Blog

Notes From the Classroom

This ongoing blog entry is intended to compile tips & images I've shared with my painting students.  Sometimes these are in the form of an email sent out to the class, or a Facebook post.  

 

Check back often for updates!  The latest will be at the top.

 

 

Facebook Post: 

October 9, 2014

 

 

When you teach painting classes, you sometimes meet resistance in new student's acceptance of your class exercise. 

 

Yesterday I posted a pretty involved figurative painting with an intentional design that involved several hours of planning & pre-painting/sketching to come up with the finished product (which probably took about 60 hrs, painting in my studio & on location).

Today's post shows a more spontaneous painting experience, a 16x20 still-life I set up for my students this past Monday at Visual Arts Center of Richmond.  I painted off & on while helping my students, and continued on my own after class had ended. About 3 hrs of painting total. Done. End of story. Nothing like the thoughtfulness that had to go into the multi-figure composition in yesterday's post. 

 

I bring this up because every semester I have a couple of new students who complain about painting a still-life....they've seen my more complex work (usually figurative) around town or on my website, and they think that signing up for my classes will enable them to "paint like that". Never mind that their drawing skills are still too weak to handle even relatively simple still-life shapes, much less figurative work, but that's another story. Yikes. 

 

I understand their impatience, however, and sympathize....but also emphasize how I personally continue to benefit from the same painting-from-life exercises I'm giving them. There's no pre-planning other than maybe a quick five-minute thumbnail sketch, and BAM! you are off-and-painting, directly from life and with the clock ticking. 

 

It can't be over estimated how liberating it can be to not have an emotional investment in the subjects you are practice-painting. These still-life objects (that's a paper mache' bull, btw) don't have the same emotional pull for me as my figurative work, so I believe I'm freed up, in a way, to think more objectively about translating quickly (the exercises are usually 3 hrs max) what I see into color/value masses of oil paint on canvas. I'm sensitizing my eyes to "see" more efficiently, and every time I paint more complicated subjects, with or without time limits, I reap the benefits.

 

 


 

 

Facebook Post: 

October 8, 2014




Bathers on the James 

Oil, 24x24, 2010

 

Kinda long-winded description of my process, but here ya go: This was probably my first "designed" multi-figure composition, full of trial & error, but ultimately a really satisfying process. I did several small plein-air paintings of the landscape alone, no figures, during morning light by this train trestle on the James River (Richmond Va) & photographed swimming figures while there. I ended up with a variety of figure gestures in photo refs back in the studio, where I began the larger painting you see here, minus the figures. Let it dry, then laid clear plastic sheets over the painting & did quick oil sketches of the figure gestures based on my abundance of photo refs, moving the painted plastic overlays to experiment with placement. 


Detail, Bathers on the James
 

I suppose I should buy Photoshop to do some cutting & pasting, but I really think having to sketch out the figures as I experimented with their placement totally helped me understand the significance of the individual gestures. I've employed this process on nearly 10 multifigure pieces in the last 3-4 years, and always satisfied with the results.

 


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New Work & New Display!


AUTHOR NOTE, October 31, 2014: Display ended, contact me regarding any unsold work


This blog post provides a convenient guide to preview some brand new paintings I completed over the summer, as well as some previously shown work, blended together for an upcoming new display in my gallery space at Crossroads Art Center. 

  

In addition to the framed work, a selection of unframed oil sketches will be for sale as well for a limited time.  An unframed oil sketch is a great way for new collectors to purchase original art at affordable price-points!

 

Sales begin September 19, 6 pm

 

Crossroads Art Center

2016 Staples Mill Road

Richmond Virginia 23230

Monday-Saturday 10-6, Sunday Noon-4

(804) 278-8950

Ask about Crossroad's convenient layaway payment

   plan for any of the framed work!


 

Argyle Socks

Oil, 18x24 canvas size, framed in black with silver accents, about 3" width

$3450



Fit to Be Tied

Oil, 18x24 canvas size, framed in black with silver accents, about 3" width

$3450 SOLD
 



Study of a Young Woman

Oil, 14x11 canvas size, framed in black with gold accents, about 3" width

$550 
 




Afternoon on the Outer Banks

Oil, 30x40 canvas size, framed in black with gold accents, about 4" width

$4450
 




Sailing Off the Gulf Coast

Oil, 36x24 canvas size, framed in black with gold accents, about 3" width

$2450 
 

 

 


The Accordion Player

Oil, 18x14 canvas size, framed in black with gold accents, about 3" width

$1450 





Study For "Argyle Socks"

Oil, 9x12 canvas size, framed in flat panel black, about 2" width

$250 SOLD
 




Study for "Fit to Be Tied"

Oil, 12x9 canvas size, framed in black with silver accents, about 3" width

$450 SOLD


 

Old Church in Manakin-Sabot, Virginia
Oil, 48x36 canvas size, framed in dark-brown "floater" frame
$2950



Under the Pink Parasol

Oil, 16x20 canvas size, framed in flat panel gold, about 2" width

$1850

 



The Three Graces at Maymont

Oil, 14x11 canvas size, framed in flat panel gold, about 4" width

$875





Study of Old City Hall, Richmond

Oil, 12x9 canvas size, framed in flat-panel gold, about 3" width

$475 SOLD


Study of Khara

Oil, 8x10 canvas size, framed in black/bronze, about 3" width

$375
 


 

Study of Rich

Oil, 12x12 canvas size, framed in flat panel gold, about 3" width

$375 SOLD



 

Chapel in Late Afternoon at Virginia Museum

Oil, 12x9 canvas size, framed in flat panel gold, about 3" width

$475 SOLD

 

 

 

Unframed Oil-Sketches:

If you appreciate the looseness, liveliness, & spontaneity of a sketch, I'm offering eighteen unframed paintings from the hundreds of small oil studies accumulated over the past few years.  Most were created as figure, portrait, or still-life demos for my painting classes; also included are plein-air landscapes painted around Richmond.  


House in Church Hill 
Oil, 12x8, $250


Still-Life With Pitcher & Bowls
Oil, 18x14, $350


Rick in Fedora

Oil, 14x18, $350 SOLD




Still-Life With Pitcher, Apples, & Pear
Oil, 18x14, $450



James With Scarf

Oil, 20x16, $450 SOLD

 


Rebecca With Flowers
Oil 18x14, $250



Josh in Pink & Green
Oil, 20x16, $275



Still-Life With Pink Vase
Oil, 16x20, $375


Chapel in Snow (Virginia Museum)
Oil, 10x8, $250



Hieu in Grey Vest & Fedora
Oil, 20x16, $275



Study of Tony
Oil, 12x9, $125



Still-Life With Pitcher in Basin & Mandolin
Oil, 14x11, $350



Joe in Fedora
Oil, 14x11, $250 SOLD



Still-Life With Yellow Vase
Oil, 16x20, $250 SOLD


A Morning Stroll

Oil, 12x9, $275

 



Anya in Garden Hat

Oil, 18x14, $375


 

Study of Augustin

Oil, 16x12, $150 SOLD




View From Fountain Lake, Byrd Park
Oil, 6x8, $95



 




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Annual Solo-Show, May 2014


 Exhibition Preview!  

 

My annual solo-show opened Friday May 16 and runs thru July 7 in the Caboose Gallery of Crossroads Art Center. Focusing on figures in interiors, many were done in direct collaboration with performers from the Richmond theatre community.  Additional oils of landscapes, portraits, & still-life round out this exhibition of nineteen paintings completed since May of 2013.  I will update this blog as paintings sell, indicated next to the prices listed as SOLD (sold work remains in exhibit for the duration of show).
 

 

 



Crossroads Art Center

2016 Staples Mill Road

Richmond Virginia 23230

Monday-Saturday 10-6, Sunday Noon-4

(804) 278-8950

Ask about Crossroad's convenient layaway payment plan!

 

 

Joe With the Morning Paper

Oil, 16x24 canvas size, framed in black with gold accents of about 3" width

$3850  SOLD

 



The Red Bandana

Oil, 16x12 canvas size, framed in black with gold accents of about 3" width

$1150  SOLD





Morning Light in Venice

Oil, 36x24 canvas size, framed in gold "Plein-Air" style frame

with linen liner of about 3" width

$4650  SOLD




Boy With Mandolin

Oil, 30x15 canvas size, framed in black with gold accents of about 3" width

$3450  SOLD

 

 



First Born

Oil, 24x18 canvas size, framed in black, silver liner, 3" width

$3450 SOLD





Head Study of Evan

Oil, 20x16 canvas size, framed in black, silver liner, 3" width

$650  SOLD




Page Turner

Oil, 18x14 canvas size, framed in black, gold liner, 3" width

$2150   SOLD 

 

 


Joshua's Flowered Shirt

Oil, 30x22 canvas size, framed in black, gold liner, 3" width

$3850

 




Study of Anya in the Garden,  2013

Oil, 18x14 canvas size, framed in black, gold liner, 3" width

$550



 

Head Study of Joe

Oil, 20x16 canvas size, framed in black, gold liner, 3" width

$650 SOLD




Hazy Day in Rome 

Oil, 24x30 canvas size, framed gold plein-air style, 4" width

$3850   SOLD 




Sean's New Suspenders

Oil, 16x12 canvas size, framed in black, gold liner, 3" width

$1150  SOLD






The Mandolin Player,  2014

Oil, 20x16 canvas size, framed in black Craftsman style, silver liner, 3" width

$2150   SOLD 




 
The Dancer,  2014

Oil, 24x12 canvas size, framed in antique-gold, 3" width

$1850





Rick With Blue & Gold  2013

Oil, 18x12 canvas size, framed in black, gold liner, 3" width

$1575  SOLD





Study for "The Mandolin Player",  2013

Oil, 12x16 canvas size, framed in black, silver liner, 3" width

$350 SOLD





Study of Stargazer Lilies & Gardener's Hat

Oil, 16x20 canvas size, framed in distressed silver, 4" width

$875




Study For "Hazy Day in Rome"

Oil, 8x10 canvas size, framed in gold "Plein-Air" style, linen liner, 3" width

$575  SOLD

 

 


Study of Daffodils   

Oil, 16x20 canvas size, framed in distressed silver, 3" width

$875  SOLD

 

 

 

Of further interest, you might enjoy reading the stories

behind some of the paintings in this exhibit...

 

 

Click here to read my blog post

The Joe Paintings: One Model, Multiple Possibilities 

 

 

Click here to read my blog post

Painting "Joshua's Flowered Shirt"
 

 

Click here to read my blog post

The Sean Paintings

 

 

Click here to see the painting process 

behind Head Study of Evan


 

Dancer Phillip Skaggs of Richmond Ballet, his wife Katie,

and their son Louie posed for my 2014 painting First Born.

Click here to read about my 2013 painting 

Painting Phillip Skaggs of Richmond Ballet


Click here for the story behind working

with actor/director Deejay Gray on

The Red Bandana


 

Click here for the story behind working

with Cecile Tuzii of Richmond Ballet

on my painting The Dancer 
 



Click here for the story behind

Study of Anya in Garden Hat



Images of the gallery...

 



 

 
















 



 

 



















 

My Latest Work page has larger images, background information,

and detail enlargements of some of the exhibited paintings.

Click here to enter.

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The Sean Paintings


Sean in my studio

Sean posed for me after I saw him in a local production of The Music Man in July 2013.  The costume department allowed him to borrowed the early 20th-century costuming, & he came to my studio to sit for a head & shoulders study, seen below in a painting I call Sean's New Suspenders. 

 

 

 Sean's New Suspenders

Oil on canvas, 16x12, 2013

 

During the couple of sessions Sean sat for Sean's New Suspenders,  my camera recorded additional poses to inspire another, more complex painting.  I'll review the results of such photo sessions, and if I see an engaging gesture, coupled with interesting lighting, I'll play with cropping of the photo, and do a quick thumbnail sketch to see if it can work as a larger composition.  Such an effort resulted in the larger painting seen below, Boy With Mandolin.

 

 

Boy With Mandolin
Oil on canvas, 30x15, 2013
Finalist, Raymar Fine Art Competiton 2013/2014

Boy With Mandolin
began after Sean went back to school (majoring in theatre) for the semester.  I was working with photo references alone, off & on from August 22 through November 15, for about 134 hours total.  The face you see in the painting is the 3rd attempt on this canvas; two prior efforts I deemed unacceptable, so I scraped away and painted over. For a larger view, below you'll see a close-up of the upper portion of the canvas.
 

Detail from Boy With Mandolin
 
 

   
Study for The Mandolin Player, 16x12, 2013

Above you'll see a classroom study, a very quick oil sketch, painted while Sean posed for my students at Visual Arts Center of Richmond in August 2014. Between helping them with their paintings, I would make very fast, abbreviated marks on my canvas, to have my own record of the experience.  I liked the composition, and revisisted it for a pose with Sean in my studio in late December, seen below.

 
The Mandolin Player
Oil, 20x16, 2014

Expanding upon the idea in the earlier classroom sketch, I began a new painting with Sean posing in my studio December 27 & 28 , 2014, on a larger canvas of 16x20.  Same clothing, and partially similar backdrop.  Sean posed a total of 6 hours for this, and I spent at least that much time afterwards refining the painting using photo references, with the results being the painting you see above, called The Mandolin Player.


 
 
Sean posed in my studio again in February.  I photographed multiple poses at a mirror, with the motif of tieing a tie.   Above you'll see a small oil sketch (12"x9") painted while he posed for about 3 hours.  Cool north-light from the left was countered with the warm yellow lamplight on the right.
 
This preliminary study is serving as reference for a larger version of this scene, 24"x18", that I'm currently working on. Should be complete & released later in 2014.
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The Joe Paintings: One Model, Multiple Possibilties


"Joe With the Morning Paper", Oil, 16x24, 2013

 

One of the great things about working with a model from life (in person, as opposed to working from photographs alone) is the opportunity to have conversations, learning about the person's life & interests.  This comfort level can inspire multiple paintings of the same model...some are formal, planned compositions, while others are simply loose sketches to explore a particular lighting, pose, mood etc..

 

Joe is an actor friend from local theatre, who first came to my studio in June 2013.  Since then, we've worked together several times, and this blog functions to collect the results.



  

Joe posing for a head study, June 2014.  The painting below was the result of this alla-prima (single-session) painting. 

 

 

 

Head Study of Joe

Oil, 16x12, 2013

 

Before I come up with a more complex composition, I'll often do an oil study of the model's head & shoulders alone, to become acquainted with the planes of face and their coloring.  There are characteristics that are unique and evident only when spending time with a person.  A camera often misses minute changes in expression that are so indicative of a person's "look".  Studying their face for 2-3 hours, I'll notice the slight changes that can lead to a better likeness.  

 

All that said, I'm in no way committed to having an exact likeness of my models, since none of these paintings were commissioned portraits.  I can generalize a model's physical characteristics to better suit the painting.  This is impossible if these were commissioned & I was no longer painting to suit my specific artistic aims.

 

       

 

I'll photograph a model in various gestures & lighting situations with various props to generate painting ideas.

 

Inspired by seeing Joe in glasses in a play, I requested that he borrow them from the prop department.  The clothing choice was also inspired by costuming I'd seen him in while performing.  The tie, hat, & vest were mine.  The reading motif was based on earlier conversations that left me with the impression that he is rather bookish, so the motif seemed a natural posing situation for him.  The photos can quickly capture several arrangements, and I can choose from these to create a more complex composition.  

 

Page Turner

Oil on canvas, 18x14, 2013


Page Turner began in early August 2013.  I put it away while I worked on the following painting of Joe, and picked it up again in September for completion.



Stages of a Painting:

 

I took several photographs of the eventual painting Joe With the Morning Paper as it developed on a 16x24 canvas.  Below you will see four moments along the way, followed by the completed work.  I develop this or any painting from general to specific...broad generalization of line & color/value shapes, followed by further refining until it looks "right".  This was painted the last two weeks of August 2013. 

 



 



 



 

 

 

Joe With the Morning Paper

Oil on canvas, 16x24, 2013

Finalist, BoldBrush Painting Competition August 2013

 

 

More Studies:

 

Head study, 16x12, part of a larger pose I was trying out for a three-quarter figure painting that has yet to develop.

 

 

Here's a quickly executed 16x12 study painted while Joe posed for my painting class at Visual Arts Center of Richmond, probably last August, wearing similar clothing to my studio costuming. This may also inspire in a future painting idea.

 

 

Joe sat again in January 2014, and above you'll see him posing and head-study (clamped to my easel) I had just begun.

 

The following day I took the painting further without Joe in the studio, looking at photo references on my digital monitor. 

Like many paintings, this one has gotten no farther than this rough start.  I may develop it further, or just file it away and move on to other ideas.  Looking back at it now I realize how crooked I've made his eyes....need to fix that if I take this further!

 

Here is quick, 9x12 oil sketch Joe posed for in my studio on March 4, 2014.  I like this composition, with the figure against the window light, and plan on trying this in a larger format, developed to the level of Joe With the Morning Paper and Page Turner.  I will post it here in future updates, as I'd like to include it in my annual solo-show this May along with the aforementioned paintings.

 

Joe has been a lot of fun to work with.  He has a great sense of humor, and like many of my actor friends, is always enthusiastic to talk about film & theatre, a topic I enjoy almost as much as painting. 

 

UPDATE, July 2014

 

Here is the larger painting inspired by the sketch above.  It will be available Fall 2014.

 

Argyle Socks

Oil on canvas, 18x24, 2014

 

 

Click here to find Head Study of Joe on my website


Click here to find Joe With the Morning Paper on my website


Click here to find Page Turner on my website


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Painting "Joshua's Flowered Shirt"


"Joshua's Flowered Shirt" oil, 2014


Josh came to the studio for the first time on February 14 with a duffle bag full of clothing options for a potential pose.  Being a fashion design major at VCU, he had many visually interesting ensembles. He brought a flowered shirt that really caught my eye, and it's pale green was similar to a backdrop cloth I had placed on a folding screen. 


 
This 16x12 head study of Josh was painted from life in my studio during that first visit on February 14.  It was probably done in about one hour.  I never got any further than this; sketches often serve the purpose of simply warming me up to other ideas for posing a model. However, this study was helpful in developing the skin-tones in my eventual painting, Joshua's Flowered Shirt. 

 

                

 

 

      

12x9, preliminary study for Joshua's Flowered Shirt painted from life in my studio on February 16.

 

Two days earlier, I had photographed Josh in dozens of poses, out of which came a composition I felt quite strongly about.  Josh was able to return to the studio on the 16th and we re-created one of these poses.....same clothing, same gesture, and similar time of day so the lighting (a north-facing window, incidentally) would be similar.

 

Josh sat for about 2 hours for this small sketch, which provided me an idea of the over-all color quality of the eventual larger painting.  When used with photographic references,  even the roughest of color sketches is a valuable reference when the model is not available. 

 

Stages of Progress:

 

With a couple of oil sketches under my belt, I began working on the larger, formal composition on a canvas sized 30x22 on February 17.  Josh was no longer available, but the decorative elements in the room remained.  I used both my photo references (on a large computer monitor placed at eye level) and my preliminary oil sketches for the face & figure.


I took several photographs of the painting as it developed over the course of  two weeks; below are various stages in the progress followed by the completed work.  I worked on this for about sixty hours, calling it "finished" on March 3. 

 

     
I'll begin painting any subject pretty much the same way...masses of color/values are roughly blocked into the general interlocking shapes provided by loose contours of the drawing (in this case, thinned oil paint using Windsor & Newton's Mars Violet Deep, which provides the purplish-brown color of the contours).  The photo above captures the first massing of color on top of my drawing, in this case the rather similar warm organge-gold-brown color of both the pants, hair, and the cabinet in the background.

 

Color massing continues

 

At this point, you'll see color masses established over entire composition, which can occur quite quickly.

I have taken extra care (and time) to slow down and articulate the face.

 

The painting as seen in the stage above looked very much as you would have seen it for at least 40 of the 60 hours I spent.  The earlier broad generalization of line, value, & color is followed by a far slower period of refining and specificity.  My palette of colors was pretty limited. Gamblin's Oil Colors Titanium White, Alizarin Crimson, Cadmium Yellow Light, Ultramarine Blue, and Pthalo Green. 


The Completed Work: 


Joshua's Flowered Shirt

Oil, 30x22, 2014

 

Details From the Painting:

 

Here are three "zoom-in" shots of the painting to give you a closer look.....

 









 

 

Joshua's Flowered Shirt will be part of my annual solo-show in May.  Although it probably won't happen before the show, I'd love to paint Josh Bigalow again.  With his easy-going personality, he was great to work with, and beyond learning of his fashion & skating aspirations (he is an accomplished figure skater), we discovered a mutual love of film, particularly documentaries.  

 

Incidentally, after I had chosen his flowered shirt as the costuming we'd use in the painting, he un-selfconsciously told me it's actually a woman's shirt.  He found it at the J. Crew retail outlet where he's employed part-time, and knew he could "make it work" as part of his look.  This seemingly inconsequential, but endearing, facet of the story stuck with me.

 

While the paint was still wet, I knew I had my painting's title. 

 

Click here to find Joshua's Flowered Shirt on my website


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Unframed Paintings Offered for Limited Time


SALE EXTENDED!  


A number of previously unavailable oil-studies are being offered unframed for a limited time in my gallery space at Crossroads Art Center beginning Friday January 17 at 6 pm through Tuesday February 4.  They range in size from 6"x8" to 16"x20". Prices top out at $550, but many are within the $100-400 range. 

 

If you appreciate the looseness, liveliness, & spontaneity of a sketch, I'm offering over thirty paintings from the hundreds of small oil studies accumulated over the past few years.  Most were created as figure, portrait, or still-life demos for my painting classes; also included are plein-air landscapes painted around Richmond.  A couple of charcoal figure studies round out the offerings. 

 

Crossroads Art Center

2016 Staples Mill Road

Richmond Virginia 23230

Monday-Saturday 10-6, Sunday Noon-4

(804) 278-8950


 

Any painting no longer available is marked SOLD.


 


James With Scarf

Oil, 20x16, $495




Still Life With Watering Can
Oil, 20x16, $495
SOLD


 
Head Study of Young Man (David M.)
Oil, 16x12, $250
SOLD



View in St Petersberg, Russia
Oil, 8x6, $185
SOLD

 

Confederate Chapel in Snow (Virginia Museum)
Oil, 10x8, $375

 

Still-Life With Fruit & Pitcher
Oil, 16x20, $495



Alma: Study in Black Hat
Oil, 14x11, $250
SOLD



Still-Life With Pitcher, Apples, & Pear
Oil, 18x14, $525

 

Head Study of Model
Oil, 14x11, $350



Study of Reclining Nude
Oil, 11x14, $275
SOLD



Study of Seated Nude
Charcoal, 18x14, $275


Still-Life With Pitcher in Basin & Mandolin
Oil, 14x11, $425

 

Head Study of Michael
Oil, 12x12, $425



Study of Apple Against Red Backdrop
Oil, 8x6, $95
SOLD



Still-Life With Martini Glass & Lime
Oil, 16x20, $550
SOLD



Anya: Study of Model in Red Dress
Oil, 14x11 $175



Rick: Study of Torso
Oil, 16x20, $195
 SOLD

 

Outdoor Study of Woman in Sun Hat
Oil, 14x11, $125



Still-Life With Lemons & Blue Objects
Oil, 14x11, $395
SOLD




One Model, Two Poses
Oil, 20x16, $175
SOLD

 

Nude Lit From Above
Oil, 14x11, $425
SOLD



Study of 11 AM Sunlight on Picnic Table
Oil, 14x11, $275
SOLD



Study of Glass Objects:  Fish, Vase, Pitcher
Oil, 12x9, $125
SOLD

 

Head Study of Mathieu
Oil, 12x9, $150
SOLD



Study of Morning on Monument Avenue
Oil, 16x12, $185
SOLD



Study of Hieu on Sofa
Oil, 12x16, $350
SOLD

 

Study of Gwynn's Island Tin Roof
Oil, 12x9, $125
SOLD



Study of Apple Against Red & Blue
Oil, 6x8, $85
SOLD

________________
During the sale, a few framed paintings at Crossroads
have been marked down, see images with frames below:
 

Girl in Garden Hat
Oil, 14x11 canvas size framed in black with silver liner of about 3" width
$750, now on sale for $550
SOLD

 

Study of Standing Nude
Charcoal of 20x14 paper size, framed in black plein-air style frame of 3" width (under glass)
$425


Study of Church Steeple, Mathews Co. Courthouse
Oil,  8x6 canvas size with gold plein-air style frame of 3" width
$195, now on sale for $150
 SOLD

 
Along with the oil studies above, I have an archival signed & numbered limited-edition print
of my popular 2011 painting By the Fireside, seen above.
Unframed archival print, 12x16, $185 
SOLD

 

 If you are outside of Richmond,  you can call Crossroads Art Center and place an order over the phone with a credit card  The gallery will be happy to ship a painting to you via Fed Ex.  


Crossroads Art Center

2016 Staples Mill Road

Richmond Virginia 23230

Monday-Saturday 10-6, Sunday Noon-4

(804) 278-8950

I hope you will stop by & check out the work!

 

All the best, 


David

 


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Available at Gallery, Spring 2014


At the gallery

 

This blog post provides a convenient guide for the collector to see available oil paintings currently offered in my gallery space at Crossroads Art Center this Spring 2014*, with the price on several paintings recently marked down!

 

I will update this page to indicate when a painting is sold and no longer available, so check back often.

 

Stop by the gallery, or if you are outside of Richmond, you can call Crossroads Art Center to place an order over the phone with a credit card.  Jenni Kirby & her friendly crew at Crossroads will be happy to ship a painting to you via Fed Ex.  

 

 

Crossroads Art Center

2016 Staples Mill Road

Richmond Virginia 23230

Monday-Saturday 10-6, Sunday Noon-4

(804) 278-8950


*please contact me about availability after May 12, 2014, as some work may be removed by this time

 

 

Afternoon at the Golden Gate

Oil, 40x30 canvas size, framed in black with gold accents of about 4" width

$6450,  now on sale for $4950

AVAILABLE




 

Russian: View of St. Petersburg Across the River Neva

Oil, 40x30 canvas size, framed in gold plein-air style of about 4" width

$6450, now on sale for $4950

AVAILABLE
 

 

 

Study from The Nutcracker

Oil, 30x20 canvas size, framed in black with gold accents of about 3" width

$2950, now on sale for $2250

SOLD




 


Hay Bales in Morning Light

Oil, 30x36 canvas size, framed in gold plein-air style, about 4" width

$4950, now on sale for $3950

AVAILABLE



 

 


The Accordion Player

Oil, 18x14 canvas size, framed in black with gold accents of about 3" width

$1850, now on sale for $1450

AVAILABLE

 



 

The Guitar Player

 Oil, 14x11 canvas size, framed in black with gold accents of about 3" width

$1450, now on sale for $1150

AVAILABLE
 

 

 

Morocco: In the Tangier Marketplace

Oil, 18x14 canvas size, framed in black with gold accents of about 3" width

$1750, now on sale for $1595

AVAILABLE

 

 

 

Rehearsal for Balanchine's Liebeslieder: The Richmond Ballet

Oil, 48x60 canvas size, set within gold "floating" frame of about 1" width

$16500

AVAILABLE

 

Click here to read about the creation of Rehearsal of Balanchine's Liebeslieder

 

 


 

Madrid at Dusk

Oil, 16x12 canvas size, framed in black with gold accents of about 3" width

$1350, now on sale for $1195

AVAILABLE

 

 

 

 

Spain: A Fountain in Cordoba
Oil, 14x18 canvas size, framed in black with gold accents of about 3" width
$1450

AVAILABLE


 

 

 

Rebecca, Study of Seated Nude

Oil, 14x11 canvas size, framed in black with gold accents of about 3" width

$800, now on sale for $575

SOLD


 




 

 



 

 

 

It's a great time to stop by the gallery to take advantage of some of the recently marked down sale prices!  Or, if you are outside of Richmond, you can call Crossroads Art Center to place an order over the phone with a credit card. Jenni Kirby & her friendly crew at Crossroads will be happy to ship a painting to you via Fed Ex.  

 

Crossroads Art Center

2016 Staples Mill Road

Richmond Virginia 23230

Monday-Saturday 10-6, Sunday Noon-4

(804) 278-8950

 

 

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Unframed Oil Studies Sale


A sampling of some of the pieces on sale

Hello! These unframed oil studies are on sale in my gallery space at Crossroads Art Center through September 26. They range in size from 6"x8" to 16"x20". Prices top out at $550, but many are within the $100-400 range. 

 

I've held on to many of these paintings for a while -- some for years -- for various reasons, but I'm now ready to make them available to collectors who appreciate the looseness, liveliness, and spontaneity of a sketch. About thirty paintings offered, from the hundreds of small oil studies accumulated over the years.  Most of these were created as figure, portrait, or still-life demos for my painting classes; also included are plein-air landscapes painted around Richmond and other locations.

 

UPDATE:  Sale extended!  Although the display & sale of these unframed paintings at Crossroads has ended, the pieces listed below as "AVAILABLE" are indeed still available!

 

If you are in Richmond, you are welcome to contact me directly to acquire a painting.  Or, if you are outside of Richmond, call Crossroads to place an order over the phone with a credit card.  The gallery will be happy to ship a painting to you via Fed Ex. 

 

Crossroads Art Center

2016 Staples Mill Road

Richmond Virginia 23230

Monday-Saturday 10-6, Sunday Noon-4

(804) 278-8950


All the paintings that went on sale Friday September 20 are included on this page.

Scroll down...you can see everything that's either AVAILABLE or SOLD. 

 

     

Still Life With Watering Can & Hat

Oil, 16x20, $550  

SOLD

 

 

Anya in Garden Hat

Oil, 18x14, $550

AVAILABLE



Chris in Yellow Rain Coat

Oil, 14x11, $350

SOLD

 

 

Still-Life With Martini Glass

Oil, 20x16, $550

SOLD



A Morning Stroll

Oil, 12x9, $395

AVAILABLE

 

Claire, Torso

Oil, 14x18, $475

AVAILABLE

 

Rick in Fedora

Oil, 14x18, $350

AVAILABLE

 

Still-Life With Lemons

Oil, 11x14, $475

SOLD

 

 

David Seated
Oil, 20x16, $475
SOLD


David, Torso
Oil, 20x16, $475
AVAILABLE


David in Fedora & Glasses
Oil, 16x12, $275
SOLD


Monument & Boulevard at Sunset

Oil, 12x9, $375

SOLD

 

 

Still-Life With Daffodils

Oil, 16x12, $525

SOLD

 

Girl With Accordion
Oil, 14x11, $350
AVAILABLE
 

View From Fountain Lake, Byrd Park
Oil, 6x8, $250
AVAILABLE


Mediterranean House on Monument

Oil, 8x6, $250

SOLD

 

A Dangling Cigarette
Oil, 10x8, $375
SOLD


East-Asian Decorative Objects
Oil, 12x9, $150
SOLD


Chris in Red Headband
Oil, 16x12, $275
AVAILABLE



Samovar on Picnic Table
Oil, 10x8, $125
SOLD


Head Study of Augustin
Oil, 16x12, $150
AVAILABLE


Girl in Fur Hat
Oil, 14x11, $275
AVAILABLE



Madonna of the Garden
Oil, 10x8, $125
SOLD

 
Studies With Daffodil & Tea Set
Oil, 14x10, $85
SOLD

 
Study of Tony
Oil, 10x8, $125
AVAILABLE


Study of Rebecca
Oil, 12x9, $125
SOLD


Study of Pewter Pitcher
Oil, 10x8, $85
SOLD

 
Along with the oil studies above, I have a few archival signed & numbered limited-edition prints
of my popular 2011 painting By the Fireside, seen below.  These prints are being offered unframed at a sale price of $185 this week only (prices return to $215 after September 26).

I also have one framed & matted By the Fireside print on sale for $375 (price returns to $400 after September 26)

 



___________________________________________
During the sale, a few framed paintings at Crossroads
have been marked down, see images with frames below:
 
 
Model Study: Kendall in Cowboy Hat
Oil, 14x11 canvas size, set within "floating" frame of about 3/4" width
$550, now on sale for $450
SOLD


 
Study of Green Apples
Oil, 14x11 canvas size, set within gold frame (with linen liner) of about 3 1/2" width
$350, now on sale for $295
SOLD

 

Torso Study
Oil, 14x11 canvas size, set within "floating" frame of about 3/4" width
$575, now on sale for $475
SOLD



Still-Life With Red & Turquoise 
Oil, 14x18 canvas size, framed in black with gold accents of about 3" width
$950, now on sale for $850
SOLD

BLOG UPDATE:  Sale extended!  Although the display & sale of these unframed paintings  & marked-down framed paintings at Crossroads has ended, the pieces listed as "AVAILABLE" are indeed still available!

 

If you are in Richmond, you are welcome to contact me directly to secure a painting for your collection.


 If you are outside of Richmond,  you can call Crossroads Art Center and place an order over the phone with a credit card  The gallery will be happy to ship a painting to you via Fed Ex.  


Crossroads Art Center

2016 Staples Mill Road

Richmond Virginia 23230

Monday-Saturday 10-6, Sunday Noon-4

(804) 278-8950

 


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Painting the Richmond Ballet Rehearsing Balanchine's 'Liebeslieder Walzer'


Eight company dancers of Richmond Ballet captured in oil

This blog entry expands upon an article in my recent e-newsletter focusing on my work with some of the dancers of Richmond Ballet, the State Ballet of Virginia, specifically Rehearsal for Liebeslieder: The Richmond Ballet, a large multi-figure painting depicting eight members of this internationally respected dance company.  The canvas measures 48"x60", and is the largest canvas I have painted up to this point in my career. A great learning opportunity!

 

Of all my paintings in the ballet series, I have arranged photo sessions with the dancers and created my own concepts and compositions, arranging lighting, poses and costuming for the subjects in my paintings.  However, for Rehearsal, photo references were generously provided by Richmond Ballet's staff photographer Sarah Ferguson, as I was not present to see this piece was rehearsed in late 2011, although I did see it magnificently performed. 

 

Over the course of several months, the painting required over 220 hours to complete, with final brushstrokes laid the day of the painting's debut as part of the Hang 5 "Leap Week" exhibition at the Studio Theatre of Richmond Ballet.  In other words, the painting was first displayed in public still wet!

 

To read more of the back story, I've included a link to the e-newsletter at the bottom of the page.

 

Preliminary Sketches  July/August 2012


The painting began on August 27, 2012.  Preliminary sketches gave me the opportunity to make some adjustments to Sarah Ferguson's photo references.  From the original photographs, I decreased the size of one set of giant French door backdrops, and pushed them back a bit.  In doing so, I decreased the width of the space and brought the grouping of dancers closer together. I also increased or decreased the size of some of the figures, furthering the recession in space.

 

    

 

Small sketches, usually no bigger than 8"x10", allowed me to visualize the composition with my alterations.  The oil sketch on the left was purposely done in black & white paint, created so I could judge the composition's abstract arrangement of strong light/dark shapes.  A small pencil sketch of the altered arrangement was then gridded and scaled massively up to the final canvas size of 48"x60".  The grid helped find the placement of the multitude of forms roughly within the large canvas. Then, the roughed-in individual figures were refined freehand in charcoal pencil, followed by the pencil lines being covered over with a thin wash of brownish oil paint.

 

Stages in the Final Painting:

 


In the studio, early September 2012. Pencil lines being have been covered over with a thin wash of brownish oil paint.


 

A thin wash of brown oil (maybe Mars Violet Deep?) was used to indicate the dark masses.  At this point, some basic color has been established on Thomas Ragland's face, and you can see my computer monitor to the left of the canvas.  I referred to this digital display, with enlarged photo references of all the dancers, throughout the course of the painting. 

 

Beginnings of color established on torso's of Thomas and Cecile.

 

 

initial color completely blocked-in around Thomas and Cecile, with Lauren and Phil begun. 

 

 

 

As I move across the canvas, basic color notes have now been established across my entire surface.  Although the color is rough and only loosely blocked-in, at this point in any painting, if I squint my eyes I can visualize how the completed painting may appear.  

 

Notice how the two middle sets of figures are now starting to take form.  The painting has been underway for over two weeks at this point, but after everything is roughly established across the entire surface, I will go back and concentrate on a single area for individual refinements.   


Rehearsal for Balanchine's Liebeslieder Walzer: The Richmond Ballet

Oil on canvas, 48x60", 2013

 

Eight of the Richmond Ballet company dancers are depicted in this rehearsal painting.  Left to right:  Thomas Ragland, Cecile Tuzii, Lauren Fagone, Phillip Skaggs, Thomas Garrett, Valerie Tellman, Maggie Small, and Fernando Sabino.

 

A light-colored scrim hangs behind two tall French doors, already in place, with backstage bric-à-brac not yet tucked away for performance.  I responded immediately to the low vantage point in Sarah's photograph that inspired this painting.  The angle allows us an upward view of the dancers in the foreground, the large figures of Thomas Ragland and Cecile Tuzii, and creates a sense of being in the front rows looking up.  The viewpoint also enables the viewer to see into the wings of the stage, and unlit spot lights are visible at varying heights in the large open space. 

 

Like all the paintings in our exhibit, these pieces serve not only as figure paintings, but also as mini-portraits of our Richmond Ballet company members.  Even the most skilled painter often finds creating a convincing portrait a lesson in trial and error.  Because my figures, with the exception of Cecile (with her back to the viewer) had to have specific faces, this aspect of the project was the most time-consuming. Some of my depictions, I think, are more successful than others. 

 

Below are some individual details from the painting:

 

Stages in Painting Thomas Ragland & Cecile Tuzii

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Stages in Painting Lauren Fagone & Phillip Skaggs

 

 


 

 

 

 

 

Stages in Painting Thomas Garrett, Valerie Tellman,

Maggie Small, & Fernando Sabino

 

 

Detail, Tommy & Valerie


Detail, Maggie & Fernando

 

Painting Rehearsal for Balanchine's Liebeslieder Walzer: The Richmond Ballet has been an exciting experience and I hope this blog gives you a sense of the experience in creating it.  Thanks for reading, and check out my e-newsletter on painting the dancers of Richmond Ballet for more of the backstory!

 

All the best,


David 

 

 

 



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