Technique Tuesday: Glazing

What is it?

The term “glazing” when applied to paint refers to the play of colors and luminosity built up through applying thin, transparent layers of paint over an opaque layer of a different color. This is done with the use of a suitable type of paint (not all paint colors can be easily manipulated to glaze with, but anything with “lake” in the paint name is a good bet!) and the addition of a glazing medium to thin the paint and help with transparency. It’s a simple concept, the idea of a transparent overlay of color over an opaque layer, but it takes a lot of practice and care to ensure that the right effect comes across in actual practice of the technique. If an artist can get it right, however, it adds a gorgeous depth and sense of the movement of light within the colors of a painting. We often see this effect of transparent color overlay in real life by observing light through a colored glass, like a stained glass window or the “rose colored glasses” of the old familiar idiom– it has a lovely resulting depth and brilliance!

Examples from art history:

Glazing used to be used sometimes out of necessity in addition to being used for its visually appealing effect. For instance, back when many artists did not have access to certain brilliant colors of paint pigment– often strong greens, purples, and oranges– they achieved the color by glazing one color over another so as to optically, rather than physically, blend them. Many artists throughout history (as well as many currently practicing artists) also apply these thin glazes of color over a base that is entirely painted in grays (called “grisaille”) or browns (called “bistre”) so as to add a depth unachievable from applying opaque layers of paint alone.

Johannes Vermeer’s exquisite paintings contain many classic examples of glazing. See here below, on the left the reconstruction of Vermeer’s “Girl With a Red Hat” shows some of the initial layers that would have been painted, upon which Vermeer would then apply transparent glazes to deepen and darken to his liking. You can observe the brilliance in hues and the effect of light pouring through that this creates on the finished work, also shown just to the right. Also shown here is a detail from another painting, “The Milkmaid,” in which Vermeer’s technique of glazing a transparent yellow layer over the blue layer underneath creates a unique green effect in the middle area of the fabric of the milkmaid’s sleeves:

Examples from Principle Gallery:

Two years ago, we discussed the 2015 Kevin Fitzgerald Solo Exhibition in a Technique Tuesday post when we addressed another type of layering effect in paint, known as “scumbling” or “dry brush.” Basically, this indicates that the top layer of paint is an opaque layer, and not a transparent, thinned layer as with glazing, which creates a different affect, more hazy and blurred and well-suited to Kevin’s frequent depictions of clouds, treelines, and ocean waves. To read more about it, check out the older post, here!

But the glazing technique is also highly prevalent in Kevin’s work, and is one of many ways that Kevin achieves the amazing effects of light, depth, and atmosphere in his peaceful, hazy landscapes. Take a look at each of the images below and try to pinpoint areas where Kevin applied transparent layers to add depth, color shifts, and luminosity (as well as those opaque, “scumbled” areas!)! And to take a look at the whole exhibition in person, stop by the gallery or visit Kevin’s page on our website here!

“Ocean Joy”

“Inlet Daybreak”

“October Light”

“Ocean Dawn”

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Technique Tuesdays: Positive & Negative Space

Technique Tuesday positive negative spaceWhat is it?

The concept of positive and negative space is a fairly simple one. The subject of a work of art occupies the positive space, while everything else is considered negative space. Nearly every piece of representational art contains positive and negative space. The way that artists make use of positive and negative space to enhance their artworks is less simple, but very visually interesting. Negative space can be used in a number of creative ways, from balancing a composition to focusing the viewer’s eye to  adding to the visual interest of the positive space. To start, let’s look at a fairly simple and well known illustration of the concept, called “Rubin’s vase.”

Rubin2This example illustrates the manipulation of positive and negative space, as depending on how your eye determines what the positive space actually is, two different images can appear. If the central shape is interpreted as positive space, it appears to be a vase, but if that same shape is viewed as negative space, the profiles of two faces become apparent. Some artists focus primarily on the subject when determining their overall composition for a painting, but many enjoy playing with negative space and using it to balance the work.

Examples from art history:

Chinese art has always been an excellent example of the use of negative space to create a simplified, quiet, and somewhat “zen” atmosphere in a work. Especially with traditional calligraphic painting, the delicate use of black ink meant that utilizing the negative space well could be extra eye-catching and effective. As art has progressed, many well known artists have incorporated a deliberate use of negative space to add interest to a composition and to enhance the mood of a work. Check out how the negative space balances and affects the mood of these works:

AH Collage 1

(left to right) Wang Hui, “Ancient Temple in the Mountains” 17th century; Johannes Vermeer, “Young Woman with Water Pitcher” 1662 ; Francisco Goya, “Courtyard with Lunatics” 1794; Edgar Degas, “Ballet Rehearsal” 1873

Art in the twentieth century has seen a bit of a different and new trend when it comes to the use of negative space, as artists begin to play with optical illusions and the creation of images with the negative space itself. (This has become an even bigger trend within the realm of graphic design, and is a technique often utilized with logos, like the arrow formed between the “e” and “x” in the FedEx logo.) Here are some cool examples:

AH Collage 2

(left) Coles Phillips, “A Young Man’s Fancy” 1912; (middle) M.C. Escher, “Sky and Water I” 1938; (right) Rene Magritte, “Decalomania” 1966

 

Examples at Principle Gallery:

Everywhere you look here at Principle Gallery, you’ll spy examples of skilled and thoughtful use of negative space. For some artists, however, it is an especially important design element. Consider the work of Laura E. Pritchett:

Pritchett Collage

(left to right) Laura E. Pritchett, “Faith”, “Projection”, “Passing Through”

Laura’s thoughtful and liberal use of negative space as part of her compositions plays a big role in the way these works possess a sense of stillness and peace, as if a moment has been captured. Imagine for a moment if Laura had continued to fill the positive space of these works with more background imagery, more colors and textures and objects. It’d really change the impact of the paintings, don’t you think? You can check out all of Laura’s gorgeous, peaceful work at Principle Gallery on our website here.

Now check out these other awesome pieces at Principle Gallery, and take a moment to consider how and why you think the artist might have played with positive and negative space the way that they did:

PG Collage2

(left to right) Valerio D’Ospina, “Rainy Day in NYC”; Colin Fraser, “Highwayside”; Kevin Fitzgerald, “St. Martin Snow”; Mia Bergeron, “Limitless”

For more incredible artwork from Principle Gallery, be sure to subscribe to our blog and follow our social media pages on Facebook, Twitter, Instagram, Pinterest, and YouTube!

Technique Tuesdays: Alla Prima

Technique Tuesday Alla Prima

What is it?

Alla prima, also called “wet-on-wet” and “direct painting,” is a very popular method of painting in which the artist applies paint to the canvas essentially in one sitting (“alla prima” is an Italian phrase that translates to “at once”). One way to better understand the technique is to examine the alternative way of painting. For a long time since oil paints rose in popularity in the fine art world, paintings were completed in a rather slow and deliberate manner. First, an underpainting was created (stay tuned for a look at underpainting on an upcoming Technique Tuesday post!) and from there, layers of paint were carefully built up and allowed to dry in between applications. For some works, this process could mean it would take several weeks or even months for the painting to be completed. In contrast, alla prima painting involves wet paint being layered on wet paint, typically with only a brief sketch rather than an underpainting to guide the rest of the composition. Alla prima paintings are typically completed in one session, though some artists will later return to an alla prima work to make adjustments. Though the traditional method of using an underpainting and building up many layers of paint with time for each to dry is still one that is widely used, it was not until the Baroque era that artists began to explore the expressionistic and practical advantages of alla prima painting.

Examples from art history:

In contrast to the very deliberate, layered painting methods of fellow Dutch Golden Age masters like Vermeer and Rembrandt, Frans Hals made use of the alla prima method of painting as a way to explore realism with a more free and expressive touch. While the style was seen by some traditionalists as sloppy and not appropriate for fine art painting, many began to appreciate the energy and vitality that alla prima painting could give a work. Later, in the 19th century, the Impressionists took up the practice of alla prima painting too, both for the vivid expressiveness it imparted as well as for the fact that the artists of that movement were painting things that they wanted to capture right in the moment. Impressionists began seeking to capture the scene before them by translating the quick impression of light and color, rather than painstaking focus on perfecting the forms or composition. They began to paint life around them–people walking along the street, the effect of the sunrise, dancers in practice, people at a party or a luncheon. Since these scenes could not be staged and slowly painted in the studio, the practice of alla prima painting became especially popular with artists like Edouard Manet, Edgar Degas, Claude Monet, and many, many others.

alla prima collage

(left) Claude Monet, “Impression Sunrise”; (middle) Frans Hals, “Malle Babbe”; (right) Edouard Manet, “The Luncheon on the Grass”

Examples from Principle Gallery:

Many of the artists that we show at Principle Gallery use the alla prima painting technique. Some, like Lynn Boggess, use this method because it is effective for quickly and expressively capturing the scene before him while he paints on location. Others, like this month’s solo exhibition artist Kevin Fitzgerald, use alla prima when painting smaller studies that they will use as a basis for larger and more involved works later on. When we hold live painting demonstrations at the gallery, such as the Face Off events each summer or solo demonstrations like last year’s with Teresa Oaxaca, the artists use the alla prima method to quickly create their beautiful paintings and capture the essence of the subject in the moment. We are thrilled to have Teresa Oaxaca back again this year for another live demonstration in May, followed by a live demo with the incredible fellow Principle Gallery artists (and a former teacher of Teresa’s) Robert Liberace. Be sure to mark your calendar for May 15th and May 29th to view some incredible alla prima painting right here in the gallery!

pg alla prima collage

(left) Lynn Boggess, “28 April 2014”; (middle) Kevin Fitzgerald, “Gulf Coast Dawn”; (right) Teresa Oaxaca, “Alla Prima”

 

 

Technique Tuesdays: Tonalism

Before we start to look at this week’s Technique Tuesday topic of Tonalism, we’re going to start with a mini discussion of two basics that are important to understand when talking about this style. So, in case you are not yet familiar with these concepts in art, let’s take a quick look at these 2 terms:

Value
In art, “value” refers to the relative lightness or darkness of a given color. Lighter colors are said to have higher value, and darker colors lower value.

Tone
“Tone” is a very similar concept to value, and refers specifically to the intensity of a color. Adding white or black to a color will change its value (lightness or darkness) by also changing its intensity. The more pure the color, the more intense. Therefore, the mid-value and mid-tone colors used by Tonalists end up reading as very soft and quiet.

a chart depicting the scale of values and tones of various colors

a chart depicting the scale of values and tones of various colors

So, on to Tonalism!

Technique Tuesday TonalismWhat is it?

“Tonalism” is the name that was eventually given to the art movement popularized in the late 1800’s by American  landscape painters. Essentially, Tonalism is a way of painting landscapes that is characterized by soft, blurred lines, gentle use of colors in the mid-range of tones and values, and an elegantly simple composition. For many Tonalist painters, the use of this style was inspired by the philosophers and Transcendentalist ideas popular in America at the time Tonalism began. By painting a landscape in this certain way, artists sought to transform the portrayal of a landscape into something that might elicit a spirit of contemplation and introspection from the viewer, turning it into a tranquil and meditative device. An early member of the Tonalist movement, Birge Harrison, once described the objective to his students as that of striving for the “big vision-the power to see and to render the whole of a given scene, rather than to paint a still-life picture of its component parts; the power to aint the atmosphere that surrounds the objects rather than the objects themselves; the power, in one word, to give the mood of a motive rather than the scientific statement of the trees and rocks and fields and mountains that make up the elements.” Tonalism took many varied forms in the work of different artists, but here’s a word cloud to help give you an idea of the common qualities of Tonalist paintings.

word cloud

Examples in art history:

Inspired by the Transcendentalist philosophies of writers like Henry David Thoreau, Ralph Waldo Emerson, and Walt Whitman, American landscape painters in the late 19th century developed the progressive and spiritual style of painting known as Tonalism. Two well-known artists from this movement were George Inness and James Abbott McNeill Whistler. Both Inness and Whistler experimented with the use of Tonalist qualities such as soft, mid-tone colors, simplified compositions, gentle light, and blurred focus to create contemplative, peaceful scenes like these below. Tonalism continued to inspire painters in later movements as well, as one can see in the work of more modern masters like Andrew Wyeth (and, as we’ll soon see, Principle Gallery artist Kevin Fitzgerald).

tonalism collage

(left) George Inness, “Sunset on the Passaic”; (right) James Abbott McNeill Whistler, “Nocturne in Blue and Gold: Old Battersea Bridge”

Examples from Principle Gallery:

To give a quick visual example of how effective Tonalist techniques are in creating a peaceful, moody atmosphere in a painting, let’s take a look at two lovely landscapes by Principle Gallery artists. On the left, Lisa Noonis has used higher-contrasting values and colors and energetic brushstrokes to give this water scene a lively and dynamic feel. You can easily observe, though, how on the right, Kevin Fitzgerald’s Tonalist-inspired landscape (while it shares some of the basic characteristics of Lisa’s painting) makes use of the principles of Tonalism to achieve a poetic and tranquil effect. Both of these artworks depict sky, clouds, and water using a range of blues, greens, and grays, but it’s easy to observe how different the resulting “feel” is between the two.

(left) Lisa Noonis, "Rain Likely"; (right) Kevin Fitzgerald, "River Clouds"

(left) Lisa Noonis, “Rain Likely”; (right) Kevin Fitzgerald, “River Clouds”

Inspired by a wide range of artists, from Renaissance Masters, to Tonalists, to the French Impressionists, to color field painters like Mark Rothko, Kevin Fitzgerald has developed his own style of painting landscapes in a way that, like Tonalism, transforms the scenes into something that the viewer experiences emotionally as well as visually. Kevin uses the vistas that he paints, often near his home on the Eastern Shore of Maryland, as a poetic means of communicating the spiritual significance of each moment in nature.

In his personal statement, Kevin writes, “The landscape, both cultivated and wild, can serve as a reminder of the beauty and power that exists beyond our grasp. There is always something happening in the landscape before us, and something is always about to happen. We are traveling along, almost unmindful of everything around us, when suddenly we are startled to see in a distant field a strange arrangement of color and light. We know that in a moment it will pass. Perhaps all we can manage to say is that it is beautiful. For an instant we feel the presence of the miracle once again, allowing itself to be revealed.”

We are thrilled to be anticipating the opening of Kevin’s annual solo exhibition this coming Friday, March 20th. Join us from 6:30 to 9 PM at the gallery to view these amazing works of art, meet the artist himself, and maybe even find your own moment of comtemplation and peace. Enjoy this sneak peek of some of the beautiful, Tonalist-inspired landscapes in the show! For a full digital preview of the exhibition, just send an email request to info@principlegallery.com, or keep an eye on Kevin’s artist page on our website for other available works.

Potomac Dawn 24x36 72

Kevin Fitzgerald, “Potomac Dawn”

 

Black Hills Grove 24x36 72

Kevin Fitzgerald, “Black Hills Grove”

Gulf Stream Wave 40x30 72

Kevin Fitzgerald, “Gulf Stream Wave”

Ironshire Dawn 18x24 72

Kevin Fitzgerald, “Ironshire Dawn”

 

Technique Tuesdays: Dry Brush

Technique Tuesday dry brushWhat is it?

Today’s featured technique is the dry brush technique. Like last week’s technique, the multi-loaded brush, this technique deals with the way that the artist loads their brush before applying it to the canvas. With the dry brush technique, rather than using a brush moistened with oil or water (depending on the type of paint) and an ample amount of paint to get a nice smooth brushstroke, an artist will instead use a mostly dry brush and a smaller amount of paint. This way, when the brushstroke is made, it has a more scratchy, textured, and wispy appearance. This is a technique that is used in both water-based painting (watercolor, egg tempera, acrylic) and oil-based painting.

Examples from art history:

One of the most beautiful and iconic uses of the dry brush technique can be found in ancient Chinese art. Chinese brush painting involves a brush dipped into black or colored inks, and dates very far back. It was during the Song Dynasty (960-1279), however, that Chinese brush painting reached a new level of sophistication and began to incorporate techniques like dry brush painting. The lighter, softer, and more blurred effect produced by using a dry brush allowed for a range of atmospheric effects. The images below are examples from this dynasty:

(left) Fan Kuan “Travelers Among Mountains and Streams”, 11th c.; (right) Chen Rong detail from “The Nine Dragons”, 13th c.

 

During later periods of art history, artists also began to use the dry brush technique in a way that is referred to as “scumbling.” Though many use “dry brushing” and “scumbling” interchangeably, the distinguishing aspect of scumbling is that it is used in the layering process of paint. (So, while dry brushing might sometimes involve the paper showing through, scumbling in particular allows the other layers of paint to show through.) One of the great Masters of the Baroque period (17th and 18th centuries), Rembrandt van Rijn was perhaps one of the most famous artists to make use of scumbling technique, as he used it to achieve unique and extraordinary lighting effects. The image below shows the technique as used by Rembrandt, as well as an example from over two centuries later, in a painting by Edouard Manet:

(left) detail of self portrait by Rembrandt van Rijn in 1661; (right) Edouard Manet, "Emilie Ambre as Carmen", 1880

(left) detail of self portrait by Rembrandt van Rijn in 1661; (right) Edouard Manet, “Emilie Ambre as Carmen”, 1880

Examples from Principle Gallery:

Artists today still use the dry brush technique in a variety of ways to achieve the effect of lighting, texture, and atmosphere they desire. One Principle Gallery artist who makes frequent and beautiful use of the dry brush/scumbling technique is landscape painter Kevin Fitzgerald. Kevin utilizes this technique in many ways: to give a blurred softness to the edges of the fields of color in a piece, to give the wispy impression of clouds, to add an interesting texture, to loosely blend layers of colors, and to give a misty, peaceful atmosphere to the work–just to name a few! “Indian River Morning,” one of the pieces included in Kevin’s upcoming solo exhibition (opening March 20th!) is an excellent example of this technique:

Kevin Fitzgerald, "Indian River Morning"

Kevin Fitzgerald, “Indian River Morning”

Enjoy these additional beautiful examples of Kevin’s use of the dry brush technique below (or click here to see all of his available work on our website), and be sure to keep an eye out for many new works to arrive soon for his solo exhibition!

Blue Pond Clouds 72

Kevin Fitzgerald, “Blue Pond Clouds”

Chincoteague Dawn 72

Kevin Fitzgerald, “Chincoteague Dawn”

Kevin Fitzgerald, “Boca Dawn”

 

Technique Tuesdays: En Plein Air

Technique Tuesday en plein air

What is it?

Today’s Technique Tuesday topic takes us on a trip to the great outdoors as we explore the world of Plein Air painting. The term “en plein air” is a French expression that translates to “in the open air.” It is used to describe the technique of painting outdoors, with the subject in full view of the artist. Although these days many artists work in their studios, often with photographs as reference, many artists still love to paint en plein air–especially landscape artists! When a landscape is created outdoors, the artist is often able to capture the space, the air, and the light more accurately than they could from a photograph alone. The task of plein air painting can be a bit tricky, as artists have to deal with obstacles like unpredictable weather and shifting light throughout the day. Many artists truly enjoy the challenge, though.

Examples from art history:

Painting outdoors has been done for a very, very long time, but it was not until the mid-1800’s that it had a true boom in popularity. After the introduction of paint in tubes and the “box easel”, an easel with telescopic legs and some storage capacity, painting outdoors became a lot more convenient, and the Impressionists were among the first to take advantage of the fact. As the growing movement of Impressionism was largely focused on looser representations focusing on light and color, plein air painting was the perfect method. Impressionists like Pierre-August Renoir, Claude Monet, and Camille Pissarro took advantage of the plein air painting technique, and the popularity soon spread across Europe and the Americas. Check out this neat plein air painting done by American artist Winslow Homer in 1868– not only is this a plein air landscape itself, but it depicts several other artists working en plein air as well!

"Artists Sketching in the White Mountains" by Winslow Homer

“Artists Sketching in the White Mountains” by Winslow Homer

Examples at Principle Gallery:

Many, many of our artists at Principle Gallery have painted outdoors, but some of them make special effort to do as much of their work en plein air as possible, to give their landscapes a real sense of freshness and life. Sometimes, as it’s understandably easier, artists will paint en plein air and create small studies, then go back to their studios to create a larger version of the work. Either way, it’s often easy to sense when observing a landscape whether the artist used the plein air painting technique in their work; the paintings seem so realistic and fresh, you can almost smell the great outdoors! Here’s a collage of several Principle Gallery artists who delight in working en plein air. Click on the artists’ names in the list below to view more of their amazing work on our website!

Plein Air Collage

 

(Upper left) Bethanne Kinsella Cople: Bethanne is a great lover of the plein air painting technique. She travels all over the country to paint different outdoor vistas with her signature lush and loose brushstrokes, and has experienced all the ways plein air painting can be both exhilarating and tricky–and sometimes bizarre! Once, when on a plein air painting retreat in Jackson Hole, Wyoming, Bethanne stepped away from her canvas for a few moments, only to turn around and find that an enormous bear had wandered up to inspect her work! (Not to worry, though, he soon moved along and Bethanne was safe.) Pictured: Bethanne Kinsella Cople’s “Tow’rd Some Far-Distant Wood”

(Upper middle) Lynn Boggess: As you may have noticed, we’ve just had an exhibition of Lynn’s work open this past week! It’s a great show, so be sure to click here if you haven’t yet checked it out. Lynn paints outdoors about three times a week in the woods of his native West Virginia, armed with canvas, paints, and cement trowels in lieu of palette knives, because they give him the flexibility he needs to create his vivid, thickly textured landscapes. Somewhat abstracted, though remarkably realistic at the same time, Lynn’s work has the true ability to make the viewer feel as though they’re truly out in the woods themselves. Pictured: crop of Lynn Boggess’s “2 January 2015”

(Upper right) Kevin Fitzgerald: Based on the eastern shore of Maryland, Kevin has some beautiful views right around him, so it’s no wonder that he enjoys taking advantage of them to create plein air works. Kevin often works in the method mentioned earlier, by creating smaller works en plein air and sometimes painting larger works in the studio based on those studies. Kevin’s work has an incredible sense of peace to it, as the colors and light are captured so beautifully at all different times of day and painted with a profound softness and grace. Keep an eye out, because we’re expecting a whole bunch of new paintings from Kevin within the next few weeks, as we prepare for his solo exhibition, opening March 20th! Pictured: Kevin Fitzgerald’s “Wheatfield Dawn”

(Lower left) Douglas Fryer: Currently based in central Utah, Douglas Fryer is well known for his incredible paintings, and his landscapes in particular. They have an ethereal, thoughtful quality to them that seems to at once capture a sense of stillness as well as the movement of the outdoors. Though he sometimes paints in the studio from photographs, Douglas excels at capturing landscapes en plein air, even occasionally participating in plein air competitions! His landscapes capture what he refers to as the “hidden poetry” in the places all around us, even those that may seem mundane at first glance. Pictured: Douglas Fryer’s “Autumn Memory, South Randolph”

(Lower middle) Gene Costanza: An artist who delights in the “painterly” application of oils, Gene focuses on a semi-Impressionistic portrayal of landscapes and man’s interaction with nature. Primarily self-taught, Gene shifted his career to painting after spending over 20 years in law enforcement. Using the discipline and patience developed during his time on the force, he now creates landscapes with a soft yet vivid atmosphere to them, inviting the viewer to “step into” the scene themselves. Gene will be part of a two-person exhibition called “Coastal Light,” coming up at Principle Gallery Charleston in March, so check out this link to see his new works! Pictured: crop of Gene Costanza’s “Winter Creek”

(Lower right) Sergio Roffo: Sergio Roffo was born in Italy, later immigrating with his family to Boston, MA. He currently resides on the Massachusetts coast, where he paints his incredible coastal landscapes and nautical scenes. With an elegance and freshness, Sergio captures the light and texture of his coastal environment in his beautiful paintings. Sergio will also be exhibiting with Gene Costanza in the upcoming “Coastal Light” exhibit at Principle Gallery Charleston next month–view it here! Pictured: crop of Sergio Roffo’s “Daily Catch”

 

An Interview with Kevin Fitzgerald

St. Martin Clouds HR

If you’ve had the opportunity to view the 2014 Kevin Fitzgerald Solo Exhibition either online or over the past couple of weeks at the gallery, you know what an amazing collection of works Kevin’s 16th annual solo show turned out to be. The light, color, depth, and simplistic beauty of these works made it a truly memorable and successful show. Kevin was kind enough to answer a few interview questions for us:

PG: Kevin, it’s your 16th annual solo exhibition with us! What has changed for you over these 16 years? Is there anything important you have learned?

KF: I will continue to work in attempting to reveal that which might be hidden in the landscape before us all. To translate somehow in paint the range of emotions one might feel when in contact with Nature is still what challenges and interests me. I am continuing to try to develop a simpler more direct and tactile approach that I hope at times can be seen in the newer work. I have learned that I will never quite reach this goal as it constantly recedes before me.

PG: What’s an average day like for you? Can you tell us a bit about your schedule and your studio?

KF: Routine is for me at this point a luxury which I am very thankful to repeat as often as possible. I have seven mile drive to the studio almost every morning with 2 traffic lights and no traffic. Fifteen minutes after leaving the house I am at work. The studio is a large, very old feed barn with skylights.  Once inside, I look around a bit and go from room to room and back again pacing and looking at the previous days, weeks, years of work trying to decide which one of them might need something done to it that I hadn’t thought of before. If nothing really calls out I might just start another one. If it is cold, I failed to mention I will first turn on the heat and also build a fire in the wood stove.
After about an hour I am usually standing at work before 2 or 3 paintings and working on them together so as to retain some freshness and spontaneity. A couple of hours later there will be lunch sometimes alone but more often with the other artists who work in the building. During that time we try to solve the world’s problems. Afternoon is more of the same with an occasional small outside painting. I leave work when the natural light fades, if not before.

PG: Have you been working on anything lately that might be new and different for you?

KF: I have been experimenting the past year or two with large scale monotype paintings but have not shown them yet. I am planning to do another series of etchings with Whistler in mind.

PG: What’s your favorite piece in this year’s exhibition?

KF: I could not pick out a single painting as a favorite; however, I was pleased to see the work displayed so well at the gallery. It is always a pleasant surprise to see the paintings so handsomely framed and placed to their best advantage at the Principle Gallery.

With the exceptions of some pieces which have already gone off to their new homes, much of the show is still hanging, and will be through April 18th. Come on by, or check for all our news and updates at our Facebook page, Twitter, Instagram and Pinterest!