"Envoy"

6 x 6"

oil on panel
sold

No paintings to feature here but you can argue that architecture is a form of art.  It can produce atmosphere and ambience, it's a variety of form and function and light can transform the space that results in temporary patterns - like on this floor in a terminal of Reagan National in Washington DC. I stood on the balcony above this floor and obsessed at the shadows from people and the skylights above.  I could have photographed there all afternoon.  

No art history today but here's a brief history of this airport.  It was built on a site once known as Gravelly Point, where Captain John Alexander built his home in 1746. His son donated most of the land named after his father and now known as Alexandria.  In the early 20th century, Washington DC had a seriously inadequate airport located near the present site of the Pentagon - obstructed by a smokestack, electrical wires and just one runway that intersected with a busy street with a guard directing traffic between takeoffs and landings and cars.  That's nuts.

In 1938, President Franklin Roosevelt was so tired of Congress dragging its feet on a selection of a new site to build an airport, he announced it would be located on mudflats on a bend of the Potomac at Gravelly Point. The new facility was opened for business in 1941 with Pan American Airlines christening the National Airport. The following years, more hangars, more terminals and air cargo buildings went up - the Metrorail connected in 1977, a parking garage opened in 1991 (better late than never) and in 1998, President Bill Clinton signed into law the bill that changed the name to Ronald Reagan Washington National Airport, commonly referred to as Reagan National.

So there, you learned something new today.  Why title it Envoy?  It's not unusual to spot U.S. Senators or Representatives, or familiar reporters and national news faces in Reagan National. And I like the word 'envoy'.

"Checks and Balances"

5 x 7"

oil on panel
sold

Our United States Capitol Building in Washington DC.  A place where, hopefully, checks and balances will occur again.

"The Hill"

6 x 8"

oil on panel
sold

There is so much I'd like to express.

But this is my painting blog. 

Art does soothe the soul when it's needed most.

I've just returned from a trip to visit family and spent an afternoon soothing my soul in the National Gallery of Art in Washington DC.  As I crossed Constitution Avenue on my walk back to the car from the museum, I stopped to admire our newly-renovated, unscaffolded Capitol Building.  

"Under The Dome"

6 x 6"

oil on panel
sold

The sculpture 'Cloud Gate' in Millennium Park reflecting the Chicago skyline, visitors and the clouds above.

As I was going thru earlier photos of Chicago, back in 2004, on Halloween, Brett and I were at the new 'Cloud Gate' when about 50+ Star Wars fanatics descended on the scene.  People loved it, the guards, not so much.

Just thought you'd get a kick out of that.

"A Rainy Night in Chicago"

5 x 7"

oil on panel
sold

This was a tough one.

I started out wanting to keep it very impressionistic and loose, then I started painting in each window like a nutball - took a break for dinner - came back to it and forced myself to paint the remainder with a wide brush.  I'm kinda amazed I finished it, and just the way I pictured it in my head in the beginning.  Yay.

This view is from a high floor in the Fairmont Hotel on North Columbus Drive - on a very rainy night in the city.  You can make out the Sheraton Towers on the right with its glowing tower.

"That Toddling Town"

6 x 6"

oil on panel
sold

I have a great feeling of achievement when I can complete a cityscape like this.  I hold my breath a lot when I tackle the buildings and the traffic.  You can hear me chant 'just keep swimming, just keep swimming' the whole time.

"Reflections"

6 x 6"

oil on panel
sold

One of the pleasures of painting is that it's an escape.  And that's what I needed, to concentrate on something else.   This is the sculpture "Cloud Gate" in Millennium Park in Chicago, locals call it 'The Bean'.  It was where I would meet up with my brother, Mike, whenever I was back in the city.  We marveled at it together many times in the past years.  It will always bring back good memories for me.

I also wanted to say to all who emailed and commented on my posting last week, about my brother's passing - every word meant something profound.  It lifted me up.  And I thank you all.  Mike's cat, Gizzmo, will be going home with a generous man who jumped at the chance.  A very meaningful ending to a difficult situation and I thank those who extended their help.

"Driving While Suspended"

6 x 6"
oil on masonite
sold

Not to whine, but this was downright tough. There was nearly a wipe off three different times, I just vowed to plug on.

This new painting is included in my ongoing series ATL to NYC & Back - as we were packed up and ready to leave the island, we wanted to see the Brooklyn Bridge just one more time. It is so iconic, so magnificent.

"Going Straight to Hell's Kitchen"

4 x 12"
oil on masonite
sold

Last night I finished my last painting for the upcoming group show at the 16 Patton Gallery - all of my pieces are New York scenes, people, and a few dogs I met along the way. Included in the grouping is this new painting - a front seat view from a cab, going south on West End, heading straight to Hell's Kitchen to find a flea market.

Please click here for a larger view.

All of the new paintings can now be viewed on my website, please click here to the show pieces.

"Treed Tops"

6 x 6"
oil on masonite
sold

If you're a painter and want to loosen up, I suggest tackling buildings - unless you want to include every single window, you find a way to get the point across but not get too nit-picky. It's a challenge. The same goes for trees. It's an impressionistic 'glimpse', I don't think the details really matter.

This view is from Central Park's Conservatory Water (is that right?), a moment of Zen as we walked around 5th Avenue on our first full day in the city. I particularly loved seeing the rooftop trees around New York. Nice, surprising sprouts of green. This painting is included in my series ATL to NYC & Back.

a little info......a nice man from New York wrote me to say, "what you painted is what we old New Yorker's call the 'boat pond'. Growing up... the Boat Pond was a very important part of this kid's life starting with E.B. White's 'Stuart Little'. " This gentleman is still building and repairing pond model boats - how cool is that? The morning we were there, more than a few kids were steering those little sailboats, just like old times. Thanks for the info Mike.

"Twilights"

6 x 6"
oil on masonite
sold

New in my series ATL to NYC & Back - on the first evening in our home-away-from-home, a stunning view from our own rooftop terrace. We stayed in the Upper West Side, around 93rd and Broadway - surrounded by towering apartment buildings. The rain turned into a mist, I stood transfixed at this view, noticing the different lighting in each and every window - certainly an inspiration for any artist. Just beautiful.

"Roofscape"

6 x 6"
oil on masonite
sold

I try to offer a variety of subjects on my Different Strokes From Different Folks challenges - the most current being the multi-level, multi-colored rooftops of downtown San Francisco. It is truly a subject that I'm in love with - mostly from witnessing how other artists transform 'just a bunch of buildings' into beautiful works of art. As I said on my blog, when I see city rooftops I understand Richard Diebenkorn. It's also an image that can swing from totally abstract to super realism - and I'd love them all. When you have a minute, take a look at what other artists have contributed.

"Cab City"

5 x 10"
oil on masonite
sold

Painting cityscapes is daunting, no doubt - although the more I do, the more confident I get. Before I start each one, the decision is made as to what I want the end result to be - more realistic or more impressionistic. Either way, my goal is to portray the atmosphere and try not to get hung up on the details - and I've learned there's several ways to accomplish that. Ways that force me to stay loose.

One way is to stay small. If I had a larger panel in front of me, I know I'd labor over every square inch, every window, every streetlight. Another way is to use a wide brush for every single dab and stroke. You can't nitpick with a honker brush. Sticking with a smaller format is good for learning, practicing - and often can lead to larger, more realized versions.

This scene was taken from Madison Avenue, around 39th Street, facing north - in downtown Manhattan.

"Pike Hike"

10 x 11"
oil on masonite
sold

Also included in the upcoming May show - a cityscape of Seattle at the corner of Pike Street and First Avenue, right at the opening of the Pike Place Market. I had taken a cab to the market early in the evening and started my hike back to the hotel - delighted with the break in the clouds and this gorgeous, dusky, peachy light - dispelling the myth that Seattle is always rainy and gray.

Please click here for a larger view.

"Pacific Heights"

3-5/8 x 12
oil on masonite
sold

The current challenge for my Different Strokes From Different Folks blog - a Victorian home in Pacific Heights, San Francisco. Architecture, buildings are not an easy subject to paint - frankly, it's much easier to draw. With a drawing, you tend to pay attention to lines and perspective - with a paintbrush you tend to feel the weight of a structure and it becomes more 3-dimensional. My experience, with painting this piece, started with a loose sketch, then I stared at the photo for a few minutes and put it away and painted. It was more enjoyable that way for me. The forms are slightly exaggerated and the colors were more intuitive in the end.

"Newspaper"

6 x 6"
oil on masonite
sold

Moving on with the alphabet series....... only fitting for N to be Newspaper, because I'm a junkie. I can't start a day without coffee and pouring over several newspapers - not counting more online. And I've always favored painting people engrossed in their paper.

This woman was inside the Seattle Central Library, a fabulous building outside and inside. The window grids made for an almost-abstract surrounding to the figure. I got halfway through this painting and wondered what I was thinking. It was a hard one. The newspaper too. And keeping it just loose enough is always the toughest.

"Seattle Glow"

6 x 6"
oil on masonite
sold

This new painting shows that beautiful glow of the early evening light on my first full day in Seattle. Skylines can be really difficult unless you approach it as a collection of shapes and color, hoping the depth will take care of itself. I often walk around cities squinting - seeing bundles of blocks and light - and this was one of my favorite views. Many, many more to come.

"The Bean V"

6 x 6"

oil on masonite

sold

On such a bright, beautiful day today, I chose to paint one of my favorite places in my favorite city, Chicago. Formally titled "Cloudgate", informally called "The Bean", here it reflects the wall of buildings along Michigan Avenue, with slight hints of visitors and the yellow umbrellas in the cafe in front of Millennium Park. It's a challenging subject to paint, relying on shapes and blocks of color that hopefully make sense in the end.

"The Bean IV"

6 x 6"

oil on masonite

sold

Chicago's my favorite city, no doubt, and "The Bean" is my favorite stop. And one of my all-time favorite subjects to paint. Officially titled "Cloudgate", it sits in Millennium Park and draws in people like honey to a bee.

This subject is great to paint for a couple of reasons - certainly it's fun and challenging, in that it's made up of shapes and colors, warped and unreal - so the challenge is to rely on your eyes to make all the shapes and curves and colors make sense in the end. Which, I guess, is what the challenge of painting is, no matter what you're depicting.

"Moon Over Market Street"

6 x 6"

oil on masonite

sold

I'd like to take you through my adventure in San Francisco, starting with the first night I arrived. I stayed nearby the bustling corner of Market and Fourth Streets, and when night falls, that area lights up like a Christmas tree. Your eyes dance around the colors and the movement of lights and people - it's just fantastic. This view is looking east, towards the Ferry Building way down in the unseen distance. I also had the pleasure of a bright, (near) full moon that added to the beauty of the city.