Friday, October 9, 2015

Second Saturday Art Show!

October 10, 2015 is Second Saturday again!  And once again, I will have new artwork on display at the Patris Studio and Art Gallery,  3460 2nd Avenue, Sacramento, CA 95817.  Also works by Patris,  Abigail VanCannon ; Scott Martin, David Peterson and several other Sacramento area artists will be included.  I have four paintings in the show.  All are ready to hang in your home or office.  Three still life paintings are beautifully framed and the very large landscape is on a heavy cradled panel with painted edges. 

It starts around 6 PM and will include wine and live music.  See you there!

Late Summer Afternoon at Delevan  Oil on cradled panel  23 x 45

The Copper Kettle  Oil on linen panel 12x12
Late Afternoon in the Garden   Oil on linen Panel  12 x 12

Quiet Evening   Oil on stretched linen   16 x 12

My Art Site: Bruce Hancock Fine Art

Thursday, October 8, 2015

In the Manner of the Masters

2015-14PO Hancock Portrait 16 x 12 Zane  Oil on linen panel

This portrait of a young man, Zane, was done entirely from life.  I used a technique and process that I explored in a recent workshop with classical artist Michael Siegel.  One could spend a lifetime studying the techniques of the old masters so I have only scratched the surface, obviously.  

What I find very valuable is the paint application process, the use of mediums (in Zane, I used maroger pronounced mare oh-jay, I believe) and a very meticulous approach.  By that I mean the literally every brush stroke is planned and then executed with care and deliberation.  Certainly, careful execution isn't restricted to the old masters - I've become aware that many of the painters I admire are surprisingly measured and 'slow' in the process of painting - but it is a hallmark of the classic painters and their work, I think.  I've been conscious of my own process for the last year or so, and I've made very deliberate efforts to slow down!  It has helped enormously.  All I have to do is remember to remenber!

Zane was painted with a very limited palette, which is simply my own preference.  I believe it consisted of medium red, yellow ochre, alizarin crimson, black and white.   There may have been a touch of other colors including a trial attempt with raw and burnt umber.  I've decided I do not like either color and have scraped them off my palette for good.  

I''m pleased with this portrait and with my journey into the style of the old masters.  I've learned a lot and that's what any exploration is about.  Personally I'll probably take a few tips away from this to be used on my own style of painting.   And just for comparison, here's the same model painted a few weeks ago in open session.  

2015-16PO Hancock Portrait 20 x 16 Zane's Braids   Oil on linen panel
Happy Painting! 

My Art Site: Bruce Hancock Fine Art

Thursday, October 1, 2015

The Blue Vase - Continuing Still Life Exploration

 Still Life painting continues to intrigue me.  I've mentioned before that I enjoy painting still life subjects in the studio as a kind of therapy.  There's something very healing about the process.  One is painting from life, but without the pressures of working from a model or the challenges (should I say aggravations?) of plein air painting. With internet radio in the background and Dixie asleep on her pillow by the transparent plastic doggie door (so she can keep one eye out for squirrels who may have the audacity to venture into HER backyard), the studio is a wonderfully peaceful place. 

But more and more I appreciate still life painting as a chance to explore painting techniques and to simply practice what I learn in workshops and other studies.  Sometimes, I learn what NOT to do, which, if it is absorbed and remembered, is every bit as valuable as learning what to TO do.  As an example of this last point, I just completed a workshop conducted by a very accomplished painter who teaches and practices a 'classical' approach using old master techniques, colors, mediums and etc. (More on the workshop in another post.) Using what I had learned, I attempted to complete this still life and in particular the vase.  It was a disaster to such an extent that yesterday I spent about two hours completely over-painting and then re-painting the entire vase.  I did one other thing, I scraped burnt umber and raw umber from my palette forever.  I know that they are essential colors of the old masters, but apparently they knew how to use them and I don't.  And simply put, they are incredibly UGLY!   (And according to some experts found on the internet, one or both have some bad chemical properties from an archival point of view.  You can google it.)

In this painting I wanted a contrast of textures.  Against the smooth and reflective surface of the blue vase and the red apple, I tried very hard to create texture in the oranges and the table top by putting the paint down heavily and leaving it.  I think it was successful.

The Blue Vase    12" x 12" Oil on linen panel

My Art Site: Bruce Hancock Fine Art