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Archive for November, 2009

Pastel

Something you won’t see too much here on the bloggityblog. A pastel, 16×20 from a smaller pastel study on my site. Why? You might ask. A gallery in Nashville is having a show, unbeknownst to me, she went through my site and picked a few paintings for this show themed around a regional river.. Two I had, but this one I didn’t have because I only had done the small study, around 6″x6″ and had sold it long ago. I think I could have sold that study about 15 times for the number of requests I received for it. So I told her I would gladly do a larger version for the event because it’s been a while since I had worked in pastel. Not because the bloom is off the rose for me but because the galleries didn’t really want them, even in the best of times. I didn’t take it personally, I’m a good pastelist, worked with them for almost 30 years now. But oil is more portable and there’s no matting and most importantly, no glass. Pastel is a lovely, fragile medium that gets it’s depth mostly from the way the pigments are layered (something I have worked into my oil painting process) to arrive at a color. I work them the same way I do oil wet into wet. Now I have to ship it today and will spend the rest of the day packing the hell out of it. And of course I hope it arrives without damage.

FYI FedEx now has an art box which is made to ship single paintings. It’s pretty cool and if you ship it ground, very affordable. Also the box is free or darn near.

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Wave studies

For a December small works show at Arts on Douglas in New Smyrna. Opens next Saturday, unfortunately it opens at the same time as our McRae Art Studios opening so I can’t go. I love doing these wave paintings.. the waves connect with my soul. Ironically I’ve missed 3 weeks of beautiful surf because of work, travel and holidays… but there will be more. This is one of 3 small paintings, 8×8 on a gold leafed cradled art box (8x8x3). Though you can only catch glimpses of it at the edge of the painting. Did the gilding myself. I’m ready to join the Gilders Guild. Change my name to Gilda Van Guilder.

You might notice how the direction of the stroke helps define the form of the shape. And how edge variation helps to let the eye move more freely through the form.

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New work posted

Finally got a bunch of new work up on my website, new stuff in the painting, field, figure and west categories. If you go to my site and still see the old stuff up, hit the refresh button and the new will come up.  http://www.larrymoorestudios.com or use the “my site” link on the right.

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Book update

Saw the final color proofs and handed them over to the designer. The color is amazing. Going to press in the next two weeks and should have copies in hand mid-december. Hoping to up the quantity so I can lower the cost. Waiting on the final quote. Who knew this book thing was so complicated.

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I heart N Y

Just back from a 3 day whirlwind tour of the New York museums and a few galleries. 6 museums in 2 days. How is that possible my friends? It’s not. At the end of each day we were physicaly and mentally spent. You can’t even absorb stuff after several hours of viewing. The Moma, the Met, The Cooper-Hewitt, the Guggenheim, The Neue Gallery (Klimt-Klee), and one more that eludes me. Plus a SoHo run to look at galleries and a few cool shops. My brain hurts still. Got a few new favs. Not traditional artists by any measure but an installation guy named Anish Kapoor (i’m sure i spelled that wrong) and a nontraditional painter named Neo Rauch that knocked my doors back. Kapoor built this sort of inside out rusty submarine shape thing that filled the room so perfectly you could only see pieces  of it from the various entries into the room. You had to construct the thing in  your head. If you have any engineering blood in you it’s something to see. I’ve said many times that though I am a traditional painter, my affinity for all kinds af art is very broad. I think it’s very healthy to be open to new (and old) movements in art.

Then there were the rooms filled with the icons of modern painting: Picasso, Gauguin, Van Gogh, Lautrec. To see these works in the flesh brings tears. All the artists I studied in my years of art history lined up like an artists hall of fame, it was overwhelming. The voices of these artists are so clear and unmistakable, makes me wonder what of this current plein air movement will be remembered, who will stand out. Only time will tell.

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november surf

One more from the trip, painted from under the pier. Cold, wet, rainy and windy and damn if that surf wouldn’t hold still.Nothing will force you to see the big shapes like moving water. But it’s sort of like painting cows or sheep. One will come and go but there’s another one behind it that looks very similar. This is a 12″x24″ . I painted next to Jay and he did a 20×30 maybe that was killer. All grey sky with a little surf and beach at the bottom. Yummy. My challenge for this was to get the ocean down without turning it into a bunch of horizontal stripes. I forced the lines a bit in the foreground to give it some movement. I like this one. I feel it’s pretty succesful water, especially in the foreground foam. I hope I still feel that way in a month.

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one slice or two

Paint Wilmington (Wilmington North Carolina) was an interesting event. It was a small invitational with only seven artists; Gavin Brooks, Xiangyuan (Jay) Jie, Steve Songer, John O’Poon Poon (he’s half Irish), Perry Austin, Richard Oversmith and myself. The small invites are good because it raises the odds of sales for the individual artists. Got there Sunday at noon and had one day of sun before the rain and the wind started from Hurricane Ida. It pretty much rained from monday morning until the moment I hit 95 on the way back. Rain has a way of making the plein air painter get a little more creative with the subject matter. I did two paintings from under the canopy of a bridge and I looked for interiors where I could stay dry. The best piece of the week for me was this pizza parlor, unfortunately, the only angle was outside and, though I was under an awning, it was driving rain and I got pretty darn wet. I liked this scene for the juxtaposition of the warms and cools, the stark value contrasts, and the narrative nature of the scene. This piece was a 20×20 and with the volumes of information in it, took a while to complete. Maybe 4 hours. Most of it that spent on getting the shapes right. The foundation of of the composition went in quickly with key lines indicating where the counters and pizzas went and while I waited for people to show up, I work around the figures.

One of the great things that come from an event like this is gleaning information from the individual artists, this made easier by the fact that we all stayed in the same house and with the exception of this one painting ended up together wherever we went. On one of the rainiest days, 3 of us went to the gallery to rework the existing paintings we had there and I reworked my stuff and watched the others do the same. Learned a lot about glazing and eye flow, stuff I knew but forgot. Nice to be reminded. I enhanced two large paintings by  knocking back some areas and strengthening others with the help of the critical eyes of my fellow painters. I’m adding some links to these artists so you can look at their work too.

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