about it here.

As for our garage/studio building project, rainy weather has slowed our progress a little, but progress is still being made. As I write this, the plumber is making a racket outside the door, trying to get things lined up for the first of several plumbing inspections. I don't have a lot of new "progress" shots to show, but the foundation guys have built the forms (currently protected from the rain by a big tarp.) So once the plumbing passes inspection #1, they can set about pouring the concrete.  

Meanwhile here are some pictures of the plans that have been drawn up by the builder:

Side elevation:

 

I actually think of this as the front, but the builder calls it the side elevation. It's the long part of the building, facing out to our side street. The left end has a little portico/porch that faces the back of the house. At some point I'd like to have a little courtyard patio join the two structures of the house and studio. This side faces roughly east, so I only have windows on the left part. The painting area will be on the right, and I'll probably put some kind of trellis or other tall feature on the exterior to balance the windows at the other end.

Left end elevation:

This is the end with the portico that faces the house. Probably this will be the main door I use to come in and out, though the French doors shown above will be good for loading/unloading from the nearby alley. The portico allows for a loft area on the inside above my office for storage, so that upper window over the porch is just for looks and light.

Floorplan:

This image is a bit hard to read, but here I've overlaid my proposed "room" plan (the furniture/interior wall) on top of the builder's drawing so that I could see how much of my crap I could cram in there ;-)  . Since I seem to have a 2-D brain, it's really hard for me to imagine the actual space until I'm in there. So aside from the painting area (and utility sink) being on the right side and my office being to the left, the particulars of the furniture arrangements may change. Therefore, we've opted not to have the builder install the interior wall. If I find I can fit a wall  or room divider (and right now I think I'd really like to have more wall space) we would have to come up with an after-the-fact solution, space and budget allowing. Not shown (but planned) are ceiling fans--one on each end of the building. We're addressing the other considerations (hvac, insulation, drywall, lighting, picture rails, flooring, etc.) in due time, though right now we're just focusing on getting the structure up and the roof on.

Right end elevation (interior view):

This shows the interior wall on the right end of the building. This is my studio side and the wall faces roughly north. But there is an another building just across an alley on this side, so I have high windows here. They will let in some light, though unfortunately the neighboring building will block it somewhat. I wanted fancy shaped arched or triangular architectural windows here....until I saw the price. So we quickly opted for more standard windows. They all open, and the two smaller windows are awning windows.

The builder we've been working is a company called Bradley Buildings out of the Atlanta area. They've been great to work with so far, and very patient-- especially since this is the one zillionth version of these drawings they've come up with. We started out with something very different, but changes were made based on our lot restrictions. I also made a decision even after that point to further reduce the overall size so that the structure would be more in proportion to our house and lot.

Well, enough of this building stuff. Guess I'm pretty excited about all of this, but it may be a little too much information for a painting blog. It's time to get back to packing any way.

Dueling Brushes

After having what I felt to be a successful morning on my 2nd day in Annapolis, it was my expectation to have as wonderful an afternoon. NOT! There are times when I have to push myself to paint, even if I don't feel like it. This is usually a good idea, but not always. Sometimes giving yourself a chance to "recharge" is the best thing you can possibly do for your work, and this was one of those times. Once I finished "Daybreak", I decided to take a "lunch break" and get out of the midday sun to check out some of the local Annapolis galleries. My plan was then to find some charming street corner where I might set up in town. There was plenty of material to choose from, to be sure. So even though I was pretty tired, I set up in a quiet spot to paint a pretty B&B surrounded by flowers. 

The thing that attracted me to the spot  though, was the pattern of the light, which was steady and strong in constrast and formed an interesting pattern of interconnecting diagonals....At least when I first started. But soon a heavy cloud cover set in.....and lifted....and set in again. By the time the clouds had cleared for good, the pattern of light had completely changed and I finally found myself scrapping the whole painting in frustration.

By the time I had gotten back to the hotel, it was late and I was even more tired. I had actually scheduled myself to compete in a little quick-draw competition called "Dueling Brushes", on the next (and final) morning. But before I went to bed, I called my husband and told him I was considering skipping the event and just coming on home. "Come home if that's what you want," he said, "Nobody's making you do this."

He was right, of course. But I guess the night's rest was restorative, because the next morning I figured, what the heck? I'd go ahead with it. After all, I'd registered for the event, I was in town, and I'd spent a couple of days painting this subject matter so at least I'd had a little preparation. Plus I'd already been through the "agony of defeat" and I was still standing ;-)

The event rules stated that we all had two hours to create a finished painting, after which time we were to scurry our paintings and easels over to the judging area. The judge would then award cash prizes and we'd have a little exhibition in the public square.

To make things easy on myself I decided to set up to paint the open harbor that was pretty close to the judging area. There were surely other interesting spots in town I could have scouted out, but I just couldn't see myself running through town like a maniac with my easel trying to make it in time for the judging.  

From the position I chose along the open harbor, the boats in the scene were pretty far out into the middle ground. It was looking like I might be stuck with a rather placid composition on an overcast day with no foreground interest. But the clock had started and  there were some subtle shimmering light patterns on the water that I thought maybe I could make something out of.  So I settled on a design in my head, set up all of my gear, and began my composition--just in time for a huge tourist boat to pull up and park right in front of my view. ARRRRGH!

I moved all of my gear as quickly as I could to a nearby spot. The view was a little different, but I recovered fairly quickly with a revised plan and got to work. Then I lucked out. What started out as an overcast morning with flat light soon began to give way to breaking clouds backlit by the morning sun.  I had found my interest (and actually, the sky I had painted on the previous morning served me well in this moment.) I quickly changed my plan again and lowered the horizon--this was going to be a painting about the sky.  

 

"Changing Sky" Oil on Multimedia Artboard, 8x12"

To my surprise and delight, I really began to have fun. And when it came time for the judging, I was surprised and delighted again. The painting received "Honorable Mention," which seemed a pretty good accomplishment for a newcomer to these events, especially considering I was thinking about skipping the whole thing!

Paint Annapolis

Haven't gotten a whole lot of painting done in the last few days, but hope to remedy that this weekend in Annapolis. I'm going up to participate in the Mid Atlantic Plein Air Painters Association paint-out that is running concurrently with the Paint Annapolis competition.  Paint Annapolis is an annual juried competition, also spearheaded by the MAPAPA. 30 artists who have been selected by a jurying process compete for prizes by painting en plein air over a long weekend around the historic section of town near the harbor. I have not been one to apply for many competitions and I missed the deadline to apply for this one. Up to now, I guess competitions haven't really been on my radar. I don't really consider myself to be competitive in nature and the thought of "performance painting" just seemed like more stress than fun. On the other hand, aside from the opportunities they offer, there is a lot to be said for immersing yourself in a community that is welcoming to artists, where the focus is just painting, painting, painting.

There is certain energy you get from working with other artists in a group setting that encourages and inspires, and makes you want to do more and do better. That is the experience I have had with workshops, whether I've been leading them or taking them. And while accolades and prizes are nice, I suspect this is the real appeal to the paint outs and competitions for many plein air painters too.

This is what I had in mind when I registered for the paint out. Since up to now I've been a pretty inactive member of the MAPAPA, I figured this would give me a chance to do something with the group, as well as to see what the Paint Annapolis event is like from the inside, without the added pressure of competing. I also love Annapolis and have always wanted to go and paint there. I am supposed to have free high speed Internet access at my hotel, so if all goes well, I will blog about my experience while I'm there.

The weather is looking promising, and I'm excited about the trip. Still, the event probably couldn't come at a worse time for me personally. Moving time is fast approaching, and next week we start breaking ground for the new studio! I told my husband that I couldn't believe I was going to Annapolis with all that we have going on. "I really think I am going insane," I said. He had one word in reply, "...Going?"

Art walk tonight, plus "deep thoughts" on goals

It's looking like a gorgeous day today, so I'm going to try to get out and do some painting outside before heading downtown to get the gallery ready for the First Fridays Downtown Art Walk. Tonight's artwalk opening continues a showing from last month called "Spring Mix". The theme is gardens, flowers, anything Spring. But since my place is primarily an art studio, I've always got new stuff on view, even when a show carries over. June will be my last Art Walk of the season, debuting my 2nd annual "En Plein Air" show. As expected from the title, it will feature work I've done on location. I'll have new  and recent local paintings of Richmond, the Blue Ridge Mountains, and some from my upcoming travels to southwestern France. Here are the details for the May and June shows:

Where we are: 

Jennifer Young Studio & Gallery is located at 16 East Main Street, (between 1st and Foushee) two blocks east of the Jefferson Hotel.

We're open during the First Fridays Richmond Art Walk from 6 to 8:30 PM and by appointment at other times. The Art Walk season continues right on through the summer, but we'll be taking a hiatus in July and August. For additional information contact us or call 804-254-1008. Click here to view a map and get driving directions from your location.

****** 

As I look ahead  to the end of  the Art Walk season (for me) I am thinking a lot about personal vs. professional goals. Working full time in this art thing, I've accepted that there is always going to be a lot of overlap. My art IS personal (I'd have it no other way) but it is also my business, and sometimes it is really a challenge not to have those two aspects completely blur.

Since I've been at my downtown studio, my focus has been on the professional end of things. Namely, how can I (with an artist's budget) best market and utilize this space? How can I maximize its potential (it IS a gorgeous space)? I had many openings, joined committees, changed my hours a few times (now back to "by appointment"), and hosted a workshop (a first at this studio).  I've had some wonderful experiences and some times when I feel as if I've fallen flat on my face. But, that's pretty much par for the course in any business I guess.  In any event, in the relatively short amount of time that I've had the studio gallery, I've learned a great deal, about my business and (perhaps more importantly) about myself. 

 For a while now (at least in the last 6 months, maybe more) I feel like I've been involved with a lot of business (busy-ness!) and less and less painting. For me, the painting (or drawing, or printmaking) has always been the driving force and that's where I need to return my focus for a while. And painting for purpose of expansion rather than for production, if that makes any sense. I look forward to it. 

I'm kicking off with a plein air painting trip to France, but my goal for the summer is to devote more time to those things  that have always fed  my spirit and ultimately helped me to advance as an artist and as a creative liver-of-life. More plein air painting. More drawing. More experimenting. More reading. More time at home. Gardening. Travel. Finally taking a sewing class. Learning about web development and redesigning my website (here comes that blur!) Teaching, if it's in the cards. And yeah, more relaxing!

Okay, that's a pretty ambitious looking summer list, but I'm thinking of it more as a summer menu. A few of these things take priority for me, and the rest I can select according to time and desire. As I said, I look forward to it.

New stuff coming soon, I promise!

I have many notes on things I'd like to blog about, but it seems this whole month has been crammed packed with activity. I'm getting ready for the art walk this Friday, and  a trip to France in just over a couple of  weeks.  But I will post new work this week, even if it's just a few small plein air pieces. And I've plenty of other things I'd like to write about too, if I can find the time:

• More thoughts on color mixing and art mediums
• More on art books I've been enjoying
• Planning and packing all my gear for an overseas trip
• One more "Art for Food" auction before I take a travel hiatus
• Sharing what I'm learning about the beautiful region of the Lot and Dordogne where I'll soon be touring and painting

I may not get to everything, but I will surely get to a number of these topics over the next couple of weeks before I sign off to head for 10 days of computer-free travel.

"Reverie des Roses"- Provence garden painting

Today is a "bonus day". This morning as I was writing out my "to do" list, I commented to my husband it's rained during the last several First Fridays art walks. And with 70% chance of rain again today, it didn't look good for the art walk tonight. "But today's Thursday," husband said. I cannot tell you how happy this made me. I found an extra day! It also worries me a little too...I really can be in my own little world sometimes. In any event, I now have time to post my most recent painting of a lovely Provencal pathway lined with roses:

"Reverie des Roses" (Provence, France) Oil on Canvas, 24x30"

 If you're in Richmond, come see it in person TOMORROW during the First Fridays art walk. I'm open early from 6-8:30 PM with a new show called "Spring Mix."

Vibrant new show for the First Fridays Art Walk tonight

It's raining now, but they're predicting a clearing by 5PM, so head out to the First Fridays art walk downtown tonight. We're open early from 6 to 8:30, and there's ususally plenty of parking on Main Street. Opening tonight at the gallery: "A Touch of Red"- New and recent landscape paintings from Provence to the Tropics with a splash of Valentine's Day red.

"A Place in the Sun", Key West Oil on Canvas, 16x20" More info

Where we are: 

Jennifer Young Studio & Gallery is located at 16 East Main Street, (between 1st and Foushee) two blocks east of the Jefferson Hotel.

New winter/spring hours: 

Beginning in February, gallery hours for the winter/spring season are Wednesday through Friday from 12-6 PM and Saturdays from 11-2.

We're also open during the First Fridays Richmond Art Walk from 6 to 8:30 PM and by appointment at other times. For additional information contact us or call 804-254-1008. Click here to view a map and get driving directions from your location.

Last chance to see JMW Turner show in D.C.

Over the holidays I finally seized the opportunity to head up to the National Gallery in Washington D.C. for the Turner show.  This traveling exhibition is a rare opportunity to see some 140 works by a true master of landscape painting (and, I might add, great-grandfather of abstraction). The show was wonderfully comprehensive, and featured so many of his larger scaled oil paintings as well as his intimate watercolors. It's probably an understatement to say that Turner seemed an interesting guy. His work showed a passionate interest in depicting disasters (caused both by nature and by man) in powerful compositions of dramatic color and light.  In painting after painting, one sees snow storms, shipwrecks, thunder, and fire swirling with emotion. The man must have been exhausted! I am not overly fond of the strong narrative element in many of his paintings, but even so, there is much to see and appreciate in these works. Turner was an artist concerned with social and political injustices both past and present and used narrative elements (both visually and in some of his ridiculously long painting titles) to make his points. He had some statements to make, that's for sure.

Turner started out as an architectural draftsman, and mastered drawing at an early age. This was quite evident in his beautiful paintings of Rome and Venice (pictured above). And while paintings of pure landscape were minimal, there were more sublime pieces as well, where the narrative was limited and light was the subject. Some of my favorites of the larger oils were labeled as "studies" or "unfinished". I loved the way these were so fresh and stripped down to their simplified essence of light and color. He was a precursor to the Impressionists and truly ahead of his time. As explained in NGA exhibition supporting materials, these "incomplete" works were just that, and probably not meant for exhibition, but as preparations for "finished" paintings to present to collectors and the Academy. But we can appreciate them with our modern sensibility as works of art in their own right, as well as for their wonderful documentation of this artist's processes.

While the oils were undeniably impressive and painted with skill and bravura, I personally found greatest delight in his watercolors. These just blew me away. Works ranged from highly finished watercolors with a lot of detail  and drawing, to quick expressive sketches (near abstractions) from his sketchbooks.

If you're anywhere near D.C., you can catch this extraordinary show at the National Gallery's West building through January 6th, 2008 . Check out this cool online exhibition preview at the NGA's website! Next stops for the exhibition are Dallas and New York.

A few gallery snaps from the "Small Stuff" show

Don't let anyone tell you that hanging a show for a bunch of small works is an easy task. But after it was all in place, we were very happy with the results, and I'm glad to report that my husband and I are still married. ;-) Here are a few shots from the show, on view now through Jan. 30th: When we were looking at this space for the gallery, one of the first things I noticed was this cute built-in. It's a perfect display for my minis and my new line of watercolor/pen and inks. Here I've decorated it with some lights and mistle toe:

A close-up that shows some of the ornaments--I like the little silver and gold Christmas balls along the bottom shelf:

On the opposite wall are the landscape paintings of Venice and Lake Como:

Close-up shot of the mantlepiece decorated with paintings. To the left of the large Venetian landscape are a series of little square 6x6" Lake Como paintings. Anyone who has read my blog for a while, or my squidoo lens on hanging art must know I'm a fan of grouping big and small paintings together like this. I'd love to do something similar over my fireplace mantle at home.

A small grouping from the next room of some of my more local autumn scenes:

I  guess that's really all I had time for, photography-wise. I may share a few more snaps and I will definitely share more info on some of the individual pieces in the show very soon.

Miniature landscape painting of the Tuscany sunset

This painting sold last night at my gallery exhibition preview, but it's still on view tonight for the First Fridays downtown art walk. It is a companion to another Tuscany painting I blogged about a couple of days ago:

"Lingering Light, Tuscany II" Oil on linen, about 3.5" x 7.75"

If you're doing the downtown art walk tonight in Richmond, come by Jennifer Young Studio & Gallery and see all of the "Small Stuff" -- miniature paintings and prints --on display for the holiday season. The gallery is located at 16 East Main Street between 1st and Foushee.

If you're not in Richmond, I am continually uploading new paintings to my web gallery, or you can see them offered first here, on the blog. I'm also offering free shipping (with some restrictions) until the end of the year, for holiday shopping convenience.

Useful links:

Ideas for hanging "small stuff" How I pack paintings for shipping My purchasing FAQ's My gallery information (and virtual tour)