20x16 inches, oil on canvas
(Private Collection, PA)
quick sketch in oil on 10x8inch canvas
Paintings and drawings by Brussels-based artist, Catherine Hale.
I've been scanning slides and realized it's become much more convenient to use them for painting once they're scanned. It used to be that you had to watch out not to overheat the slide projector, burn the slides, or contribute to their deterioration through handling (mildew, etc). I remember even trying to paint in the dark with the slide projector on. But with the scanned image, all these problems are history.
More to come!
I have been looking at this scene for a couple winters now every time I cycle by. Then last week the weather was so nice I stopped and sketched:
The next day, the sun was still out so I brought my paints. Here is the result (touched up in the studio). As I painted, one of the Scottish Galloway cows walked by, adding the perfect touch:
The "Parcours d'artistes d'Uccle" has a new name: "Meet My Arts". Eighty-six participating artists will be exhibiting throughout the Commune.
I am very pleased to have been allocated a nice space at the residence "Le Hamoir" along
with 6 other artists. We will be located on Rue Hamoir, 1, just off Chaussée de Waterloo in Uccle.
The location is easily accessible by bus lines STIB 41, DeLijn 136, and TEC 136a.
We will be exhibiting our artwork during two weekends in April.
Mark your calendars:
Friday, 14 April from 18h00 to 22h00 -- includes the Vernissage!
Saturday, 15 April, from 14h00 to 19h00
Sunday, 16 April, from 14h00 to 19h00
Saturday 22 April, from 14h00 to 19h00
Sunday 23 April, from 14h00 to 19h00
Raising chickens turned out to be a fascinating but complex venture. It's difficult keeping just one because they are social creatures and get depressed when alone, but two doesn't work either because they wind up fighting. So, in the end, we gave them away to a local farmer where they are now under the watchful eye of a team of roosters. That works. We bring them treats and can see that they are happily integrated and healthy. Recently, I've noticed there are some little ones that look like them.
TLO ("The Little One"), purchased as a two-day-old chick, quickly grew to become a huge, beautiful chicken. For the TAE charity event I painted TLO from one of my old photos:
"A Winter's Day"
12x18cm oil on canvas panel
inspired by a photo from the Landscape Art Club
I've been following three Instagram challenges that don't disappoint: @landscapeartclub, @foodpaintchallenge and @roomportraitclub. Unfortunately, last spring's @faceportraitclub seems to have disappeared. It takes a while for my oil paintings to dry so I missed sending out the postcard below:
"Christmas at Windsor Castle"
15x10cm oil on postcard canvas
inspired by the Room Portrait Club
This will be for Christmas 2023.
Roaming the Internet to find subjects I haven't yet had a chance to paint whiles away these cold, dark days of winter. Here's some more snow thanks to the Landscape Art Club:
15x10cm oil on postcard canvas
The lilies were another popular subject at the Landscape Art Club. I painted some as ACEOs as well. Find those and my Food Paint Challenge work here: Smallest Paintings Gallery.
Looking forward to more of these in 2023!
Happy New Year!
30x30cm oil on canvas
I couldn't resist painting another view of the iconic cliffs at Etretat. Since rock formations on the Normandy coast usually have names, I did some research. To my surprise, I found videos of some recent landslides near Etretat. Here -- YouTube -- a young photographer caught some of the action on camera. The town mayor is worried there could be more rocks falling and points out some crevasses in the cliffs. On another video, an expert explains that the entire Normandy coast is threatened by the phenomena, partially caused by global warming.
More on the cliffs: les falaises tourism
There's a Landscape Art Club on Instagram that published some photos of Etretat this week. I've always dreamed of painting there. Well, this was the next best thing: exploring another of Monet's haunts via the Internet. Again, I wanted to stay away from turps. So this is nothing but oil paint and linseed oil. I tried to keep it loose while putting more texture on the surface and used a variety of paint brands -- all the odds and ends that have found their way into my paintbox. For instance, I discovered that the weird Rowney Georgian "flesh tint" was useful on the cliffs. I'm happy with the way this one turned out.
After all my tiny ACEOs, and after watching a documentary on the American abstract painter, Joan Mitchell, I felt the urge to paint big: Arte Documentary on Joan Mitchell
So I prepared a 60x70cm canvas with some extra gesso (the original Monet is a close 65x81cm), selected large brushes and started this with Cobra water-soluble oil paints. For my initial sketch, I tried not to resort to turps or odorless mineral spirits (which, I've learned, also produce toxic fumes even if you can't smell them) but the Cobra idea didn't work. The paint was still oily when I applied the next layer. So I wiped it away with a cloth and just used regular oil paint, applied as thinly as I could. Later I added more linseed as needed. As I progressed I found I liked the airiness of the unfinished copy so I put the book down and just touched up here and there.
Some notes on Monet's palette:
It's difficult to judge colors from a photograph in a book but I read on line that Monet once revealed his palette: Flake White, Cadmium Yellow, Vermilion, Deep Madder, Cobalt Blue, Emerald Green. Of course, this is a translation which can lead to confusion (ref: Monet by Himself, by Richard Kendall, MacDonald & Co, London, 1989). I'd rather read this in the original because I've learned that the French "Emeraude" is sometimes translated as "Emerald Green" but is in fact "Viridian." Emerald green refers to Paul Veronese green. In any case, the point is that he used a limited palette. Interestingly, he stopped using black paint in 1886, which is the year he painted these boulders in Belle-Ile. I think I tend to mix ultramarine with alizarin to get close to black. But I thought I saw some green in the blacks in the water. Later I was surprised to read painters use green and alizarin to make black. I did that here without knowing. I would like to read "Monet by himself" but the reviews say he doesn't often talk about his technique.
Working on a canvas nearly the same size as the one Monet used in the field brought me closer to understanding his methods. I could almost feel his concentration and enjoyment, as he strove towards the outer limits of what was then acceptable in the art world and also the urgency of finishing the painting in what must have been very uncomfortable conditions given the wind and ruggedness of the terrain. Wouldn't it be fun to visit Belle-Ile and paint there: Tourist office