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  • White Test 2013

    As a sort of continuation of my earlier post on colors, here is a fresh example of a test that I do every couple of years.  In most every painter’s box, white is your most important color.  Used in abundance, it affects the overall look of your painting, drying time, gloss, and brushwork.

    Unless you compare whites, many aren’t aware of the vast differences in color between them- whether a white ground in Linseed or Poppy oil, or that Titanium Dioxide is a far brighter, bluer pigment than Lead Carbonate.  This is a multifaceted issue that I spend a long time on when I give materials lectures.  Paint is affected by the quality and color of its pigment, any additional particulate that is added to the paint (whether binder or straight filler) the quality and color of its oil, and at times even the material of the paint rollers mulling the paint itself.

    Another issue is that paint simply looks different after drying than when it does fresh out of the tube.  Linseed oil darkens over time, and to varying degrees, as the quality of linseed oil varies greatly from brand to brand.  Painting a light blue sky only to have it turn green over time is really something you would like to be aware of in advance.  For flesh painting, usually yellowing is of lesser consequence, unless painting a white dress or particularly fair skin.

     

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    Here’s the fresh white test on the studio bulletin board

     

    Whenever possible I like to compare store-bought paints with my hand ground, to compare the oil I’m currently using with whatever industrial comparison’s on the market.  After drying for a month or so I’ll put it away in a drawer or a corner and forget about it.  You really need to view the colors fully dried, with the full effect of the oil darkening to compare them.  The above test is only a few days old, still wet- though you can’t really judge the colors definitively, it’s interesting that a tube of W&N Lead from the 70′s at this point appears much smoother, and nearly as bright as the gritty modern W&N Lead white in Safflower oil.  I’ll see if that relationship stays the same over the next few months.

     

    People have written for years about the great tensile strength that Lead White gives your painting, and in modern days folks been talking about the dangers of Zinc White delaminating.  A simple paint test like this is a great way to check a paint’s durability.  Cracking is a big concern if you want your paintings to last, especially if you like to paint on stretched canvas.

    Five or six years ago, before I had ever tested Zinc, I bent a piece of canvas that had a swatch of Robert Doak’s suspiciously light and bright ‘Lead White’ on it.  Not only did the swatch break and fall off the canvas but it hit the floor and broke into a million pieces.  I later made the Zinc connection, and have since included Zinc on all my white tests.  I also stopped using Doak’s white.

     

    The below white test is well over a year old.  After letting it dry for considerable time it’s been in the dark for the past six months.  As you can see, there’s a much greater variety in color.  The dark quality of the whites ground in Linseed will fade over the next couple of weeks.  I do find, however, that Williamsburg Flake to be especially unacceptable in color.

     

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    This is a white test from early 2012

     

    The above sheet had a couple of Zinc Whites and Zinc/Titanium blends on it.  I bring these sheets occasionally when teaching, and after bending it a couple times to demonstrate none of the Zinc stuff remains on the canvas.  Pretty shocking, but important to remember that people don’t often go around bending paintings.  It will take some pretty significant mistreatment to get zinc to fall off a stretched painting.  Philip de László reportedly used Zinc for all his impastos, and his paintings that I’ve seen are in great shape.  Personally, though, I avoid the stuff entirely.

    Also worth noting in the above test is that the Gamblin Titanium has livered horribly.  It’s also far too dark in respect to other Titanium Whites.  This leads me to believe it’s got a huge oil content from some filler they’re using, Titanium White’s surface livering like that doesn’t happen on its own.  Who knows, though, as even batch to batch manufacturers paints vary.

    Generally speaking, my hand ground whites are nearly always the brightest in the lead/linseed category, as long as I wash my linseed oil first.  Handground paint in Walnut Oil is often among the brightest whites at the end, whether Titanium, Zinc or Lead white.  Bending the canvas, neither Lead nor Titanium Whites fall off the canvas. Titanium has a propensity for a brittle crack once in a while though.  Lead really does seem far more durable, at least in my years of testing.

    I find these sort of tests to be valuable, but rather than taking my word for it I would recommend this sort of test to be done by everyone, it doesn’t take time, and really furthers your understanding of what’s in your paint box.  Not all paints are created equal.

     

  • A Meandering Post About My Palette

     

    A very common question among painters is ‘what colors do you use’.  Color is a complicated thing, but that’s a seemingly innocuous question.  Before talking about what colors I use, it’s worth mentioning that people tend to understand the answer in funny ways- as if introducing or eliminating a color from a color arsenal is going to produce similar results.

    A disclaimer: there are no magic tricks in painting.  A skilled painter can use a myriad of bright colors, Quinacridones, Pthalos and Perylenes to make a monochrome picture, and a skilled painter can also use a very limited palette to create a seemingly color-filled picture.  All that matters are the colors on the canvas at the end.  Color should not be glaringly obvious.   To achieve subtle color relationships, many train using some sort of limited palette, working their colors up often from brownish-grey.  I was trained in this way, and have slowly added and subtracted colors here and there over the years, depending on the situation.

    In Florence, for the portrait or figure, we trained with a four color limited palette- Lead White, Yellow Ocher, Vermillion and Ivory Black.  This works well for flesh, you can achieve a lot of beautiful, subtle variation with this palette, but high chroma colors outside of pinkish or peachy yellows will be hard to hit.   Also, your greens, blues and purples in general will, of course, be very limited.  Generally, since those super bright notes will be hard to hit, your painting will generally take on a slightly darker, umbrish tone.   Not being able to hit high chroma colors isn’t necessarily a fault when you’re painting flesh tones.  Pinkish, peach, silvery bright colors are perfect for the light on a forehead or cheekbone, or light falling across a back.  Flesh is mostly low-chroma.  It works well, and has for a long, long time.  Cavemen had four pigments- white of chalk or burnt chicken bones, yellow or red earth, and black from charcoal of the fire.  These four pigments have been around for a long time.

     

    AltamiraBison 1024x831 A Meandering Post About My Palette.

    Altamira Bison- Red Ocher/Umber and Carbon Black.  Estimated 11,000-19,000 years old.

     

    If you’re going to use a limited palette, the quality of your colors becomes immensely important.  The tinting strength and transparency of a yellow ocher is directly related to how many deep greens you can mix without the paint turning chalky and grey.  This of course varies greatly from brand to brand and even batch to batch, depending not only on the source and quantity of pigment, but the color and quality of the oil.  These are hard factors to guess at without doing some testing, and not all paints are created equal.

    We live in a time of marketing and repeated information.  Recently, the ‘Zorn Palette’ (a basic four-color limited palette, like above) has become a popular concept, repeated on blogs and messageboards, until it’s sort of become the accepted name of a limited palette.  Though mixing some whites with some blacks can make low-chroma blues, and placing them next to or over an orangish tone can make a low chroma blue seem much brighter through simultaneous contrast, you cannot make a sky blue without blue.  You can’t really make a bright green with ochre and black.  Here’s a great post with extensive commentary fromJames Gurney about Anders Zorn and the ‘Zorn Palette’, though unfortunately he doesn’t offer many examples with blues and greens.   Zorn’s paintings are quite unified, limited in color, certainly not a showcase of all the colors available at the colorman.  I would say though, he used blue occasionally, and a Lead Tin or Naples Yellow when necessary.  That’s just me hazarding a guess.  Whatever Zorn used, it worked for him, and that’s what’s important.

    In simple terms, in order to paint a variety of outdoor effects with a limited palette, you will need to introduce some blue, at a minimum.  A brighter yellow is a good idea as well.  I made my first forays into painting outdoors in 2004, while I was finishing the Florence Academy program.  The outdoor palette I started with was some mix of what Dan Graves recommended and what Gammell told Cecil to use, then filtered through Marc Dalessio who was teaching the class was Lead White, Cad Yellow Light, Yellow Ochre, Vermillion or Cad Red Light, Alizarin, Cerulean and Ultramarine Blue.  White, Two yellows, two reds, and two blues.   This was a big shift from the studio palette.  I would almost always bring some umber along, coming from a studio painting environment I wasn’t comfortable mixing down from bright blues and yellows to brown, it was easier to add a bit of color to my brown-greys.  It was a good palette for me to start with, and I recommend the same palette to students today.

     

     A Meandering Post About My Palette.

    Old picture of old palette

     

     A Meandering Post About My Palette.

    Painting on Ponte Santa Trinita’

     

    When I paint portraits, I still use a very limited palette, not dissimilar to the four color palette described above.  For painting outdoors, however, I’ve begun introducing colors which have actually stayed on my palette.  Some get cycled in or out, depending on the subject.

    The most drastic change to my outdoor palette is that I’ve almost entirely replaced Lead White with Titanium.  I only use Lead White these days when I need to paint texture, in the sky or clouds, rocks or path, and those textures are usually done in the studio.  Titanium covers better, so you can work faster, and outdoors effects change quickly.  Although it’s a slow drying, everything dries quickly in the warm air outdoors or in the hot car.  Also, it’s brilliant white, so it suits what I’m working on these days, especially the high value key effects.

     

     A Meandering Post About My Palette.

    Here’s the palette I was using through September in Russia

     

    Counter clockwise, the above palette is Titanium White, Nickel Yellow (Nickel Yellow from Williamsburg is a decent replacement for genuine Naples Yellow Lt), Cad Yellow light, Yellow Ochre, Cad Orange, Cad Red medium, Alizarin Crimson, Transparent Red Oxide, Cerulean Blue, Cobalt Blue Medium, Ultramarine Blue and Cobalt Violet.  There’s some Pthalo Green and Blue on there, and there may be some Viridian in that muck at the bottom.  I use the Pthalos very rarely, but they’re handy for grey days and some bright sky colors.  I don’t use black outside, except, apparently, when in Russia.  There’s a bit of black at the end there.

    I go through a lot of paint these days, and have less and less free time in the studio.  Consequently I’ve been using my handground paints less and less.   These days, I’ve been using mostly Michael Harding’s oils.  His paints are similar in quality to, and sometimes better than my handground colors.  I love his cadmiums, a tube just lasts forever.   I also like how open Harding is about what he puts in his colors, very little but a high pigment load.  I always enjoy speaking with him about materials, and it’s a refreshing trend over the past years that paint companies have become increasingly open about what they put in their paint.  Michael’s been like that since I met him in 2004.

    I have been dabbling with other brands too.  Gamblin, Utrecht, Williamsburg, mostly.  Having had the experience of making my own paint for years I am very judicious when testing and choosing colors.  I can usually find something that suits my needs, that said, when I need a paint with body, or a particular unctuous characteristic, my handground is still best for me.

    These are ostensibly more colors than I need outdoors- some colors just come in handy.  I use Cobalt Violet for drawing and painting distant details.  So much of nature is grey, and it’s just great for painting greys.  Real Naples Yellow Light has great body, and works well for mixing low chroma greens.  I could mix those greens with Cad Yellow, but it’s faster.  I don’t need either of those colors, but expedience is a tool when working outdoors.  I rarely need all of these at any one time, and I certainly didn’t need all of that blue for the below painting.

     

     A Meandering Post About My Palette.

    Here I use both a half-box easel and a metal tripod to get the picture to eye level.

     

    When working large, I use a box easel.  It’s pretty wind resistant, and you can hold things in it.  When I need more stability and space, I use a lightweight tripod easel to hold the painting.  That way the palette can rest, and I can get the painting up at eye level.  You can hang a heavy bag from a tripod easel, which is very helpful on windy days.  When driving, I usually use this kit, tons of storage and workspace.  The tripod easel is called an ‘Italian Field Easel’, and I believe they’re made by Richeson.  The steel version lasts longer than the aluminum one.

    When traveling, however, a box easel can be difficult to carry.  In the above picture sitting on the shelf of the box easel is a small cigar box.  They weigh nothing, and are usually free from a tobacconist.  With my tripod easel and cigar box I can paint small to medium size paintings, and that kit weigh less than 15 pounds.  I load up the box with paint before leaving, and if I have a long hike ahead of me, it’s the easiest to carry.  If the canvas doesn’t fit in my bag, I carry it.  The easel I sling over my shoulder.

     

     A Meandering Post About My Palette.

    When climbing on foot to the top of a windy hill every day, the lightweight cigar box kit works best for me.

     

    Generally, I don’t usually have much to put on this site but pictures.  Images are usually enough to put out there- but I thought it would be worth discussing for a moment what I’ve been using, as it’s made my life easier.   It’s taken me some time to juggle all the colors that are on my paint table, even if I’m only using a few of them at a time.  This is what works for me.

     

     A Meandering Post About My Palette.

    My cigar box kit. Fits up to 20″ high canvases.

     

  • Plyos – зеленый шум 2013

     

    This year I was invited by the Museum of Landscape in Plyos, Ivanovo Region, Russia to represent Italy in their annual regional painting exhibition and cultural exchange – зеленый шум or ‘Green Noise’.

    In previous years they had hosted painters from other regions of Russia, and a few years ago began inviting international artists- 2011 was France, and 2012 was a group from Cyprus.  Next year will be Holland or England I believe.  We were each asked to donate an Italian painting to the permanent collection of the landscape museum, and they picked another painting from the body of work we did which will either remain part of the collection or be sold to raise funds.  The show is up until October 20th.

     

     Plyos зеленый шум 2013

    Here’s my painting that’s now at the museum in Plyos- Market at San Lorenzo, 30x40cm 2011

     

    Plyos was made famous by Isaak Levitan, and in turn he made much of his reputation on his Plyos series.  I’d always been curious what Plyos was like, having admired Levitan for years, this trip was an amazing opportunity.  It’s remained a destination town- Russian Prime Minister Dmitry Medvedev vacations there, and even though we were off-season we crossed paths with him on our first day.

    Sixteen artists total, eight Italians and eight Russians- the artists representing Italy this year were Daniela AstoneMarc DalessioBen Fenske, myself, Tim McGuireLuciano Regoli, Serghiy Shtanko and Vitaliy Shtanko who was the organizer of the Italian painters.  Our group was mostly culled from The Florence Academy of Art circle, and although I’m American I suppose living and working in Italy for over ten years is enough to represent the Italians.

    The Russian group was Виктор Бутко (Viktor Butko), Ольга Карпачева (Olga Karpacheva), Василий Куракса (Vasiliy Kuraksa), Людмила Кузнецова (Lyudmila Kuznetsova), Григорий Новиков (Grigoriy Novikov), Юрий Орлов (Yuri Orlov), Ирина Рыбакова (Irina Rybakova) and Олег Журавлев (Oleg Zhuravlev), who curated the entire exhibit along with Irina Sorokina from the museum.  *The links I’ve used here are the best I’ve come up with using my meager googling ability in Cyrillic- anyone who actually speaks Russian feel free to leave better links in the comments.  

     

    It was very interesting painting with the Russians- only really speaking through translators when they were available.  Despite our best efforts, at times a lot seemed lost in translation.  That said, we developed a good deal of camaraderie and understanding by watching each other work.  Painting was definitely the common language on this trip.

     

     Plyos зеленый шум 2013

    Plyos Motif 20×24″

     

    Before leaving, the forecast looked great- 60′s and partial sun.  A Russian had told me that Plyos was famous for its beautiful blue skies.  Instead, the weather was absolutely miserable.   Rain, wind and low temperatures, there was only one day we didn’t paint in the rain, though that’s because we were walking around Moscow in the snow.  Even the locals were shocked by the weather.  Coming back to Boston in October felt like walking into a tropical climate.

     

    Although the weather was difficult everyone got a lot of work done.  Being in a large group of artists is good for your hardiness, and even the days I was pretty sick I was out painting.

     

     Plyos зеленый шум 2013

    Dusk 11×14″

     

    Unfortunately I had very little computer access, photographing my work without the opportunity to check it on a bigger screen- as a result a lot of the images aren’t great.  I’ll rephotograph everything when I get it back in November.

     

     Plyos зеленый шум 2013

    St. Varvara, Rain 20×24″

     

    We went out painting at night as a group a bit.  Always interesting, as no matter how good your lights are you really don’t get a sense of your color until you see the painting indoors.  A lot of trying to remember how much of each color you mixed with, and keeping your mixing space organized.  Even still, it’s usually a surprise to see your painting the next day.

     

     Plyos зеленый шум 2013

    Moonlight Volga 12×16″

     

     Plyos зеленый шум 2013

    Midnight on the Bridge 12×16″

     

    Painting overcast effects all day every day is not something I’ve done much of- after a few days I started to really get into how much you could perceive color differences without light and shade.  Autumnal colors can be pretty garish, and the steady purple-grey sky seemed to tone everything down a bit.

     

     Plyos зеленый шум 2013

    Golden Plyos Sketch 12×16″

     Plyos зеленый шум 2013

    Golden Plyos 24×30″

     

    The architecture in the town was very interesting- a lot of traditional structures, and it seemed everything was under constant restoration.

     

     Plyos зеленый шум 2013

    Grey Day 24×30″

     

     Plyos зеленый шум 2013

    End of the Day 14×18″

     

     Plyos зеленый шум 2013

    Before Sunset 16×22″

     

    Some days, with the wind, I could barely paint a straight line.  I have a few things that will need to be fixed in the studio- color was good, but drawing was very difficult some days on top of the hill.

     

     Plyos зеленый шум 2013

    Rooftops in the Rain 14×18″

     

    This is the second painting the museum took, which will either be sold or stay part of their collection:

     

     Plyos зеленый шум 2013

    Rooftops in the Rain 16×24″

     

    Russia was an amazing experience- with all its difficulty, I never would have made it to Plyos without this trip.  A privilege to see where Levitan worked, visit the Levitan House Museum and see a bit of provincial Russia.

     

     Plyos зеленый шум 2013

    Church of the Resurrection 24×30″

     

    Apparently our paintings will be featured on a Russian Winter Olympics culture site at some point – I checked the site with Google translate and didn’t see us there.  Maybe someone who speaks Russian will see it.  They printed a catalogue as well- I have a proof, but the print quality isn’t great.  I’ll post a PDF of the catalogue when I get the OK from the good people at зеленый шум in Plyos.

     

  • Landscape Course at Weir Farm

     Landscape Course at Weir Farm

     

    Last week I was lucky enough to teach a landscape course at Weir Farm in Wilton, CT.  Besides being a beautiful national park it was also the summer home of Julian Alden Weir- a fine painter, a founding member of ‘The Ten’, and in his day, a very popular guy.

     

    julian alden weir pasture Landscape Course at Weir Farm

    Here’s a Weir.

     

    Seems every book you pick up on American painters of his generation talk about their friendship with Weir- sometimes mentioning that he was too social and should paint more.  Twachtman and Weir were so close he named his son J Alden Twachtman.

     

    J Alden Weir and Sargent Landscape Course at Weir Farm

    Here’s John Sargent hanging out with Weir

     

    The restoration of the property is nearing completion- Weir’s studio opened to the public for the first time on July 4th this year, and Weir’s son-in-law Mahonri Young‘s studio next door has been open to visitors for some time.

     

     Landscape Course at Weir Farm

    Weir’s studio on the left, Young’s on the right.

     

    It was a great location for the course, even with spotty New England weather somehow we didn’t get rained out.  The park rangers give organized tours of the studios a few days a week, so we were able to see them as they were.

     

     Landscape Course at Weir Farm

    The park ranger giving the tour of the grounds

     

     Landscape Course at Weir Farm

    Weir’s studio was filled with his paint boxes, palettes, brushes and casts

     

     Landscape Course at Weir Farm

    The Young studio had one of the most amazing light wells, incredible studio.

     

    All in all, it was sort of a perfect location to run a landscape course- besides having interesting views, rock dry walls and architecture, being able to take a break from painting to see some of the spaces, it was just very inspiring to be surrounded by Weir’s things.  Beautiful location, and you can only imagine the visitors that had come to the farm over the years.

     

     

    For artists interested, they run a continuing artist in residence program, where they give you room, board and studio on the grounds for a month (though sadly, not in Weir or Young’s studio).

     

  • Materials Course

    Last weekend I taught a workshop on traditional artist materials at the Academy of Realist Art in downtown Boston.  I also gave a similar course at Jesus Villarreal’s studio back in February.

     

     Materials Course

    We began each day with a lecture

     

    This year I’ve been trying a new format for my materials courses.   I used to teach them as I was taught at The Florence Academy of Art;  a series of 2-3 hour lectures spread out over a few months.  We would do a lecture on pigments and oils, one on supports, and another on mediums and varnishes.  Although I can go into great depth afforded that much time, I never much liked watching the students fall asleep.  Materials theory some people find… well, boring.

     

     Materials Course

    Here we are discussing the rheological characteristics of a variety of whites

     

    So I’ve started teaching these courses instead as a hands-on workshop.  People seem to be able to digest a greater amount of material by actually preparing materials themselves- and more importantly, can ask questions and troubleshoot as they work with this stuff for the first time.

     

     Materials Course

    Everyone got to experience grinding a couple of pigments

     

    Compared to holding lectures over the course of a semester it’s a mountain of material to cover in so little time, but I’m really happy with this format.  In essence, I’ve found that students learn through practical experience more expeditiously than theory alone.  No big surprise there- Getting your hands dirty is more fun than taking notes, as well.

     

     Materials Course

    Cooking a gesso ground for the students to use

     

    We covered some big issues- why some paints ‘feel’ different than others, what’s desirable (and undesirable) in a painting support, why traditional materials are still so useful for the artist, and how to sand gesso panels extremely quickly.

     

     Materials Course

    students applying their first coat of gesso to their panels

     

    People come to workshops with a wide variety of experience, so we had some very interesting discussions.  We had a couple people in the course who had studied restoration/conservation, so it was interesting to have a bit of their perspective as well.

     

     Materials Course

    Just enough time at the end to mull up a bit of Ultramarine Blue together as well

     

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    On the left are the students’ linen canvases drying

     

    All in all it was a successful (and exhausting) weekend.  The students left happy though – each of them had a tube of hand-ground paint, a couple gesso panels and a linen canvas by the end of the course.

    Tagged with:  •  • 
  • Nathan Goldstein 1927-2013

    10am22 Nathan Goldstein, 1927 2013

     

     

    From 1999-2000 I studied at the Art Institute of Boston (now part of Lesley University).  I remember at the time there was great fervor for Nathan Goldstein’s classes, as he’d just taken a year sabbatical, he wrote many popular books on drawing, and there was a solo show of his hanging in the school’s gallery.   The gallery was filled with his oils and a vetrine full of his sketchbooks.  Here are a few of those paintings that I could find online.

     

    10am24 Nathan Goldstein, 1927 2013

     

    I took some of my first organized life drawing classes with Nathan while I was at the school.  He sort of seemed like a Jedi Master to the students- he drew deftly and quickly, often drawing his demonstrations from memory.  During a demo, when he asked the students to suggest a position for him to draw the figure, one of the students snarkily suggested “falling from a building” he obliged, and after drawing the skeleton and figure, drew drapery studies on the figure, complete with rippling wind effect.  He had a good sense of humor.

     

    ng paintings 08 Nathan Goldstein, 1927 2013

     

    I only took a couple classes with Nathan, though he was present for many critiques, and to be honest I sort of hounded after him.  As I said, people sought him out, the elder statesman at AiB, for his advice and experience.  ”Use a bigger brush and call me in the morning” was a story he recounted about how he dealt with a frustrated student calling him for advice at night.

     

    ng drawings 07 Nathan Goldstein, 1927 2013

     

    Although our contact was brief, in retrospect, I owe a lot to Nathan.  He was the first teacher to tell me that the bones of any good painting is good drawing, and that learning to draw has very little with pencil and paper.  It’s about learning to see.

     

    ng paintings 01 Nathan Goldstein, 1927 2013

     

     

    There will be a memorial for Nathan at the Danforth Museum in Framingham on September 28th.

     

  • Americans in Florence

    Back in June I was lucky enough to catch the Americans in Florence exhibit at the Palazzo Strozzi.  The Strozzi has put on a number of interesting exhibitions in the past few years, still tied to Florence’s history, but with a bit of their own perspective.

    This year marks 500 years since the death of Amerigo Vespucci, so it follows that they wanted to honor the connection between Italy and America… and in the Strozzi’s way of doing things, to put forth that not only have Americans been influenced by Italy, but Italy influenced by Americans.

    The folks at the Strozzi were kind enough to give us a tour and made a short video about our visit:

     

     

    As you can tell from Tony’s reaction it was a very strong show- I didn’t have time to grab a catalogue, but very much worth seeing, a nice mix of American Impressionism and Macchiaoli painters.

     

  • Coming Home

    What a whirlwind trip to Florence.  To see the city we lived in, to absorb the sounds and light, visit some of my favorite restaurants and spend time with some of my favorite people.  It was great to be back in town, to just concentrate on painting outdoors.

     Coming Home

    Ponte Vecchio, Backlit 30x40cm

    I lived in Florence for more than a decade, yet somehow I never got around to painting some of the hallmarks of the city.  I guess it just felt too touristy at the time.  As soon as I settled in Boston I realized there were a few views of Florence I had always wanted to paint, but never did.

     Coming Home

    Morning, Ponte Vecchio 25×35

     Coming Home

    Market at San Lorenzo, 30x40cm

    It was a great time to be in town, the Florence Academy’s term was just closing, so I was able to visit with a lot of old students and friends.  Robert Bodem’s sculpture program had its final open house at its current location in Via Luna, and that gave me a great opportunity to paint a view I had wanted to for years.  We lived just around the corner from Via Luna, and I had always wanted to paint the humble little street corner.

     Coming Home

    Via Luna, 25×35

     Coming Home

    Santo Spirito, Before Summer Storm 30x40cm

     Coming Home

    Santa Trinita’, Before Sunset 25×35

     Coming Home

    Piazza Santissima Annunziata 30x40cm

    It was great just to concentrate on sketching, walking all over the city, painting places as if I was visiting old friends.

     Coming Home

    National Library, 45x55cm

     

    On a personal note, an interesting part of the trip was that after a few days enjoying being in Florence I suddenly realized how much I missed Boston.  It’s a curious thing when your concept of ‘home’ changes.

    It’s been fantastic to spend the past few days in the studio, touching up the sketches, listening to good music and enjoying the sound of the train passing nearby.

    It’s great to be home.

     

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