Thursday, December 13, 2012

Winter Wonderland

"Winter Wonderland"
pastel on Canson coated paper
size: 9 X 13 inches
2012 copyright MaryAnn Cleary

This is my first attempt at using the latest Canson coated paper for pastels. A few months ago I decided to buy the sample pack as I loved the array of colors that Canson offered on the paper. My favorite paper to date is Belgian Mist by Wallis, but since they had been having manufacturing issues (no longer an issue) and supplies and sources for that paper could not be found, I opted to try out a variety of others.

Some of my favorite papers for drawing are the toned papers of Canson MiTientes for drawing using conte or charcoal. Having a toned color to use for a value in the drawing is nice. With that in mind, I ordered the sample pack. The Canson sample pack came with several toned surfaces, including white, and a nice sample size of 10 x 14 inches.  My previous experience using a coated paper has not been a great fit for me. With a couple of other surfaces that I have tried, one layer of pastel on the paper and that is the end of trying to get anymore pastel on the paper as the grain has filled and the pastel just slides across the surface.

This paper has a coating that actually feels like a sandpaper. I would rate the surface as a fine grit or tooth - enough to get a few layers of pastel on the surface - probably due to there being a pumice or grit in the coating. It is textured and not the popped bubble kind that I have seen in some surfaces.  The paper that I used for "Winter Wonderland" has a very light gray tone to it (parts can be seen in the snowy area of the background behind the trees on the right). I also like to block in an initial layer of pastel and then either use alcohol or wipe the surface with a cotton rag to get a blended surface. For this painting, I used a rag for this first layer as I had just had had a bad experience with another brand of paper and alcohol. I did not want to risk the coating coming off.

Canson Coated Papers without the light gray - Sample Pack
After that I re-did the drawing and began blocking in the dark, shapes. I had no issues and the tooth of the paper is good for this initial layer and subsequent layers. However, I also like to really lay in the pastel really thick in the last stages of the painting and that is where I saw the tooth fill-in. The pastel began sliding across the surface and not gripping or laying down onto the paper. These areas would be the highlight found on the the tree branches. I will definitely use this paper again and I love having a variety of colors. I just need to remember to utilize those tones for the background and not try to fill each and every space of the paper as well as have control on those last textural areas that I love to fill.

Sunday, August 19, 2012

Serenity of the Meadows

"Serenity of the Meadows"
Oil on linen panel, 12 x 16 inches, landscape

There is something about this area for plein air painting. The peacefulness. The quiet. Loons speaking in the distance. The experience is humbling. 

For this painting, I loved how the water inter-played with the water lilies and grasses and how the clouds in the distance changed their formations and color. Painted on a peaceful day at Crex Meadows.

Friday, August 17, 2012

On the St. Croix

"On the St. Croix"
oil on linen panel
9x12 inches, landscape

Last week while taking a workshop with Marc Hanson, I did this painting. One of the things that Marc had us do is to choose a portion of the subject and focus on it. With this subject, my favorite part was the contrast of the trees on the left. I liked how the shadows of the trees laid against the bright green. With this painting, my focus is on that area. The rest of the painting is suggested. If a person looks at something, our eyes focus on a certain area. We do not see the other areas "in focus". They are blurred. Try it.

I hope to do more studies similar to this technique. My goal will be to determine what my focus will be or the focal point, spend time with that area in the painting and let the rest be more abstract. Your mind and eyes will fill in the rest for you.

Thursday, August 02, 2012

Rialto on Main

"Rialto on Main"
8x10 inch, oil, unframed

This old art-deco theater sits on the main street of the little town of Aitkin, MN. The reason for painting this building is all the neon lights that decorate the building - sadly not in working condition. As I stood across the street painting the front of this old theater, the owner happened to walk by. I asked about the lights and if they would be coming on. He answered, "no" to my sad expression. What fun to paint a nocturne with all the lights blazing in the darkness. The only lights that do come on are the white globes underneath the sign.
I love the red and green color combinations on the sign above the doors. Oh, and the doors, they are so art deco. The owner told me that the paint on the sign had just been touched up. It tends to fade with the blazing sun shining on it day after day.

The owner allowed us painters to check the interior out as it had not been changed much from the art deco decor. Although the darkness pretty much prevailed in the theater, one could see the original lights lining up along the wall - those half-circle ones that are so art deco. I am told the chairs are original, too, with the luscious maroon velvet-like material (although not as comfy as what one finds in today's theaters).

This painting is in memory of all those families who suffered the Colorado horror. I painted this on the Tuesday prior to that event of terror. The billing in yellow is announcing the Thursday midnight showing of the latest batman movie "The Dark Knight Rises".

Wednesday, August 01, 2012


8x10 inch, oil on linen, unframed

This is another painting from my week at Aitkin, Minnesota. I called this one "Serenity" as that is what I felt when I first saw this spot to paint. This painting also received an "Honorable Mention" at the Jaques Art Center Plein Air Painting Event.

The morning started out cloudy and moody unlike the previous day of a constant drizzly rain. Sunshine just did not appear. I setup my easel on a dock/ramp on Farm Lake that extended out into the lake where fishermen put in their boats. The peacefulness and calmness of the waters with delightful reflections is what captured my eye that morning. I blocked in the painting and just about the time that I began putting reflections into the water, the wind decided to rush in. There went the peacefulness of the water. When that happened, I continued to work on the background area of bushes and trees. The wind won the first round.

As I painted, or attempted, I noticed the clouds and light changing in the distance on the lake. There is a small island on Farm Lake and from my view, I delighted in the everchanging light even on this cloudy day. Since the wind would not ease, I finally opted to start another small painting. I wanted to capture the light and a few color notes.
"Farm Lake Rain Study"
6x8 inches, oil, nfs

With this one, I loved how the different sections of land had different values with how far away there appeared. It only took a short time to capture those notes, but it also gave me something to do so that I did not ruin the other painting while waiting for the wind to relax and the calmness to reappear.

Finally, the rain came. I had to stop as it began to down pour and the painting stopped. (I dumped the collected water out of my palette a couple of times.)  By forcing myself to stop, I did myself a favor as the "Serenity" painting is captivating. I did not think much of the painting until later when I stood back and looked at it for the first time a few hours later.

Tuesday, July 31, 2012

The Healing Garden - "Mother's Tapestry"

"Mother's Tapestry"
8x10 inch, oil on linen, unframed
floral landscape

This flower garden is a painting that I did while spending a week at the plein air paintout in Aitkin, MN. The Jaques Art Center sponsored the event. What fun!! Several artists painted during the week at various locations in Aitkin County. The first day we spent painting local scenes in town followed by two days of the local countryside in the county. On the final day, we did a Quick Paint at the local Healing Garden that is located next to the hospital.

Tuesday, June 19, 2012

Peonies in a Vase

 "Peonies in a Vase"
pastel, 11 x 14 inches
floral, still life, unframed

With this still life, I wanted to try something with studying color and purposely using specific colors in a painting. I am not sure if I pulled it off or not, but this is my first attempt at setting up a still life for a specific color arrrangement and study. By using the really cool tool called the Gamut Mask on Robinson's website at, I put together the colors that I wanted to use in this painting. There are many different approaches that can be used. Check it out. I definitely will use this tool again. It is something that will get those creative juices flowing.

For this painting, a lot of time was spent in finding colors similar to the chart below and then arranging them into a pleasing still life composition. I hope to try different color combinations in the future by using this tool as a guide.

My reason for using the Gamut Mask is to try to create a more uniform painting with color. One that is pleasing and works. It is just a guide and another tool to add to my artist's toolbox.

 Color Study Used for Pastel

The color arrangement below is one that I did not use.

Thursday, June 14, 2012

Peaceful Meadow

"Peaceful Meadow"
8x10 inch, oil on linen panel, unframed
copyright 2012 MaryAnn Cleary

This week I made a short road trip to one of my favorite painting areas - Crex Meadows. It is a land preserve in Wisconsin that is approximately 40 miles from my house and is 30,000 acres. Crex Meadows is near Grantsburg, WI. The peacefulness and the sounds of nature surround a person. I probably saw three or so cars all day long (I am not sure one counts as I saw the same vehicle twice). Most folks on that Wednesday were bird watchers stopping to watch different species with their binoculars. Wildlife is abundant, especially birds.

If you are ever in the area, a trip to the Crex Meadows Wildlife Area is definitely worth it. I love being able to stand and paint, looking in all directions, and not seeing or hearing a single person for miles. There will be an occasional car, but they are definitely few and far between. The morning when I arrived this week, the first thing I heard when I stopped my car were loons in the distance. I also had to stop the car twice for wildlife traffic - once for two families of geese, who definitely did not feel the need to be in a hurry, and next for a huge bull snake making its way to the tall grasses on the other side of the road.

While I painted, birds would suddenly fly off while being only a couple of feet from me, hiding in the grasses for several minutes.

Where is your favorite place to go in nature? 
Also, if you live nearby and would like to get together to paint the next time I head for Crex Meadows, drop me an email.

Tuesday, May 29, 2012

The Iris in the Garden

"Iris in the Garden"
10 x 8 inches
My passion for working with pastels is growing. What I am finding with working with this medium is that it is the best of drawing and painting. The results are instantaneous and I get to draw. This little painting is of iris that grow in my garden. I cut a few prior to the last severe thunderstorm passed through our area. I did not want to lose them to the weather so instead I brought them to my studio to paint from life.

When I work with pastels, I not only get to enjoy the vibrancy of color, but the dancing of lines. For now I can get that from pastel. I do hope that one day I will get that feeling with oils....but for now I am embracing the dance with pastel sticks.


P.S. I am also enjoying the advances of technology and the "Color Checker" for photographing my artwork. It makes it so easy to get the color right!

Thursday, May 17, 2012


size: 11 x 14 inch
floral still life
This is a still life that I did partially from life in the studio and a photograph since the lilacs did not hold up too well. I managed to get most of the lilacs completed before they totally wilted away. I am not sure if I like it yet and that just means that I need to let it sit for a few days to see if any changes need to be made.
This week I ordered and received an X-Rite Color Checker to use when I am photographing my artwork or anything else where the color matters and is important. It is wonderful. I do not have Adobe Lightroom that the software has a plugin for specifically, but it will still work fine with Photoshop. One needs a camera that is capable of taking "raw" images. That is something that I typically do.
The X-Rite Color Checker comes with a white balance target plus two other color targets for photographing. I typically take a custom white balance for the light that I am using for the camera, but in the past, I have just used a white piece of paper. Not good. What a difference having a correct target for the white balance.

After that one takes a photo with the color targets with the painting to make a correct profile for the lighting. I then took a photograph of the painting without any targets, but the same lighting.

The lights that I use in my studio are color corrected florescence lights for daylight and this is the lighting that I used to photograph the work. 

After saving the photos as dng files for the one with the color target, I made a profile for my camera and the lighting. When I did this, I had to close out Photoshop and re-opened it so that when I opened a raw image I could open the custom profile that I made for the camera and lighting used for photographing. I then just clicked on it and magically the photograph of the painting became color corrected. Wow. No more guessing or adjusting. 
Below are some photos of the X-Rite Color Checker in use. If anyone has any questions, please feel free to ask or leave comments.
The White Balance Target for the X-Rite Color Checker
The color targets for making a profile in the software.
The Painting and the Color targets photographed together.

Friday, April 27, 2012

Spring Mountain Ranch

"Spring Moutain Ranch"
8 x 10 inch, oil on linen panel

This is my one and only painting from my experience at the First Annual Plein Air Convention in Las Vegas, NV. Who would have thought that there are spectacular mountains right outside of Las Vegas. 

That day the wind blew right through every part of one's body. Canvas and easels flew along with a few umbrellas. In the distance, you could see snow on the tops of a distant mountain range. This range had churning clouds, wind and rain. The atmosphere changed and moved frequently with rays of light peaking through now and then. 

Rain. Wind. Artists. Lots of artists painting the ever changing scene and dealing with the ever changing harsh weather.

To paint, I tried to stand next to a long van to protect myself from the wind. In reality, I swear that it just created a wind tunnel where I stood. I fought the impulse to head for cover and warmth. This is the result.

Since there were several artists there....really, really good artists...I opted to spend some time walking the mountain side and see others approach. I absorbed. I learned. I enjoyed. Weather and all. After all, I am an artist who is a Montana native, who now lives in Minnesota. I should be hardened by all that cold weather by still gets to me.

Friday, March 30, 2012

The Catalina Mountains

Catalina Mountains
8x10 inch, oil on linen

Another painting of the Catalina Mountains that was done on location.

Thursday, March 29, 2012

The Catalina's

"The Catalina's"
8x10 inch, oil on linen

This is my first study in a few weeks....I hope to get another study in this afternoon. The days are warm in Arizona and temps are above average for this time of year. The mesquite trees are just starting to bud out and the desert is spotted with wildflowers.

I forgot how everything in the desert is made for survival...spines, thorns, stickers.... However, this is my favorite time of the year in the desert as it is not to cold nor too hot yet.

Monday, February 20, 2012

Lace Lake II

"Lace Lake II"
Pastel on pastel paper mounted to gatorboard, 16 x 20 inches
copyright 2012 MaryAnn Cleary

This is another attempt at doing a pastel from an oil painting study that I did on site last fall. The original oil painting that I did I used a very limited palette in oil - ultramarine blue, transparent red, yellow ochre and titanium white. That painting is below and it is 11 x 14 inches.
"Lace Lake"
oil on linen, 11 x 14 inch

I also tried doing a pastel on an unfamiliar paper of the same scene called "Misty Afternoon". With that pastel, I used a very dark toned paper that would not hold much pastel pigment. The results are ok.

The day that I did the painting, the fog along Lake Superior made visibility nil. I headed up the mountain on the Gunflint Trail to the Trail Center to visit my friend, Sarah, and to do some painting. Lace Lake is a mile or so just before the Trail Center. The fog that day still clung to the mountains with a slight mist falling even though Lake Superior was many miles away.

Pastels are nice, but that day if I used them, the results would have been disastrous. Pastels and water make for spotted paintings and do not mix. 

On the pastel above, I mounted UArt sanded paper, 800 grit, to gatorboard. I am finding that the grit of the 800 paper is a bit too fine for me. I prefer a 400 or 600. The paper is light in color so I used a watercolor wash to block in my shapes. This helps with getting the basic design onto the canvas. It also allows one to use less pastel so that the paper does not fill so quickly with pastel allowing for more pastel layers.
watercolor underpainting for pastel

In the future, I hope to do more plein air or outdoor painting studies in oil to bring back to the studio to use for reference along with a few photos displayed on a computer monitor. However, the above painting, I only used the reference oil study. The original painting study helps bring back the feelings and essence for choosing the painting site. The mind remembers what is important and helps eliminate the unnecessary detail. 

When painting on location, it is so easy to get hung up on the little stuff and forget the real reason why you chose the location or subject. I am still learning that most of the time putting less into a painting is definitely more. By just suggesting what is there, the mind fills in the rest. I am finding that this is one of the most difficult parts of painting for me.

Tuesday, February 14, 2012


pastel on paper, 9x11 inches, unframed

This is a third in a test of different pastel papers. This one is a Colorfix Suede in a light blue. The light blue that is seen in the pastel painting above is actually the actual suede-type paper.

  • This is the third pastel paper that I am testing out of a sample package of twelve sample-size papers. Each is approximately 9x12 inches. There is an assortment of colors, types and shades of paper.
  • My hope is to take each paper and produce a piece of artwork using it and then provide feedback on each paper. 
  • Art Spectrum Colorfix Suede (light blue). Remember those old velvet paintings done on suede, well, this paper is like working on a very short-textured velvet. Soft. Smears and blends really easily, but the colors seem to sink into the paper and disappear when blended. It does make for some nice, soft edges. It is okay as a paper goes, but I do not see myself using it again.
  • Paper Qualities.
    • The paper is very light blue with a suede-like, soft texture.
    • I did not use a light watercolor wash or any undercolor. I just sketched in the basic compositional sketch.
    • The surface is very smooth and soft. There is not much there for the pastel to grab onto, but it does seem to get the job done. I suppose it would be good for those who like to blend. I did use one of the blending stumps, a paper towel and finally my fingers. Fingers worked best for blending. I do not really like to use them, but in this case I just could not find anything else that worked as well.
    • Fill qualities: So-so. It is suede after all.
    • Blending: I tried a cotton rag (t-shirt material) and a tortillon blending stick. When blending with the rag, I would use short strokes in areas that I wanted to soften the pastel. The blending stick would great and I used it quite a bit.However, the best tool I found were my fingertips!!
    • Fixative: Did not use.
SUMMARY....or just my experience and opinion:
  • This paper gets a 3 of a scale of 1 to 5. It is just not something the fits my needs. Too soft. I would like to try it in different colors. Blue is not a color that I normally would choose for a background color. This paper might work nice for a portrait. I may try it again, but I hope to use a different base color.

Monday, February 06, 2012

Mighty in White

"Mighty in White"
6x6 inch, oil on linen
Daily Paintworks Challenge

This is my interpretation of this week's Daily Paintworks challenge. I had to stop before I just scraped the entire thing right off.... Fun and challenging.

garden paintings flowers paintings sunflower paintings

Wednesday, February 01, 2012

Batman on Wheels

"Batman on Wheels"
8x6 inch, oil on linen panel, unframed
This is a small study for a larger painting that I plan on doing. It fits the Challenge for this weeks Daily Paintworks challenge, too. It is done in oil on linen...pretty loose and suggestive.

The pastel paper project is still going on. However, with that light toned blue paper, I feel like I have hit the wall. Tomorrow I hope to start a pastel on it to test how pastel works with it. It is Colorfix Suede...the surface reminds me of those crazy velvet paintings. Maybe that is why I seem to be having such a time getting started with doing something with it.


Sunday, January 22, 2012


oil on linen, 6 x6 inches
This is is the last little character of an old wooden pull toy. The end. My hope is to do a few more paintings of this little pull toy. The next will be of one of the other little characters on this pull toy and then another painting of the entire thing. This will probably a long painting so that all the little guys fit on the canvas. When completed the paintings will make a cute grouping. Available in my gallery and at auction at Daily Paintworks.


Wednesday, January 18, 2012

Tangerine Tango Sunset

"Tangerine Tango Sunset"
oil on linen, 6x8 inch, unframed

The color of the year according to The Patone Company is "Tangerine Tango", a beautiful and vibrant orange. The above painting is in response to the Daily Paintworks challenge for this week. The challenge is to paint something using the color chosen for 2012, tangerine tango.

It did not take me much time to decide what to do. A few years back I spent a couple of weeks in Cabo San Lucas in Mexico. The sunsets there still remain in my memory. I did take lots and lots of photos during my stay. This brought back some wondrous memories of days in the sun....especially as I stand in my studio today, the coldest day so far this winter, and the temperature is a few degrees below zero F.


P.S. Make sure to come back and check on my future testing of more pastel papers. The next one will be a blue colorfix suede surface. I am not sure what I am going to do with that one.

Tuesday, January 17, 2012

Winter Stillness

"Winter Stillness"
pastel on paper, 7.5 x 11 inches
landscape, unframed
  • This is the second pastel paper that I am testing out of a sample package of twelve sample-size papers. Each is approximately 9x12 inches. There is an assortment of colors, types and shades of paper.
  • My hope is to take each paper and produce a piece of artwork using it and then provide feedback on each paper. What I hope to gain from this exercise is more experience on different surfaces using pastels. One should "rock the boat" now and then and try new things. For me, this is a way to learn and experience new methods - Maybe even gain some useable knowledge.
  • Art Spectrum Colorfix Supertooth. This paper surprised me. After my experience with the Colored Colorfix paper, I did not have great expectations for this paper.  The surface quality is much coarser than the first colorfix paper that I tried. I has a lot more surface area to grab the pigment of the pastel.
  • Paper Qualities.
    • The paper is creamy white tone. 
    • I did use a light watercolor wash for an undertone. It helps me with blocking in shapes gives me a bit of guidance in the design. Also, since the paper is light in color less pastel is needed to fill in the different values when an underwash is used.
    • The surface is fairly textured a bit like sandpaper. The surface appears to have tiny little bubbles that popped providing a rough textured surface (more surface area so that there is more for the pastel to grab onto.)
    • Fill qualities: Compared to the first paper that I used, I actually liked this one. I would even consider purchasing it. I could layer, blend and have fun working the pastel. I did not make much pastel dust with this paper as compared to the first one.
    • Blending: I tried a cotton rag (t-shirt material) and a tortillon blending stick. When blending with the rag, I would use short strokes in areas that I wanted to soften the pastel. The blending stick would great and I used it quite a bit.
    • Fixative: Did not use.
SUMMARY....or just my experience and opinion:
  • This paper gets a thumbs up. I did use a light watercolor wash and I found the paper to take the watercolor nicely. The surface is a little weird looking, but it did the job.

SUMMARY  CHART for the future.....:
After I complete the comparison of papers, I will put together a chart of sorts with the name of the actual paper used, the pros, the cons, the cost, colors available and the type of pastels that seem to work best (pencils, hard or soft)...of course, this is just my humble opinion.

Two papers tested and ten more to go...also a handmade surface to be included.

Saturday, January 14, 2012

Misty Afternoon

"Misty Afternoon"
pastel on paper, 9x12 inch
copyright 2012 MaryAnn Cleary

  • This is the first pastel paper that I am testing out of a package of several sample-size papers. Each is approximately 9x12 inches. There is an assortment of colors, types and shades.
  • My hope is to take each paper and produce a piece of artwork using it. What I hope to gain from this exercise is more experience on different surfaces using pastels. One should "rock the boat" now and then and try new things. This is a way to learn and experience new methods - Maybe even gain some useable knowledge.

THE FIRST TEST or paper:
  • Initially, I thought that I would love this dark grey pre-toned paper. Wrong. I started two different paintings on this paper, but I eventually wiped each one of them off after struggling with each one of the trials. I am pretty sure that this paper is going to find a new home some place else.
    • The paper has a dark tone, which I like, but for the subjects that I tried using it the colors just seemed to sink into the darkness - it is seems a bit too dark for my preferences. 
    • I also did not care for how the pastel took to the paper. I like to layer pastels and I also prefer to blend very little - just a little when I feel the need. 
    • The tooth of the paper just seemed to fill way to quick for me and after one or two layers, I made pastel dust really, really good. 
    • I did try blending, but what seemed to happen then was dust and the layers just disappeared...gone.
    • I even tried a spray of workable fixative. Now this is something that I just do not do. That did not seem to help my dilemma either. The pastel just sank into the dark toned background...disappearing into never-never land.

RESULT....or my humbler than thou opinion:
  • I believe this paper probably works fine for someone who likes fine lines and detail work. Just not me. Maybe I need to work more with it. In the end, the paper and I did not click.
  • For me, it felt like I drank a glass of not-so-great wine. Had a terrible headache and an awful taste in my mouth.  I am going to compare this little gem to Bali Hai. Some people may be old enough to know what that wine is or may actually like that wine - that is, if you can still get it. It also is probably not so bad if mixed with soda or something to kill the terrible after-taste...hmm, maybe the paper needs something else to make it better....
SUMMARY  CHART of sorts for the FUTURE RELEASE of the NAMES:
After I complete the comparison of papers, I will put together a chart of sorts with the name of the actual paper used, the pros, the cons, cost and lastly....the wine counterpart ...of course, this is just my humbler than thou opinion.

More to come. Enjoy!


P.S. If you just can't wait, the paper is an Art Spectrum colored one - a very dark gray. I typically use a Wallis paper so I had a difficult time re-adjusting my style for this paper type....drove me crazy. I also like to tone the paper using watercolor and a paper with a lot more texture.

Thursday, January 12, 2012

The Pink Wheelbarrow

"The Pink Wheelbarrow"
8x8 inch, oil on linen, unframed
copyright 2012 MaryAnn Cleary

The Painting:
The above painting is something that I did this fall during a workshop with Scott Anderson. It meant driving to the "Cities", but for this non-city person I felt the workshop helped me with looking at what I paint with a different perspective. We painted plein aire or outdoors on site and in places that I had not visited prior to the class. I am not a "city" person. However, I had a great time and I loved finding new subject matter to paint and having a taste of city life for a couple of days.

What is new this week:
This week I am testing out several different pastel papers. Tomorrow I will photograph them and list the ones that I am trying. It is a sample pack from Dakota Art Supplies with ten different papers. A couple of them I have used previously and they are some of my favorites. As I go through the papers, I hope to post the pastel paintings I do along with pros and cons about the papers. I also hope to make some boards with my own ground painted on them to try out, too.

Make sure to check out the Daily Paintworks site. I have a gallery there and a couple of auctions going.

Monday, January 09, 2012

Grapefruit Morning

"Grapefruit Morning"
6x6 inch, oil on linen panel
copyright 2012 MaryAnn Cleary

This painting can be purchased at a Daily Paintworks auction.

This small painting is this week's challenge on Daily Paintworks. A fun challenge.

Tuesday, January 03, 2012

Black-Eyed Susans

"Black-Eyed Susans"
size: 8x8 inch
oil on linen, unframed

This painting is of  black-eyed susans that was painted from life on the North Shore of Lake Superior. Lots of clouds hung around the shoreline that day. In the area that I found this wonderful abundance of flowers, I could easily set up my easel and paint right in the parking lot. They danced gingerly around the area and I felt delightfully surrounded by them.

This will be for sale on an auction at Daily Paintworks.