Fulfilling a Promise to Myself

I'm in the "one more painting" syndrome. With my first western-themed show looming at the end of the month, I'm anxious for it to be a positive barometer of my recent efforts. My enjoyment in tackling this new subject has been a delight.

Having this conversation several times with Michael, I've definitely come full circle. Mentioning it often on this blog - the disillusionment, disappointment and utter boredom with my art career and blaming it squarely on the current affairs of horse racing.

I'll never leave it. It's a blood thing and I'm very okay with that. In fact, it's a relief to finally accept the changes and quit whining. Hey, the Kentucky Derby is next week for goodness' sake!

Backtracking, 16"x20", oil on panel. More info here.

Interspersed with the Indian Relay and other western paintings was this one above (of my favorite place in the world, the Oklahoma stable area), followed by a portrait painted of the soon-to-be-inducted into the Racing Hall of Fame, Good Night Shirt, and now I'm planning another racing piece for a full-page magazine ad due before my trip.

Good Night Shirt, 20"x16", oil on canvas
More info here

To my critics who say that I'm just jumping on the successful bandwagon of western art, I say: you're right. I came around to it through my intense excitement and inspiration born from the Indian Relay races. It's still horse racing.

Speaking of bandwagons, I did the same jump with plein air painting but I didn't fall in love with it. I find the competitions nerve-wracking and most of the artwork a snooze, especially my own. I did, however, learn a lot of technical skills I was in need of and will continue to go outside and paint.

A few short months ago I declared to myself that I would have ten pieces ready for my show in Prescott, AZ on Memorial Day Weekend. I'm working on my tenth.

Life brings us on a journey to interesting places...especially if we ask it to.
Sharon

This and That

A few thoughts, experiences and happenings from the summer.

August 24, 2016 was the tenth anniversary of this blog. Web logs, soon to be called blogs were the latest thing ten years ago and there was a full-out popularity contest for readership and numbers of comments. Monetized blogs actually made a profit and blogs like mine were public journals of trials and successes. Michael was nearing the limit for his tolerance of the unscrupulous ethics in the racing biz and I was at the zenith of a successful painting career.

Some of my posts were negative and I pissed off some individuals by invoking my first amendment rights. However, some of my posts were quite good...like this one: Pulp Fiction written in March of 2007. It's interesting to read over some old posts from back when I was trying to find my voice.

Summer at Saratoga was hot and steamy. It was politics as usual and because I desire to exhibit there again next year I won't go into detail (no way gang). Overall, it's an honor to be there as an artist and I willingly persevered the bull***t. It's still the best racing in the country and witnessing the champion horses, trainers, jockeys and owners is a privilege even though it's an exhausting feat beyond measure. We achieve the marathon only with a huge reserve of adrenaline.

The best sellers were the prints on aluminum. They are vividly colorful, contemporary and something new. I also managed to create two oil portraits of champions Frosted and Songbird who both raced at the track twice. We experimented with prints on paper and that turned out very well.

I participated in a group equine art show at the Brookside Museum in Ballston Spa just south of Saratoga. Organized by my dear friend Sue Clark, it was fun and another entry for the resume. I wish I could have been more proactive with promotion but the show coincided with the race meet and dang, I still haven't figured out how to extend the day to thirty six hours.

My decision to exhibit my original oils at Spa Gallery was correct. They sold four pieces and were reluctant to hand over the ones that garnered interest. So, you can still see a few there.

Filling orders took up the weeks following the meet's end. Crossing off most from the dry erase board, we managed four days at the beach while it was still nice and warm. I was never so content to do absolutely nothing.

Last weekend I participated in a plein air event organized by the OPA (Oil Painters of America) in Londonderry, VT. No competition, just painting at a charming working farm. The drive alone was worth the effort. What a (still) beautiful state.

This week I made my way back to Oklahoma to plein air paint. Akin to a homecoming.

Next week I drive out to Geneva, NY for the Seneca Lake Plein Air Festival. It's a five day event and I sold well there last year.

Please stay tuned, some cool things in the making.
Sharon

Past Meets Present

I know I told this story last year but it's worth repeating. As trainer Leon (Blue) Blusiewicz stood over my shoulder last fall watching me paint the brilliant foliage at Oklahoma, he said an old-time trainer from the 1950's told him (Leon) that the last stall in this barn was occupied by none other that the great Man 'O War. Here's a link back to my original post Oklahoma Lore.

You all know I love a great story. It's certainly plausible as so many famous horses down through history have passed through the stable gates of Saratoga. So I just had to return to Barn 61 and set up behind Gary Sciacca's barn to paint the scene from the opposite side. I had a clear view of the infamous stall with the training track in the distance. Right now Barn 61 and about six others are housing Todd Pletcher's many two-year-olds.

The weather was beautiful and forecast to stay that way for a few days. I worked on a fairly large panel (for plein air), 16"x20" intending to take my time on this piece and return multiple days. In three days, painting about 2-2 1/2 hours each session, I completed  the painting I'm calling Past Meets Present. 

I was smitten by the Italian exercise boy who snuck down to the end of the barn for a smoke and a text. Into my painting he went. Later, the barn foreman came over to check out my progress and exclaimed "hey, he's not supposed to be back here!" 

Inadvertently busted.

Past Meets Present, 16"x20", oil on panel

You can make out a chestnut in the first stall. He's possibly looking for something or someone, or perhaps the scent is unfamiliar.

Okay, I couldn't resist.
Sharon

It's Good to be Back!

So good to be back at Oklahoma!

I'm doing my best to get over there in the mornings. Kentucky trip, commissions, getting ready for a show next weekend on Beekman Street, yada, yada, yada. No excuse is good enough. The numbers of horses aren't what I thought should be there but who's counting?

The pre-race meet mood is relaxed. Lots of amiable conversation overheard in the fresh northern air as the ghosts of history welcome back the horses and their people. I've lived a former life here and feel as if I've come home. That's more than I can say about any place else...and this gypsy has traveled all over our beautiful country.

I did a quick plein air sketch, searched out a place where I can set up for multiple days without bothering anyone and, of course, took lots of photos. Please enjoy a few...

Some horses prefer to train themselves,
Sharon

Two Old Ladies and a Blacksmith

My season of being a hermit never really was. The winter weather wasn't either, and that's why. However, I never feel I'm being as productive as I think I should be.

Our recent trip to Florida was warm and lovely. Road trips. Many hate them but I relish the boredom of miles and miles of tedious city and landscape passing by. My mind calms, the incessant chatter quiets, clearing the way for constructive thought. I can say that some of my best inspiration is achieved while the bland scenery blurs.

Here's my first painting since reentry:

Two Old Ladies and a Blacksmith

I'm always looking through the hundreds, if not thousands, of stable area photos I shoot every year. Searching for inspiration, I always pass over this particular image of complicated dappled light and intricate, overlapping figures. Plus, there was a big post and railing right through the middle of it blocking out the front of the horse. Maybe it was all the vitamin D absorbed in Florida that sharpened my memory of what a great story it portrayed.

Last summer as I was plein air painting by Elmer's Gap, a very old lady rode by on a pony leading a racehorse. Neither track at Saratoga allow ponying so I could only guess that this lady took her horses across the street, circled the main track over to the historic small oval that encircles Clare Court. It's a very good distance from where I was set up. I smiled as I observed her in my admiration, not only still riding but ponying at her advanced age. But what I was really thinking was: this scenario could be me if I hadn't made the shift from race tracker to full-time artist.

Fast forward a month or so, the main meet has concluded but there's still plenty of horses stabled at Oklahoma. Camera in hand, I'm walking around searching for inspiration and - there she is! Her horse, a mare, was getting shod and this old lady was doing her best to hold the mare AND keep an eye on the blacksmith. Her arm was stretched out clutching the end of the shank and in the other hand she swung a rub rag to and fro to keep the flies at bay. Then the mare turned her head to also observe the blacksmith and I fired off about six shots to capture the moment. Priceless. Rare. But affectionately familiar.

Michael and I both chuckled over this as we always agreed that the hardest thing on the track is to work for someone with only one horse. I respect the tolerance and patience of this blacksmith. And I hope to see this lady back at the track next year. I will introduce myself, ask her how the mare is doing and inform her that I was also once a member of the sisterhood of tough, tenacious and determined race track ladies.

Seasoned girl power,
Sharon

Full Circle

 “Horses make a landscape look beautiful.” ― Alice Walker

I took advantage of the amazingly warm weather we're enjoying up here in the arctic circle. Temps were in the 50's and that's toasty enough to haul out my plein air easel and get some fresh air.
.

Listening, 8"x10", oil on panel, plein air

I'm painting what I know. Seems obvious but I struggled with this deceptively simple concept on many intriguing levels. Desiring to move away from equine art, especially horse racing, I set out on a journey of exploration with an attitude. It's always conducive to artistic growth to step away from our comfort zones. However, spending last summer intensively painting plein air at the Oklahoma barn area at Saratoga raised some serious questions concerning my direction as an artist. And then there was that little documentary about the Indian Relays that set my heart soaring and my creative juices on fire!

You could say I've come full circle.

So, about my piece: I set up to paint in horse country, close by McMahon Thoroughbreds and Saratoga Glen Farm. My chosen site was a crumbling old farm with decent pastures that appear to be leased out to board a few well-maintained broodmares.

Here's the glorious thing about painting solo outdoors: your senses become hyper-sensitive and hear every little rustle, far off rumble and creature calls. I heard a faint, distant neigh and so did the subject of my painting.

And a not few moos, either.
Sharon

Oklahoma Lore

I managed this little plein air sketch this week when the weather warmed up. My biggest challenge to painting outside as the weather cools is keeping my hands comfortable. Everything else is easy...long underwear and my Ariats with Thinsulate keep my core and feet warm, but the fingers - even with hand warmers - get painfully cold. It's always been a problem even when I was young. As a last ditch effort, I ordered SmartWool gloves today as suggested by another artist. Realistically, I have to accept that temps under 40 call for studio work, as much as I'd love to paint outside in the snow.

I set up on one of the trainer's viewing stands, facing the back of one of Pletcher's barns across from the track at Oklahoma (Saratoga Race Course). The brilliant gold of the tree against the barn in shadow on an overcast day was irresistible.

Gold Tree, 8"x10", oil on panel

Because I was next to the clocker's stand, a few trainers came and went, ignoring me for the most part. An older trainer, Leon "Blue", was curious about my painting and told me an interesting little snippet of history. He stated that over 40 years ago (Leon's probably in his early 80's), another old timer informed him that the stall on the far right was used by Man o' War. He added that he didn't know how true that was but it's interesting anyway and could indeed be possible. I emphatically agreed.

If it's not too cold tomorrow morning, I'll try to get to the track to take advantage of the fleeting time I have left while the horses are still here. I'll go and stand in that very stall and attemp to invoke the spirit of one of greatest race horses in history. I'm not the zen master I wish I was but sometimes...just sometimes...if I'm quiet...I can pick up vibes.

It's just so wonderfully romantic,
Sharon
P.S. Talk about history - the fences in my sketch enclose the remains of the old Horse Haven track...easily 150 years old.

Mental Workouts

One of the advantages of plein air painting is learning to improvise. The selected scene to paint is subject to change quickly and not just the light. After spending the summer painting the Oklahoma barn area at Saratoga almost every day, I've become very familiar with the architecture of the barns. The structures basically are all alike and they're a similar putty green-gray throughout. Throw in some fall foliage and you've got yourself a pretty picture of complementary colors!

Autumn at Oklahoma, 10"x8", oil on panel, plein air

I surprised myself over the summer at what my memory is capable of. As the horses and riders were weaving themselves between the vehicles, I made a quick mental note of their height in comparison to nearby objects. That provided the scale and size they should be and I quickly and simply sketched in the figures. Try it...you'll be amazed at how it builds your confidence.

Here's a quick cell pic of basically what I was painting. Because it's the off-meet, restrictions on parking have relaxed and the cars sort of come and go.

Mere calisthenics,
Sharon

My Quick Return to Oklahoma

The weather this past week was nothing short of spectacular. Even though I have orders and commissions waiting, I couldn't resist getting back to the Oklahoma training track, this time without the pressure of time constraints and alla prima demands. Four consecutive mornings of two hour sessions (7-9) produced a studied piece. I went bigger, the biggest I've plein air painted to date, 16"x20".

With the change in the weather giving us cooler nights (50's) and the hot horses just returning from the track, the steam resulting from their baths was abundantly beautiful! In fact, I could have put more in. I painted the background and let it set up a bit in order to apply a light, warm tone which I scrubbed in with my finger, otherwise I would have been dealing with a muddy mess (something I'm very good at...making mud). I can tweak a few things but I'm letting this remain a 100% plein air piece.

Cool Morning, Hot Bath, 16"x20", oil on canvas (sold)

There are several pieces from the Forty (Thirty) Paintings in Forty Days project that I want to revisit, this one being the back of Weaver's barn. The first one I completed was subject to a hazy, overcast day and a two hour deadline. What a difference, huh?

Behind Weaver's Barn, 8"x10" oil on panel

As promised, a Saratoga 2015 review:

•  Many fans were disgruntled due to several track changes this year and freely vented their unhappiness on us. At first we politely listened and then - we'd had enough negativity. We suggested that they contact NYRA management and express their views to them as there was nothing that we as vendors could do and the powers-that-be should be made aware.
• My booth has not been located in the same spot for six years and I wonder how many people who wanted to visit couldn't find me. The new location was fine, but will I be there next year?
• The weather was simply gorgeous. Warm, wonderfully sunny days and it only rained on Tuedays (dark) or during the night! 
• Fifteen thousand plus fans showing up early Friday morning before the Travers just to witness American Pharoah gallop was a phenomenon we will not see again any time soon. His defeat to Keen Ice affirmed this track as the "graveyard of favorites." I thought he ran a stupendous race in the Travers and has nothing to apologize for. Nothing. Not with his resume.
• I spent little time in the booth as that was the deal Michael made with me. Didn't miss it either!
• Plein air painting almost every day under the pressure of creating a completed piece is one of the best challenges I have ever taken on. What I learned and experienced couldn't be duplicated in any other situation. Don't get me wrong, a workshop with the likes of Scott Christensen is still on my bucket list! I painted some mediocre pieces, some real turkeys but also some decent ones. Even sold several. Michael put up a sign at the booth entrance inviting people to come in and see the "painting of the day" and they did! As I photographed for this blog I harshly self-critiqued each piece and that's where the accelerated learning took place.
• The biggest takeaway? Confidence. My uneasy self-consciousness melted away daily as I met so many supportive people who thought it was a hoot that I set up my gear all over Oklahoma to paint. As one owner told me, "I love seeing you do this - that's the way Saratoga is supposed to be."

And it's not over,
Sharon

Day 30 - Forty, er, Thirty Paintings in Forty Days

I didn't hit the forty mark but I did manage thirty! Whoo hoo!

Those other ten days I had to be in the booth (every Saturday), work in the studio (coating giclees and one rush order commission), give Michael a couple of days to print orders, and one sick day. I thought I could make up any missed days on Tuesday (our dark day) but that was filled with packing and shipping, running to the art store in Albany and/or to one of our suppliers, and the rest of the usual errands of grocery shopping, the cleaners, bank, etc.

Today I'm faced with the herculean task of tearing down the tent, washing grid walls and the tent itself. My house is a disaster...looks more like a warehouse with hoarder-like pathways. The cats are feeling horribly neglected but they'll get over it in a few days when they realize life is returning to normal. Funny how they become sullen when they don't get attention.

It's all good though.

I've fallen back in love with blogging. I used to post 2-3 times per week before everyone jumped on the Facebook bandwagon and I determined no one was reading my posts. The problem with FB is we don't own that little piece of cyber real estate and someone else decides what we can see and who will see us.

I admit I dashed this one off yesterday:

Last Day, 8"x10", oil on panel

I was close to Union Ave. on the outside of the old Horse Haven track. Michael and others were waiting for me and I was anxious to join them. Ironically, as I painted, someone across the street played a bagpipe! Just when you start taking yourself too seriously...

I'm glad I'm not at Oklahoma today, watching all those vans pack up the outfits and head out. My heart is filled with love and admiration for not only the horses but also the people who work on the backside. I know firsthand what their lives consist of. I didn't feel this compassionate when I was one of them. From the outside looking in, I guess. Distance. I met so many dedicated trainers and workers and they were all wonderfully supportive of my efforts.

I'll go into more detail in a few days after I analyze the summer and muck out a bit.

Still wired,
Sharon

Day 29 - Forty Paintings in Forty Days

PBS used to air a program, Landscapes Through Time with David Dunlop. Dunlop, who is a very accomplished artist and passionate teacher, would travel the world to places know to have been painted by famous masters. Dunlop would present not only a history lesson but also discuss technique, science, materials, the social and economic milieu, etc. One episode in particular that I remember is Renoir's Olive Groves in Cagnes Sur Mer, France. Dunlop pointed out how Renoir would use trees to frame a focal point.

The Farm at Les Collettes, Cagnes, by August Renoir, oil on canvas

Dunlop would also be in the company of student artists who traveled with him to plein air paint the same views as best they could search them out. He would offer an encouraging critique, however, never hesitant to take the brush from their hand and have at it with their paints on their canvas. I loved it!

When I saw this scene this morning I thought of Dunlop emphasizing this technique with a student (he took her brush and created window-like draperies with the trees). My view is from the opposite direction of an earlier piece that I painted on Day 12.

Tree Canopy, 8"x10" oil on panel

Only one day to go and the meet will conclude. I'll go out tomorrow morning to paint Day 30. Then back to the booth to celebrate.

Maybe drink some vodka,
Sharon

Day 28 - Forty Paintings in Forty Days

I'm going for thirty paintings in forty days and I think that's worth patting myself on the back. Just two more after today. However, I'm embarking on a marathon studio painting session tomorrow for a client - leaving the weekend to finish up. I think I'll make it.

Fatigue is setting in for both Michael and I. The days have been insufferably long but I'm always amazed at what can be accomplished with dogged fortitude. My brain shuts down before my body which seemingly switches to autopilot without me.

It was difficult to concentrate today. This spot had a picnic table that I left out to focus on the light and shadows. In the background is a building, probably a dorm, and a wash rack. The fence is the remnant of the old, old track.

Shade, 9"x12" oil on canvas

It occurred to me today that I've painted 28 quick draw pieces without the luxury of time.The smaller panels (5"x7", 8"x10") take 1-2 hours and the 11"x14" are 2-3 hours. That's it. There are too many demands to keep this summer freight train running efficiently. Plein air is a process and not necessarily an end result although there are plenty of artists who are great at this. Now that I've given myself this self-taught crash course, I'm curious about how I'll apply all I've learned to slower, calmer days when I can return to tweak and highlight the next day.

It will be good to spend a day in the studio,
Sharon

Day 26 & 27 - Forty Paintings in Forty Days

I was quite under the weather since Travers evening, however, I managed this painting on Monday. In the last four days I've taken about 40,000 mg of vitamin C. I can hear the groans from the health professionals but this has been my cure for many years and it works for me (placebo effect?). I believe that Dr. Linus Pauling was a genius researcher despite an avalanche of criticism when he first published his paper advocating mega doses of vitamin C.

This old cottage-type building is currently being used as a dorm. Late last spring when it was finally warm enough to venture out with my paints, a lady parked close to where I was set up. She began calling out names and setting out food for...cats. Of course, being the cat lover that I am, I walked over to her and inquired about what she was doing.  Apparently, there is a colony of feral cats that live in Oklahoma year-round who are lovingly and tirelessly cared for and fed EVERYDAY by an angel named Michele Jennings. She explained that she has not missed a day in seven years!

Feeding Station, 11"x14", oil on canvas

She has financial support and help from the Moore Foundation, NYRA and Quaintence House. Maintenance helps keep the snow plowed so that she can reach the feeding stations in winter. This is a labor of love beyond the highest calling. Teresa Genaro wrote some informative blog posts about the cats, like this one. I've since heard that Keeneland has a similar program.

 *    *    *

Today I wandered back to Campfire Court to paint Dutrow's shady barn straight on. I found that most of his horses have shipped out and I was suddenly overcome with the bittersweet emotion of the meet's culmination. Glad that it's almost over, sad that it's almost over. Not much gray area in my vacillating passions of extreme joy and sorrow! His help assured me that Tony is still here and they have some big guns ready to send over to the races this weekend.

Campfire Court, 11"x14", oil on canvas

I'll be too busy to be depressed next week. Lots of commissions to paint and several paint outs to attend. More on all that later.

With a heavy heart and an ironic smile,
Sharon

Day 25 - Forty Paintings in Forty Days

This is last Friday's effort. I'm falling behind schedule due to the incredible Traver's weekend. I finally met Thomas Allen Pauly in person who is American Pharoah's Official Triple Crown Artist. He's a great guy and multi-talented artist. Spent a bit of time showing him around Oklahoma and talking art/horses in my booth.

I photographed this scene with my good camera from several angles to use as reference for a later studio painting. I love the light filtering through the translucent white bandages and I want to spend more time getting the hang of this backlighting. However, this one is purely plein air:

Bandage Laundry, 9"x12", oil on canvas

Today I'm debating if I'll attempt to go out and paint later this afternoon at all. I'd love to but my body is not cooperating by giving me a very sore throat (and not from screaming during the Travers). Just a reminder of what a breakneck schedule we keep, sleep being non-existent on the list of priorities.

Cough, sniff,
Sharon

Day 24 - Forty Paintings in Forty Days

This scene is similar to the first one that I painted of Pletcher's wash rack. The light was different this morning - not really overcast, but a gauzy curtain of light that produced defined highlights like hotspots. Sunburn weather. This is my last panel and the rest will be on stretched canvas. When I regain the luxury of time, I'd like to revisit this spot to exploit those hotspots that I'll recall from this plein air piece. Put in more horses, too. It's behind George Weaver's barn close to Elmer's gap.

Note the sagging roof showing it's age on the middle building. One of the backstretch guys visited and told me that the door on the left side was to his room.

Behind Weaver's Barn, 8"x10", oil on panel

 We have to open at 7:00 tomorrow morning. Michael is planning on being in the booth all day and I'll get to head over to Oklahoma nice and early. Not sure if I'll make it over to watch the big horses train but that's okay (notice the priority shift). I've had the honor to be in the company of many good horses throughout my prior life...and yes, they are different and extraordinarily special.

Did you visit with Funny Cide today?
Sharon

Day 23 - Forty Paintings in Forty Days

I painted on a stretched canvas today. After becoming familiar with the slick surface of the panels and loving it, the canvas felt awkward. The fabric is 12 oz. with a defined tooth that grabs onto a thick bristle brush full of paint. Great for large pieces. I've been using soft hair brushes on the panels and I think they enhanced my ability to loosen up.

To compensate, I rubbed the surface with a mixture of linseed oil and turps. That decreased the drag and was helpful but the soft brushes still struggled to fill the weave while the bristle brushes felt clumsy and not very malleable. I've just about used up all my panels so this will be interesting.

Here's another ancient building, the maintenance office. Odd diagonal shadows fell across the surface from the giant pines off to the left and I sketched them in quickly as they would soon change or be gone. Originally, I wanted to paint the other side with more interest but I couldn't find any shade to set up in. We're having a lovely warm and sunny summer so no complaints!

Maintenance Building, 11"x14", oil on canvas

Pharoah arrived today and the frenzy begins. We've been told to expect over 15,000 people Friday morning as the Travers entrants gallop between 8-9.

We're all paparazzi for a few days,
Sharon

Day 22 - Forty Paintings in Forty Days

It's official. The Big Horse is coming to Saratoga. As he should. After weeks of speculating will he won't he, it's exciting that the scales have tipped in favor of - YES he is!

Today I painted at Elmer's Gap, one of the entrances onto the track. Wedging myself between a guard shack and a tree, I managed the best view of horses coming and going without actually standing in the middle of the horse path and annoying everyone. Eavesdropping on the radio chatter, security is readying for superstar horse detail. The number one horse on the planet will need it as he'll be followed by a batallion of admirers aiming three foot lenses at his every move. My tiny lens will be one of them if possible.

Back to plein air. I'm exercising my drawing chops and memory. The way I painted these horses and riders from life was to draw stick figures first. This provided the gesture and feel of their movement as they walked onto the track. I went back and modeled them more carefully but did not get too detailed. This is plein air after all.

Elmer's Gap, 8"x10", oil on panel.

 

The buildings in the background are those mult-million dollar homes on Fifth Avenue that back up to my favorite horse path (see painting at the top of this blog). Imagine this: relaxing with morning coffee out in the back yard while viewing thoroughbreds in training. Nirvana.

Moving forward, there's a tangle of uneven PVC piping that encloses the turf course (and other stuff) which I wouldn't even attempt to portray accurately. A few knife strokes gives you the idea. Trees are everywhere in Oklahoma and provide the dappled shade of a beautiful summer. Oh, and it's fun to paint, too.

In my best Ryan Seacrest: this...is...Am-er-i-can Pharoah!
Sharon

Day 21 - Forty Paintings in Forty Days

Today's painting is a wee one as we are gearing up for the next week of celebrations and there is so much non-stop work. It will be total madness of the anticipated kind if THE HORSE makes it here next week. Tomorrow is the Alabama and I will be in the booth all day. No painting of the day.

I didn't get over to Oklahoma until late afternoon. A strong breeze came up with the front that cleared out the oppressive heat and humidity and the clouds were zooming past fast and furious. It occurred to me that I rarely paint clouds, preferring simple skies.

Three Quarter Pole, 5"x7", oil on panel

I also don't like blue skies in my paintings but there's just a touch pthalo green and blue to indicate that it's a perfect summer day. I used my palette knife to cut in the fences in the background and the highlights in the foreground. The Phipps stable was behind me and they won at least one race. It was so pleasant to overhear the banter and activity as I worked. Those are the times I miss.

What I learned today: it is more difficult to mix a correct color from life than it is when working from a photo. So much bounce light and local color reflecting everywhere.

Like a multi-faceted prism,
Sharon

Day 20 - Forty Paintings in Forty Days

I'm intrigued by all these little square buildings scattered around the barn area. I'm sure they've served many uses over the generations - housing machinery, tack rooms, feed rooms, offices, dorms or just plain storage. Most are still in use. Some have old signage and one has a loving plaque honoring an angel who passed. A house I particularly love is a feeding station for feral cats but that's on my painting list and it's a good story I'll share with you when I get to it.

Everything is so green up here in the arctic circle. For now. The building way in back is one of the renovated dorms that NYRA and MaryLou Whitney have renovated in recent years. The dorms circle the outskirts of the barn area and contrast with the old wooden architecture.

Dorm in Back, 8"x10", oil on panel

I intentionally added the utility poles as I wanted to play with the wires. Because I'm experimenting with ground vs. no ground this panel was painted directly on white gesso and I was able to scrape out the wires with the tip of my palette knife. Generally I use a burnt sienna ground but lately I like the look of my transparent paints on the white ground.

Wish I had used more venetian red in my greens to calm them down. Fact is, I didn't use any.

It's not easy being green,
Sharon

Day 18 - Forty Paintings in Forty Days

Actually painted this yesterday. Today is dark and I work harder on the off day - and no, I didn't do any housework. Giclees to coat, jockey silks to paint, packing and shipping, book work, etc. I'm trying to make a decent dinner and use up all the veggies I bought at the farmer's market last week before they spoil. Meals and eating healthy is a challenge with this grueling schedule. We usually don't get to eat until close to 10:00pm...then I pass out on the couch with a full stomach. Not so good.

Received two big boxes of frames for the plein air pieces which cost me a small fortune but they're exceptionally nice.

The location is near the subject for my painting Oklahoma Horse Path pictured at the top of this blog. It was so refreshing to paint this scene from life compared to studio painting. It's late in the morning, around 9:30 (although I started earlier) and only a few horses are finishing up training. Loved this figure who waited for the rider and they chatted long enough for me to quickly stroke in some simple forms.

Off to dinner,
Sharon