Backyard Magic
36 x 30
Private Collection

I am happy to say this painting found a new home in Ft. Worth last week. Although this "view" is only a few hundred yards from the door of my studio, I painted it from memory late last fall or early winter. I have talked a bit about that process in these posts.

The online class Painting Water is in full swing and it is a lively bunch! Some bloggers you might know are in the class (Brian McGurgan, Loriann Signori, Caroline Simmill, just to name a few) and we have Scotland, Germany, and all over the US from coast to coast represented as well. Next month, one of my most popular online classes- Drawing and Painting Trees- returns! There are a few spots left. You can click here for information and here to register.

Wyatt's Aspens

Wyatt's Aspens
16 x 12

Every once in a while, you gotta be grandma- or in my case Gui (which is what Wyatt age 6 and Lydia age 5 call me). This painting will be auctioned to benefit Wyatt's school, St. Vincent de Paul at the Great Expectations Gala being held at the Hyatt–Denver Tech Center the evening of Saturday March 5^th.

Nosey and Chubby

I just received a bronze mouse named Nosey courtesy of my friend Steve Worthington, animal sculptor extraordinaire. Steve ran a contest over Christmas on his blog to win a mouse and I won! Steve is a fantastic artist. His wicked British sense of humor and childhood fascination with all kinds of critters have combined to create a wonderful bronze menagerie. If you haven't yet, please check out his blog and website.

Nosey arrived yesterday afternoon and immediately set out to explore. Click to see a closer view!




Nosey quickly reintroduced himself to his buddy Chubby.



He then decided to explore the library. Note Lonesome Dove and Emily Dickinson on the same shelf with Emerson. I will have to speak to the the librarian about that!



Exhausted, he and Chubby decided it was time for a snack.


Thanks Steve!

Panhandle Plains Museum Invitational

Dusk on the Prairie Dog Town Fork
14 x 18
Available at the Panhandle Plains Museum Invitational

The Prairie Dog Town Fork of the Red River captured my imagination over ten years ago. We crossed over it several times a year on our way back and forth from Florida to New Mexico. There was just something about it that was quintessential West Texas.

It is one of two streams that form the headwaters of the legendary Red River. When I say "stream", I am perhaps speaking a bit too grandly about what is mostly a dry, sandy, occasionally muddy, braided swath that cuts through the panhandle of Texas.

I've exhibited for a number of years at the Panhandle Plains Museum Invitational (which I wrote about here) . The very first year I sent a painting of The Prairie Dog Town Fork and went to the opening, eager to see my work hung in this venerable institution. As I stood near my work, I saw one Texan point to the painting and say to another "I reckon we must have had a flood that year." Alas, there was too much water! He bought it anyway, so it must not have bothered him too much. But, this year I decided to opt for a little more sand and mud and bit less water.

Tonalist etchings

I continue to read A History of American Tonalism by David Cleveland. I have found the sections on Tonalist etchings very interesting. There was a revival of interest in etching and printmaking in general in the late 19th century. Whistler's influence looms large in this and many of the better known etchers from that period were in Venice at the same time or later influenced by him. His haunting nocturnes of Venice inspired many others to take up Venetian subjects as well as harbor scenes. In fact Cleveland states that "The Tonalist etching was virtually born in the cold winter of 1881-82 as Whistler produced his first and second Venice sets...".

J.M. Whistler
etching and drypoint

In America, the tendency of the Tonalist artists to pursue intimate corners of nature continued in etching subjects of the day. When searching online, I found this wonderful etching by the artist Ellen Oakford. It was made around 1887 and exhibited at the New York Etching Club around 1888. So far, I have found very little information or work by Ms. Oakford. Apparently, she was one of a group of women etchers active during this time. But, this lyrical mysterious etching confirms that I am following in the right footsteps.

Twilight
Ellen Oakford