Llama Love 6 x 5.5 Watercolor on paper
I had a great weekend at the San Diego Artwalk last weekend (photos below). Doing Art Festivals is a lot of work, and even with the good company of my booth neighbor Laura Wambsgans, excellent meals in Little Italy, lovely conversation with old & new collectors, and my roadie-extraordinaire-husband, I was certifiably brain dead on Monday. It may have something to do with the swing of extremes; weeks of solo time in the studio, followed by 48 hours of non-stop talking, coupled with the physical strain of hauling walls and building & breaking down a display booth. But I think it’s worth it, especially for an emerging artist. The feedback from the buying public is so valuable. You get to hear everything about your art; what they love, what they don’t care for at all, and why. It helps the tender-hearted artist build a tougher skin, and the positive comments and sales are a confirmation that efforts to push your skill set in an upward arc are working.
This weekend, I’ll be in Sierra Madre, a quaint little village against the foothill mountains of the Angeles National Forest and just north of Pasadena, CA. If you’re in the area, stop by and say hello.
I’ve known Utah painter Diane Whitehead for almost six years, but only online. I was totally surprised and delighted when she strolled into my booth to introduce herself and said she was exhibiting at the Artwalk a few streets over. How fun is that? 🙂
What is different about Bouguereau’s interpretation is the frankness of the presentation. The smooth technique almost fools us into thinking we re looking at something real, or if not real, photographic. Many artists of the nineteenth century used photographs to help plan their paintings; Bouguereau, despite the appearance of his paintings, did not. In addition, Bouguereau differentiates between the foreground – the figure – and the background. Where the impressionists were concerned to depict the figures in a landscape as an integral visual whole, and achieved this by using the same broken-brushwork technique throughout, Bouguereau treats the backgrounds almost as if they were theatrical backdrops, whose broadly brushed, often intermediate forms simply set the scene. ~F. Wissman