Red Flowers

I confess that I have a stack of dud paintings in my studio that's about neck-high.  Sometimes I'll pull one out of the pile and have a go at it with fresh paint and a palette knife.  I tell myself that it's ruined anyway, so what have I got to lose?

Here's a photo of the ho-hum painting that I started with.  I used the painting as my guide, and fractured and piled paint right on top of it.  I prefer the newer improved painting so much more.  I'd love to know if you agree!

"Summer Windowsill", 9x12"

There's still quite a lot of activity in my garden during these early days of fall, but the light is slanting lower which is my reminder that these days are numbered and fleeting.  I roam about with shears in hand, ready to harvest the most colorful remaining blooms.

I'm on my way to Taos, New Mexico to study with Carolyn Anderson.  A few years back, I took a workshop with her in New Harmony, and she changed the way I see and paint forever.  I felt like it was time for a refresher course, so off I go!  I will share with you new insights and approaches to painting which she shares with us next week.

For purchase information, please click on Ann Feldman Windowsill.

"Signs of Spring", 8x10" and Inspiration from CW Mundy

There are times when a piece of art seems to paint itself without much effort on the part of the artist.  Sadly, this is a very rare occurrence in my life.  In fact, it hardly ever happens, but like the crack of a great golf swing or a perfectly risen soufflé, the rarity of the occasion and the rush of satisfaction I can feel keep me coming back for the promise of more.

This painting did not paint itself.  In fact, there may be five layers of other iterations underneath this one, and I finally decided to call it a day.  I'm not striving for perfection after all, just a comment on something that happened that day with the light or my mood, or perhaps just the glimmer of hope that Spring will come someday soon.

CW Mundy is one of my favorite teachers in the world.  I've learned from him that a painting can be lost and then found many times in the painting process.  The painting below is a landscape that he labored over time and again, yet the final piece is near perfection, with no sign of struggle.  After spending time with CW, I've learned to keep returning to the canvas until the painting says something worthwhile. 

CW Mundy

Creek Bed at Story, Indiana  

20x16

oil on linen

"Chinese Jar and Grapefruits", 8x8"

Just as a musician practices scales before launching into a complicated piece, I like to practice simple still life setups from life to keep my observation skills sharp.  I always ask myself, what colors do I see beyond the obvious?  Where can I lose an edge or where can I sharpen one?  Is the composition balanced and pleasant to look at?

Every completed painting, large or small, informs the next painting.  Questions or problems that pop up will look for resolution in the next piece.  When the painting is smaller and the stakes are lower, I can explore new territory and push myself a little further.

"Lemons in Southern Light", 8x8"

What has stayed with me the most after our trip to France?  Cezanne's still lifes and his ability to capture color in such a complicated yet seemingly simple way.  I can see his struggle in his paintings, and it touches me.

Detail from a Cezanne still life

"Red Bicycle, Paris", 11x14"

I think I could paint for a year using all the references I got in France over the last two weeks!  I was there with my mom and my niece to study the works and workspaces of the Impressionists.  One piece of information that stuck with me is that the Impressionists were quite scientific about their use of color. Complementary colors were used especially effectively by all of them.

In this piece, I used the complements purple/yellow to mix my grays, and I used red/green for the more vibrant colors.  I hope these lessons stay with me!

"Three Pears" Is Off To The AIS Show!

"Three Pears" has been selected for the 15th Annual American Impressionist Society national show.  I hope that if you will be in Denver in the fall, you'll try to stop by and see this amazing show.  Here are the details:

American Impressionist Society 15th Annual National Juried Exhbition

Event Dates: 10/2/2014 - 11/1/2014

Reception: 10/2/2014 5 to 8pm

Location: Abend Gallery

303-355-0950

2260 E Colfax Ave

Denver CO 80206

www.americanimpressionistsociety.org

For the list of juried artists, click  here

A Couple of Portraits, 9x12 each

I've been asked many times if I have tried to translate my loose style into portraiture. Until recently, I haven't dared to, since I was afraid that when I loosened things up, I'd lose the likeness of my sitter.  I watched two of the best in person-- Jeff Watts and Carolyn Anderson as they painted portraits from life that were loose and interpretive.  "Nice for them", I thought.  But I'll never be able to do that!

Then I tried something completely new.  I painted these two portraits using only a very small round brush (#1, can you believe it?).  I scratched the poor thing down to the nub, but I learned that I can use paint in much the same way I can use a drawing medium, such as charcoal or pastel.  If I started to get tight, I'd use the brush to scratch away at the hard edges.   

As for the likeness, I found that as long as I have the eyes, nose and mouth in the right place, I could be pretty interpretive with the rest of the painting.  It's a baby step, but it was fun, and I'm ready to do some more!

"Isabella Stewart Gardner Courtyard", 10x8" And the Evolution of A Painting

The highlight of a visit to the Isabella Stewart Gardner Museum in Boston is the central courtyard.  She designed the walls surrounding the courtyard based on the architecture of Venice, and when the sun filters down through the tree branches and rests on the priceless statues that are scattered about, the feeling can be quite transcendent!

I knew I wanted to paint a scene from this courtyard, but cameras are strictly forbidden everywhere in the museum-- only pencils and paper are allowed.  Good thing I never leave home without my trusty sketchbook.

When I arrived home, I went right to work.  I didn't want to forget the colors that I had committed  to memory.

My first "go" looked a bit lifeless, so I took a clean brush and destroyed it a bit to lose some edges and put a feeling of energy into it.

I calmed it down and adjusted the color.  I'm not sure that it's a perfect replica, but it is what remained in my imagination.

For purchase information, please click on Ann Feldman Gardner Courtyard.

"Echoes of Innocence", 18x24" And A New YouTube

And now for a little exciting news: I have just finished my very first Youtube!  It is titled "Impressionistic Painting Techniques with Ann Feldman".  I hope that if you have a few minutes, you'll take a look.  Click on Ann Feldman Youtube to visit.  And please feel free to share it with other artists and friends!

Here's a little story behind this painting.  A few months ago, I was playing tennis with my usual vigor and abandon.  All of a sudden, the ball was coming straight at me, and I had a "deer in the headlights" moment.  At the last instant, I put my hand out to block the ball and ended up breaking my finger and knuckle in several places.  Naturally, it was my ring finger, so the wedding ring ended up getting sawed off in the ER.  After forgetting the ring in the examining room, I was reunited with it again later that day.

To say that my tennis friend felt bad for what I went through that day is an understatement!  OK, so here's where the painting comes in:  she sent me these beautiful flowers to speed my recovery, so I decided to paint them.  And here they are!  This painting is available through the Button Petter Gallery in Saugatuck, Michigan.

"The Logic of a Summer Garden II" 20x16"

I had so much fun fracturing my last piece, I decided to do it again!  This painting went with us to Saugatuck and is happily hanging at the Button Petter Gallery.  (Can a painting be happy?  Well, I'm happy that it's there!)

January Sunset, 8x8"

Here in Illinois, there isn't a whole lot to look at other than snow these days.  Sometimes the sunlight makes wonderful patterns that are quite dazzling.  This is the scene outside my back window today.

Daisy Glow, 10x8"

Here in the Midwest, we are starved for sunshine.  As we prepare for the next arctic blast, I thought I'd prop some sunny daisies next to the window and simulate a little springtime!

Annie on the Veranda, 12x9"

I caught my sister-in-law Annie during a rare moment of tranquility in Jamaica.  I knew I had to paint this scene-- the sunlight streaking across the floor was irresistible!

For purchase information, please click on Ann Feldman Veranda.  Thank you!

Early Morning, St. Petersburg, Russia, 10x8"

We are back from our unforgettable trip to Russia.  A week in St Petersburg was barely enough to scratch the surface of all the city had to offer.  Naturally, the highlight of the trip for me was a day spent in the Hermitage--I made a bee line for the Impressionist wing, then I wandered about aimlessly for the rest of the day, getting lost and surprised at every turn.  I'm told that if a person took one minute to look at each object in the Hermitage, it would take seven years to see it all.

This painting represents my impression of early morning on the Neva River which runs throughout the city.  Wandering around the city is an adventure in itself, considering that all signs are unintelligible to American eyes, and the language-- forget about it!  I felt like I was truly in another world.

To bid on this painting, please click on Ann Feldman St Petersburg.

"Well Hi There!", 6x6"

Please click here to bid on this painting

This painting was created through the use of SCIENCE!

I attended a lecture last week at the Art Institute of Chicago (let me take a moment to feel lucky) entitled "The Science of Impressionism".  Turns out the Impressionists were very scientific in their approach to color.  Specifically, they employed the use of color complements whenever possible to make their color appear more vivid and to make their paintings seem lively and full of movement.

A complementary color is located directly opposite from a color on the color wheel.  Typical color complements are yellow/purple, blue/orange, and red/green.

In my painting, I surrounded the yellowish umbrella with a purple-ish background to make it stand out. The bright orange umbrella is countered by the bright blue shirt on the man.  The red flowers are standing against green leaves.

During the lecture, we were able to get up close to many famous paintings to see how color complements were used.

Do you see the complements used in this Van Gogh painting?  Red and green are quite obvious, and look how he put a stroke of lavender right under her chin to play off the yellow cast of her skin.  Orange and blue dance about in the background.  Think this was an accident?  I think not!

"Calico Skies" 8x10"

"It was written that I would love you,

From the moment you opened your eyes."

-Paul McCartney

While I was putting the finishing touches on this piece, "Calico Skies" by Paul McCartney came up on my iPod, and I thought that the lyrics of this song perfectly matched the sentiment of this little portrait.  It is such a huge moment when you realize that life will no longer be just about "me", but "we" from that moment on.

"Floral Fantasy in Orange and White", 16x12"

The reception last weekend at the Button-Petter Gallery was quite a success.  Attendance was enhanced by red trolleys which brought in waves of art and wine lovers who were part of a Saugatuck/Douglas tour.  What luck to be on the itinerary!  Met so many interesting people that day, in addition to the fantastic friends and family that came to support me-- where would I be without you?  The painting above sold that weekend, which was frosting on the cake!!!

After the reception, the extended Feldman family left for parts up north.  We stayed for a week in Charlevoix, then visited Petosky and Mackinaw Island.  Michigan is beautiful this time of year!  The sand dunes were magnificent, and history abounded all around us.  Snapped hundreds of photos for future paintings-- look out for sunny verandas and hand-glazed pottery to pop up in my future art projects.

I hope that you're finding time to make the most out of summer!

"Siesta", 10x8"

I'm having so much fun with the "Destroy and Rebuild" technique that I learned from CW Mundy a while back, that I couldn't resist sharing it with my workshop students a week ago.  The Pencil and Palette Club in Huntley invited me to put on a workshop to explore new Impressionist approaches, and we covered a lot of ground!  This painting is a demo that I started in the workshop, then completed in my studio.  And now, it's on its way to Nantucket, and the East End Gallery!

I called it "Siesta" because it looks like the pear on the right decided to take it easy-- hmm, not a bad idea...

Park the Car in Harvard Yard, 11x14"

The Boston area is just so photogenic.  I always find lots of material to paint from when I go there to visit daughter Emily.  This one was painted mostly with a palette knife and will be donated to raise funds for the Cambridge Symphony Orchestra next week (Emily is a violist).