Archives For Art

Good Creation

marylizingramart —  April 12, 2011 — Leave a comment

In our family, we read a short passage before our meals from A Grateful Heart: Daily Blessings for the Evening Meal from Buddha to the Beatles. This morning during breakfast, my daughter asked if we could read one, and this was the next “blessing” on the page…very fitting thoughts for an art blog, and for all those who create some form of art, which, to me, is anyone and everyone.

Holy Creator,
thank you for artists:
visual, verbal,
musical, kinesthetic,
spiritual…
Within their creative process
may we recognize
the divine in all creation
and be moved to awe
and wonder and worship.
-Chris Glaser

Bees!

marylizingramart —  April 7, 2011 — 2 Comments

In preparation for the Mountain Brook Art Association’s Spring Show at the Crestline Elementary field in Mountain Brook, I have been drawing some little bees. I usually don’t photograph my art after framing, but the bees, which are about 3×3 inches, look so cute in their frames! The bees are a fun subject, especially when drawn while enjoying a beautiful Spring day!

Sometimes art comes out almost effortlessly. You can sit down, full of energy, and pop out a piece of art quickly and without struggle. Last week felt that way to me. I was able to create several pieces in an afternoon, a quick piece at the kitchen table in the morning, another while my kids played in the yard.

Then the pollen came. For years I have made it through the Spring without any allergic downfalls…but this year, I have not escaped! My energy curbed by a heavy head, cue “the hard days”: those times when art is a wrestling match, a struggle to create, when nothing comes easy.

A few years ago (well, probably more years ago than I care to admit), a man told me during a one-time conversation, in criticism of a statement I had made about waiting for the “right mood” to do art, that the mark of a “real” artist is if he or she creates art in any mood, even on bad days, similar to an athlete who pushes through the sport even when it is a fight. I remember being insulted, and thinking he was rather rude and pompous, but, as much as I hate to admit it, there is some truth in it. I reject his choice of words, because anyone who creates art is a “real” artist, whether they paint all the time or only when the mood strikes them. I also find it hard to compare an artist’s process to basketball practice. BUT… I can get behind the idea that a “professional” artist, or someone trying to make a living out of art must learn to create art in any mood.

So, here are my two pieces wrestled out on one of my hard days. I had high hopes for the pieces when I formed them in my mind, but the execution was a struggle. I still have distaste for some aspects, but another “must” for an artist is knowing when to walk away.

Little flock, 8×10 Soft Pastel on card

Shade Tree, 8×10 Soft Pastel on card

“Art is never finished, only abandoned.” -Leonardo da Vinci


Charcoal Portrait by commission, 11×14 on Pastel Card

This is the first charcoal portrait I have done in quite a while, usually being commissioned for either full color pastel or graphite portraits. I used various pieces of compressed charcoal, some very soft, some hard, as well as some old Willow Charcoal that was my grandmother’s many, many years ago. I drew the portraits on Sennelier La Carte Pastel Card in a light sienna, allowing the sandy texture to enhance the piece. I was satisfied with the result, and enjoyed the darkness and smooth application of the charcoal, as compared to the sketchy, almost shiny quality of graphite. I hope to do more charcoal portraits in the future!

(P.S. This portrait was done as a rush order, so if you are ever interested in giving a piece of art as a gift, but think the deadline is too close, think again! I am always happy to do what I can to make it happen in time!)

Ocean Cliffs

marylizingramart —  March 18, 2011 — Leave a comment


Ocean Cliffs, 14×18 Soft Pastel on Card

The works of Monet and my love for the beauty of the British Isles inspired this piece; what made it’s creation even better was drawing outside on such a fabulous and warm Spring day. I love Impressionism, and this particular image seemed a perfect choice for another attempt at using bolder color and strokes. In my art room above my desk, I have a handwritten quote taped to the wall by Georges Riviere from 1877: “To treat a subject for the colors and not for the subject itself, that is what distinguishes the Impressionist from other painters.” I am far from an Impressionist and am constantly pulled toward capturing minute details, but this sentence echoes through my thoughts when I am drawing, pushing me to look for color over subject, for feel over accuracy. It never fails to surprise me that when I let go of rigidity and move with the colors, I step back and see that the picture has come together…and each time I delightfully wonder how it happened.

Gray Barn

marylizingramart —  March 18, 2011 — Leave a comment


Gray Barn, 8×10 Soft Pastel on Card

I was drawn to this scene by the curved, rutted tracks in front of the tall gray barn. I loved the colors in the grass and dirt, and put in some simply drawn cows to keep the piece company.

Hay Fields

marylizingramart —  March 18, 2011 — 1 Comment


Hay Fields, 12×16 Soft Pastel on Board

I love pastels, and I love teaching. Because of the nature of this dusty medium, it is hard to demonstrate to a large crowd since I cannot easily draw the picture upright, as on an easel, as the pastel dust cascades down the board with each stroke. To remedy this problem, in a recent pastel demonstration for the Birmingham Art Association, I inclined the board a bit to make it more visible and drew upside down, standing behind the table. My unorthodox method worked and here is the finished result: a colorful landscape that began upside down and was touched up a bit at home. I like the bright colors and think it is a pleasant, simple little scene.

Joy & Woe

marylizingramart —  March 15, 2011 — Leave a comment


Joy, 8×10 Soft Pastel

Woe, 8×10 Soft Pastel

Something I have found over the course of the past year is that Joy and Woe meet often in life, converging into one simultaneously unified and separately distinct emotion. I have written and created art on these thoughts before (“Sewing Lesson”), and the same poem by William Blake again inspires me. An excerpt from his “Auguries of Innocence”:

It is right it should be so
Man was made for Joy & Woe
And when this we rightly know
Thro the World we safely go
Joy & Woe are woven fine
A clothing for the soul divine
Under every grief & pine
Runs a joy with silken twine.

In these new pastels, which will be framed as a pair and form a separated but unified piece of art, I have personified Joy and Woe as birds; a pair that travels through our lives, touching down sometimes in turn, but often together. These emotions, as birds, sometimes land in our lives for a moment, and sometimes settle down to nest in our hearts for awhile. Joy & Woe are both part of this life, and to recognize it makes me more grateful for the Joy, and more patiently accepting of the Woe. These contrasting emotions come and go as birds to a branch, woven into the fabric of our lives as the limbs and leaves weave above our heads, and the roots below our feet.

The Spanish Steps

marylizingramart —  March 11, 2011 — 1 Comment

After a few weeks, the Spanish Steps are finally complete!


Since the piece is so large and bulky (30×30″), I moved my workspace from my art desk to my kitchen table, propping it up on a makeshift platform of a pastel box and French box easel. I used the grid method to make sure I got this technical subject correct, checking angles and being careful to keep my lines straight. I use a grid, dividing the space into quarters first and then lightly into 16 spaces, only occasionally when enlarging to such a great extent. I sketch first with pencil, making only a few corrections by pressing with a kneaded eraser (never rubbing as it damages texture); I just draw over “mistakes” rather than spend time erasing, since the pastel will cover any marks-gone-awry. Over the correct pencil marks, I redraw with a charcoal pencil to give it more substance and to ensure no parts get “lost” in the vibrant pastel.


After the Spanish Steps were drawn and my area prepared, I began layering the pastel. Working on my self-prepared Pastel Ground surface proved different than I first expected. To the touch, the texture felt fine and grainy like a Pastelbord, but when I began applying the pastel for my sky, I found it more bumpy than sandy. At first I was frustrated working with such a rough texture that showed every pastel stroke. As I moved on to the rust-colored buildings, I embraced the difference of surface and adjusted my application to a more Impressionist-like, unfinished stroke, and with perseverance, am finally satisfied with the result.

I like the roughness I see when I look closely at the fountain, and it reminds me of some of Degas’ gritty looking pastel drawings. In the future, I will choose my surface based on the result I seek, adding Pastel Ground into the mix when I am looking for a deeper texture. This project was a learning experience and I am pleased to have been able to “experiment” a bit more than usual.

Erin Hardin Art

marylizingramart —  March 10, 2011 — Leave a comment

My good friend Erin Hardin is a wonderful oil painter based here in Birmingham. She has a love for painting reflections, and does so with amazing realism, painting smoothly on metal surfaces mounted on wood. This fantastic piece will be displayed at the Energen Art Competition in Birmingham, Alabama. Be sure to check out Erin’s website www.erinhardinart.com for more of her beautiful works of art!