Heritage Still Life

8x10, acrylic on panel, © 2007
Private Collection

Once on a business trip to Nashville, Tennessee, I saw an artist's shop next to the hotel where I stayed, and what struck me was the luscious paint—brilliant and shining. I have come to better be able to achieve this feeling of opulent paint. Painting on panels is one element, but also using a heavy coat of gloss varnish is another.

This painting was finished during the Judy Greff workshop. She uses a spatter technique very effectively, and that is what I wanted to learn. She also wanted us to paint from a still life. So in the morning hours, I took a picture of some objects and took the photo to class. Judy suggested pouncing over actual lace to get the doily effect. I tried it, and it worked great with some lace that she had. I also used the spatter technique which accentuated the antique look. I haven't done still lifes since college days, but it was a fun piece to do.

Little Sioux Scout Ranch

11x14, acrylic on panel, © 2007
Private Collection

I went as a security person to the Young Women's Camp—this time during the day. Walking up to the lake I saw this light and took a photo.

I later attended a 2-day workshop with Judy Greff. I have admired her work for some time, and the opportunity presented itself to attend. I have been experimenting with painting on black-gessoed panels, and so this is one example. Judy asked that I paint it this way as a demonstration of another technique for those attending the workshop.

Mo Valley Tree

16x20, acrylic on canvas, © 2007

Private Collection

From one direction on Interstate 29 I took a photo that resulted in "Morning on the Missouri River Flood Plain." From the other direction was the "Mo Valley Tree." When I painted the scene, there was something missing. I found that it was the white farm house so prevalent in the Heart Land. I saw the house hidden in the tree and just made it come out. It added an element of human domination.

Loess Hills

18x24, acrylic on panel, © 2007
Collection of the Artist

Loess Hills were created from glacial action during the last ice age. The glacier would push soil before it as it progressed, and then it would retract—and the next season push more material up. There is no rock here, just clay. Hence there are only two places in the world where this phenomenon exists. Loess Hill of Iowa and somewhere in China. They are are a beautiful place to drive through. This was near Little Sioux on a magical morning in June.

Recognition: Exhibited in the 2007 Omaha Artist's Fall Show where it received an Honorable Mention.

Judge's Comments:

• Painting technique is excellent, and the brush strokes are free.
• It has nice contrast and use of atmospheric perspective.
• Subtle details in the tree rather than making it a black silhouette.
  
• The asymmetrical composition makes it work.

It reminds me of an early group of New England artists—part of the American Impressionist school—artists like William Merritt Chase.

Wild Flowers

8x10, acrylic on panel, © 2007

Private Collection

An outing to Lauitzen Botanical Gardens yielded many photographs. This one struck me for the color and—Oh yes—flowers. Practice may make perfect.

Loess Hills Sunrise

16x20, acrylic on panel, © 2007 

Private Collection

That magical morning returning from the Loess Hills became the source for various paintings. 

Recognition: This one was painted to be displayed at the 2007 Omaha Artists Desoto Bend Nature/Wildlife Show where it received an Honorable Mention.

Judge's Critique

Design & Composition: !

Technique & Use of Media: Excellent

Use of Color or Value: Subtle

Judges comments: Excellent paint handling—sensitive, subtle. Very physically deep composition. I enjoy the way that the strokes in the sky refer to those in the trees. “Half and Half” composition—very effective—pulls one through the composition.

Chrysanthemums

30x40, acrylic on studio canvas, © 2007

Private Collection

Marge has wanted me to paint flowers for the kitchen for years. We had a decorator come over and say that what we needed was flowers to bring the outside inside. We bought a print and had it framed and put it up. It never really did anything for me, and we gave it away. With this idea of having a large flower painting in the offing and Marge being a flower gardener I took some pictures in 2006 and decided to try my hand at flowers again. After painting Southwest Flowers, I had this idea in mind.

The concept was so clear in my mind, but the canvas became my battle ground.