Royal Blue

Royal Blue
Watercolor and gouache on hot press Lana paper
4 x 6", archival mat & backing to 8 x 10"
$85
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Happy February!  (Can I say that?)  I've just posted a video with a slew of Diebenkorn paintings on  My Great Day and there's a little study I'm particularly fond of on Studies and Sketches.

The Sandy Sky

Frankly, I am struggling with paper right now and have returned to my Lana hot press adding some gouache for play. It's bitter cold here with snow or freezing rain on the way so I'm warming up the studio with paint!

The Sandy Sky
Watercolor and gouache on hot press Lana paper
4 x 6", archival mat & backing to 8 x 10"
$75
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The First Ray

The First Ray
Watercolor on cold press Indian Village paper
5 x 7", archival mat & backing to 11 x 14"
$100
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This is my 103rd post. It's been very, very windy here with gusts between 60 and 70 mph. This is a windy painting with the first rays of light spilling forth.

This week I'm reminiscing about a few great shows I've seen over the years at My Great Day. Today, Joseph Cornell.

Late September Sky

Late September Sky
Watercolor on cold press Fabriano paper
7 x 5", archival mat & backing to 14 x 11"
$100
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This is the completion of the September Sky trio. Maybe I'll pop them into some frames later to see how they look together as a framed set.

I'm reminiscing this week on My Great Day about some great shows I've seen over the years.

Mid-September Sky

Mid September Sky
Watercolor on cold press Fabriano paper
6 x 4", archival mat & backing to 10 x 8"
$75
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Early September Sky

Early September Sky
Watercolor on cold press Fabriano paper
6 x 4", archival mat & backing to 10 x 8"
$75
to purchase this painting, email me

Sea Change

Sea Change
Watercolor on cold press Fabriano paper
4 x 6", archival mat & backing to 8 x 10"
SOLD

See today's drawing at Studies and Sketches and listen to Alan Watts this weekend at My Great Day.

Before Night Falls

Before Night Falls
Watercolor on Indian Village paper
7 x 10", archival mat & backing to 11 x 14"
$125
to purchase this painting, email me


There's more daily artwork posted at Studies and Sketches and Alan Watts is speaking this weekend on My Great Day.

Approaching the Imperials

Approaching the Imperials
Watercolor on Indian Village paper
5 x 7", archival mat & backing to 11 x 14"
$100
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(aville)

Near the Mesa

Near the Mesa
Watercolor on rough Fabriano paper
4 x 6", archival mat & backing to 8 x 10"
$75
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Towards the Orchard

Towards the Orchard
Watercolor on Indian Village paper
4 x 6", archival mat & backing to 8 x 10"
$45
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Autumn Mountain Before Dark

Autumn Mountain Before Dark
Watercolor on cold press Fabriano paper
5 x 7", archival mat & backing to 11 x 14"
SOLD

This post marks my 3 month anniversary of posting a painting every day. It's a big blogosphere out there with potential for loneliness, especially at the outset of new blogs. So... I would like to take this opportunity to thank those of you who have been purchasing my paintings and to my fellow artists who have come to visit and comment so frequently — Sarah Wimperis, Leena, Trijnie Mohlmann, Laura Starrett, Rhonda Carpenter, Sandy Maudlin, Don Gray, Mineke Reinders and Werner Pfarr (I hope I'm not forgetting anyone)— you have made all the difference! Come over to My Great Day for a little anniversary treat.

There's a new post every day at Studies and the next three days are the final posts at Diary of a Studio. These last posts cover the high points of the first year.

Sienna Stream

Sienna Stream
Watercolor on Indian Village paper
4 x 6", archival mat & backing to 8 x 10"
SOLD

Now through January 23rd, I am posting the last chapter of Diary of a Studio. These last posts cover the high points of the first year.

Come visit Studies and Sketches and My Great Day.

Mist

Mist
Watercolor on Indian Village paper
4 x 6", archival mat & backing to 8 x 10"
SOLD

I also have daily artwork posted at Studies and Sketches and a weekend film clip showing at My Great Day.

Now through January 23rd, I am posting the last chapter of Diary of a Studio. These last posts cover the high points of the first year.

Protected

Protected
Watercolor on Indian Village paper
4 x 6", archival mat & backing to 8 x 10"
NFS

When I worked as a performing songwriter, touring from here to there and beyond, the private joke (not so funny) was that it took days upon days of work for one 20 minute to 3 hour gig. And we weren't just talking about driving. Then, of course, there were the amount of gigs we'd have to play before one really stellar moment emerged with all the right elements of good performance, good audience, good room and good hosts.

I look at this picture and think of all the paintings I make before arriving at one that really pleases and satisfies me. (Not that I don't like the others — I would not show or sell something I did not think was good.)

I am reminded of Kenneth Clark's commentary on Claude Lorraine's paintings.

"Finally we come to the pictures, about which there is little to say because anyone who looks at them in a receptive frame of mind must surely be touched by their exquisite poetry. They are a perfect example of what old writers on art used to call Keeping. Everything is in Keeping; there is never a false note."

That's how I feel about this painting. See what I have posted today at Studies and Sketches and find out what's going on behind the scenes at My Great Day. Now through January 23rd, I am posting the last chapter of Diary of a Studio. These last posts cover the high points of the first year. Today, you can meet Tallulah!

Thank you for visiting Suzanne McDermott's painting a day landscape art.

The Passing Day

Sometimes I hesitate to say anything about these paintings.  Yesterday, I just forgot!  But what I really like is to read what other people say.  So comment away with your reaction whenever the mood strikes.  There is very little color here today and what there is, is extremely subdued due to the very little light that's passing through the cloud cover.  If not cold and winter, this painting reminds me of early, dark nights.

The Passing Day
Watercolor on rough Fabriano paper
4 x 6", archival mat & backing to 8 x 10"
$75
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The Red Flowers

The Red Flowers
Watercolor on rough Fabriano paper
4 x 6", archival mat & backing to 8 x 10"
$75
to purchase this painting, email me

(aville)

September Winds

Wild high winds propel
Each loose bit of leaf and limb
Trust the mighty ground

—Suzanne McDermott

September Winds
Watercolor on rough Fabriano paper
4 x 6", archival mat & backing to 8 x 10"
$75
to purchase this painting, email me



(aville)

Simple Scape

Two things I like are unfinished paintings and drawings (that work in their unfinished state) and judicious use of white paper in watercolor. With this painting, I felt that I could not make one more mark without ruining it. So, here you have it,

Simple Scape
Watercolor on rough Fabriano paper
4 x 6", archival mat & backing to 8 x 10"
$75
to purchase this painting, email me


See what I have posted today at Studies and Sketches and find out what's going on behind the scenes at My Great Day. Now through January 23rd, I am posting the last chapter of Diary of a Studio. These last posts cover the high points of the first year.

The Blue Door

Sometimes it is just too much fun to not pass up a chance to introduce one small bit of unexpected color. In this case, the bit of cobalt blue becomes the main personality of the entire setting.

The Blue Door
Watercolor on rough Indian Village paper
4 x 6", archival mat & backing to 8 x 10"
$75
to purchase this painting, email me

Chocolate Range

I make these paintings then put them aside to dry. When I come back to look, I think where is that? The mystery of the place that develops from following the stroke and being prepared, experienced and quick with my color does not cease to fascinate me.

Chocolate Range
Watercolor on rough Indian Village paper
4 x 6", archival mat & backing to 8 x 10"
$75
to purchase this painting, email me

Grape Range

This run of paintings are what I might call first stroke paintings. I let the first stroke determine the core and the shape of the landscape. Everything else — the other fields, the introduction of light, the treatment of the sky, follows.

Grape Range
Watercolor on rough Fabriano paper
4 x 6", archival mat & backing to 8 x 10"
$45
to purchase this painting, email me


(aville)

Plum Ridge Overcast

There is always some aspect of intuition at play in the process of most art making. That being said, making these landscapes and seascapes and skyscapes is an extremely intuitive process for me. I can only make them when I move completely out of my own way and am not worrying about what exactly it is that I'm doing or where I am going with the painting. Some have more structure at the outset than others and the form is clear but I still follow the stroke more than I make the stroke follow my will.

Plum Ridge Overcast
Watercolor on cold press Fabriano paper
4 x 6", archival mat & backing to 8 x 10"
$45
to purchase this painting, email me

Cloud Rope

I just love the formation of these clouds — almost like a banner — and have left a bit of the white of the paper to set off the pastel gradations.

Cloud Rope
Watercolor on cold press Fabriano paper
4 x 6", archival mat & backing to 8 x 10"
$45
to purchase this painting, email me

Last of Light

I had a big urge to work larger for certain amount of time so that's represented in the 7 x 10's posted between December 17th and yesterday. Actually, the urge was to work a lot larger than 7 x 10, and I did manage to come forth with a number of those.

Starting today, I am back to the 4 x 6 format and have marked off some 5 x 7 sheets for some upcoming paintings as well.

I've posted a bit of philosophical musing on painting you might want to read at My Great Day and a study in greens to see.

Last of Light
Watercolor on cold press Fabriano paper
4 x 6", archival mat & backing to 8 x 10"
$75
to purchase this painting, email me

Victorian Storm

This painting was as much about playing with color as anything. Daniel Smith brought out a new limited edition color, Shadow Violet. I used that for the sky and am thrilled with its granulating properties and the separation of hue. I wanted something with extreme strength for counter balance and tried Prussian Blue with Alizarin Crimson for the sea. The horizon streak is a very pale wash of Permanent Yellow Deep which I bring up into the sky and clouds, and a bit into the sea for some unification.

When used as a light wash, Shadow Violet reminds of those subtle, late Victorian shades of violet. Hence, the title.

Victorian Storm
Watercolor on rough Indian Village paper
7 x 10", archival mat & backing to 11 x 14"
$45
to purchase this painting, email me

The Crying Clouds

This painting comes directly from a larger painting I made by the name of Float. I am not showing my larger pieces online as yet. Most of them seem to sell as soon as someone walks into my studio and sees them. When I can get a photographic image of any that I am happy with, I'll figure out a way to post them somewhere.

The Crying Clouds
Watercolor on rough Indian Village paper
10 x 7", archival mat & backing to 14 x 11"
$125
to purchase this painting, email me

There's a pen and ink drawing at Studies and Sketches today and a recommendation on creative habits on My Great Day. Now through next Friday, I'm giving a tour of my new studio here.

Thank you for visiting Suzanne McDermott's painting a day landscape art.

Rich Blue Front

Holding the massive universe at bay, this bank of vapor and light provides late afternoon a space to play.

Rich Blue Front
Watercolor on rough Indian Village paper
10 x 7", archival mat & backing to 14 x 11"
$75
to purchase this painting, email me

Swept

Rolling clouds and waves
Blues gives breath to rose and gold
Incessant movement

—Suzanne McDermott

Swept
Watercolor on cold press Fabriano paper
10 x 7", archival mat & backing to 14 x 11"
$125
to purchase this painting, email me

Autumn Land

Autumn Land
Watercolor on rough Indian Village paper
10 x 7", archival mat & backing to 14 x 11"
US$ 125 + USPS Priority Shipping

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As promised, here is the first of our random quotes and thoughts on landscape.

"Turner by upbringing and by predilection was a painter in water-colours. This is one of the many things about him which alienate continental opinion, for the classic tradition has never considered water-colour a medium of serious painting."

from Landscape into Art by Kenneth Clark

Ok, I'm going to stop right there. Clark was writing in 1949 about a painter who worked during the late 18th into the mid-19th centuries and still it is the same story at the beginning of the 21st century. What is up with this? Always a pet-peeve of mine (and I'm quite sure of most watercolorists) — this business of attaching a lesser value to watercolors than to oils. What crap! Every good watercolorist has been told countless times after someone marvels at their watercolors (often artists in other mediums), "I could never do that. Watercolors are so difficult."

There are a number of different topics embedded in that little quote and commentary but it certainly speaks to what we value in general and where we put our money. My first thought was that, as with many things, it boils down to education and, subsequently, appreciation. But after further consideration of buyers and sellers and movers and shakers... maybe not.

I was not expecting to strike a nerve with this first random quote!

Autumn Land

Autumn Land
Watercolor on rough Indian Village paper
10 x 7", archival mat & backing to 14 x 11"
$45
to purchase this painting, email me

May Dream

May Dream
Watercolor on rough Indian Village paper
10 x 7", archival mat & backing to 14 x 11"
$125
to purchase this painting, email me