“Food is Love” is a narrative portrait about one person’s journey through a new chapter in her life. After a successful career in the corporate world she went through a process of self discovery and came to the conclusion that her passion was the soil, growing vegetables and gathering people together to share in the meals that were the product of hard work. She bought some land and along with her son began to farm it. The painting depicts moments and objects that have special meaning to her on this journey, from the goats, pigs and chickens that were part of her day-to-day existence to the produce they grew, and the dishes she made for the people she gathered around her table.
"The Greeters', oil on linen, 36" x 48"
My wish, and I assume everyone else's, is that the day we reach the other side, all the dogs we have loved in our lifetime will be there waiting to greet us.
This painting is the greeting line up of all the wonderful dogs that belonged to an individual in Bethesda, Maryland. She loved her dogs intensely and with all her heart and when she saw another "lifetime of dogs" painting that I did she knew she wanted a painting of her own. She is an amazing person and besides loving her own dogs, she loves all animals and was very involved with the Washington Animal Rescue Alliance for years.
When she started sending me photos of her dogs I fell in love with them as well. They were all so different and unique. There is Kiki, the black lab who was wonderful with children, and Senta the beautiful German Shepherd mix with the most soulful eyes. And Daisy the yellow lab who loved the water so much -- she was wading in every photo. And tiny Moose, (perfect name) the cheerful Yorkie, who could hold his own with the big dogs. Then Laila the white and caramel terrier mix who looks tough until she rolls over and her tongue flops out to show she is a total love. And the amazing and much loved Mango who has both incredibly expressive ears and a way of sitting on one hip that is totally endearing. And finally Wolf the big, beautiful Husky with a smile so wide you can't not smile back.
These dogs were so special on their own I decided to let them have center stage, sitting or standing in an open landscape with water and a big blue sky. I wanted their surroundings to feel like what a dog might imagine as heaven. Their owner has a house on an island in New England so she had the perfect setting for this. And just to add a little movement and color there are seven sailboats for the seven dogs, sailing behind them -- a touch of existentialism to symbolize that they live forever in their mom's heart.
Madame et Le Chien, oil on linen, 22" x 30"
I have a close friend who is naturally elegant. She is tall and graceful and has lovely refined features. She also has a beautiful and elegant Weimaraner named Greta. Whenever I see them out walking together I have a strong urge to paint them in a double portrait. But I had not figured out how to do it and elevate it beyond being a pedestrian likeness. Also my friend is modest and I couldn't imagine that she would enjoy the process of having her portrait painted. One day I was perusing a gorgeous book on John Singer Sargent with full color plates and I was mesmerized by the studies for and the the final painting titled "Madame X" which Sargent painted in 1883 of the young socialite Virginia Amelie Avegno Gautreau, the wife of the French Banker Pierre Gautreau. It is a stunning and mysterious painting. As I was studying it the subject Madame Gautreau suddenly brought the image of my friend and her dog Greta to mind. There was something so familiar. So after doing a few sketches I decided to paint Greta and have Madame Gautreau stand in for my elegant friend. I composed the painting so that Greta's stance and profile mirror Madame X's, and in a setting that echoes the late 1800 period. The breeze lifting the sheer curtain and what the subjects are gazing at beyond the window- remain a mystery.
Here is more about the original Madame X, which caused quite a bit of controversy in its time.
https://www.artsy.net/article/artsy-editorial-madame-scandalized-art
Two more "A Lifetime of Dogs"
Late summer and early fall of this year brought me two more commissions that involved painting the dogs from someone's lifetime. In my mind I equate this to painting a glimpse into what someone's heaven might be, because for me I would like to see the menagerie from my entire lifetime waiting at the gates for me to arrive. We would pick up just where we left off and they would all get along beautifully. Of course my vision would include cats and a few horses, and maybe a couple guinea pigs.
The painting I finished in August was for a gentleman on his 80th birthday. I was asked to paint it by his family and they gave it to him as a surprise. They wanted him present in the painting, quietly sitting in his yard enjoying the company of his current dog as well as the dogs from his past. He often had two at a time of a certain type- all beautiful. The family provided me with whatever photos they could come up with as well as descriptions of a few when a photo couldn't be found.
The second painting was for a friend who was the owner of an architectural salvage shop in DC. She is a collector herself and has a beautiful home filled with interesting and exquisite objects. She also has a wonderful sense of color and has had a fantastic collection of dogs over her lifetime as well. She is a delightful individual and has a special charm and glow. Even though she didn't want to be present in the painting I wanted the painting to "feel" like her in spirit and mood. As we chatted about the painting she told me about each individual dog, how they came to be with her, and their unique personality and disposition. I got very attached to them as I painted them and wanted to do each one justice. On the day I delivered the painting, I finally got to meet the beautiful Tessa in person and I got the feeling she was quite content with her likeness...or it might have been the treats.
"Living with Goats", oil on linen, 30" x 40"
Living with Goats
A Lifetime of Animals, oil on linen, 42" x 42"
The inspiration for “A Life with Animals” came last October from conversations with the individual who asked me to paint it. The concept for a painting like this is very organic. I listen to the individual tell me stories about their life, their passions and the animals they have loved, and slowly the idea emerges, followed by the seed of a visual portrayal of the idea. In this project there were so many inspiring stories, so many wonderful creatures, that the initial concept kept growing and expanding over time.
My first challenge was how to place all these creatures into the same space yet have it feel cohesive and somewhat natural – a very happy peaceable kingdom. I liked the idea of making the setting the large room of an English-style country house with various areas for seating, and opening to a landscape. Since many of the animals were rescued from dire situations and given a second chance for comfort and love, I thought that should be reflected in the painting – all the creatures living harmoniously together in a beautiful and cozy home.
I started by drawing a floor plan on grid paper as if I was figuring out where to put furniture in an empty room, then I slowly added the animals and moved them around until they each had their own spot. Then I did a perspective drawing on paper to create a deep space within which I could arrange the composition. Using photographs and descriptions of all the animals, I did a number of preliminary drawings so I felt like I knew them before starting on the canvas.
On the linen canvas, I always begin with a reddish orange imprimatura, then grid it so I can scale up from the perspective drawing. First I draw the space in charcoal, then add the figures.
Once the drawing is complete, I do a grisaille (gray tones) underpainting. When that is dry, I start working over that in transparent color glazes.
Along with the animals there are some objects depicted that are unique and personal to the owners of the painting, such as the scale of justice, the hats, the bluebird and robin, certain attributes of the interior and the landscape.
There have been times in my career when a painting sort of takes over and paints itself. This was definitely one of those. I think perhaps the spirits of all the lovely creatures had something to do with it. I am just grateful to be the person who got to hold the brush.
Sleeping Women
A theme I seem to return to again and again in my paintings is the image of a woman asleep. There is a long tradition in the history of art of a woman sleeping so I am not the first or last artist to be attracted to this subject. Perhaps it's because when you gaze upon someone asleep the potential for looking into their mind, their dreams, their virtual reality is so tempting and inspiring. Do they dream of the ocean, or the stars, or the face in the moon, of love, or perhaps of horses or herons? Hopefully all the dreams are beautiful with few nightmares.
Some of my recent Sleeping Women paintings:
The Dreaming of Horses theme grew from having frequent bad dreams or "nightmares" over the past few years. When I would wake up anxious and fearful, I would try to focus on what I would rather be dreaming of- And I decided I would always rather be dreaming of horses.
I love the Richard Diebenkorn painting "Sleeping Woman" from 1961 so I decided to depict that painting on the wall and mirror it in the sleeping woman on the sofa in the painting below.
The next Dreaming of Horses was done for a friend who loves horses. That is her horse Piper peering in the door at her and gently touching her hair with his soft muzzle. And her beagle Riley sleeping near by. Have you ever noticed that you sleep more deeply with your dog or cat in the room?
High Tea with Friends, oil on linen, 36" x 36"
This painting was a particularly enjoyable and successful collaboration between the client and myself because she is a designer and we speak the same visual language. The first time we chatted on the phone we hit it off and it was clear she had studied my paintings closely and really understood the formal elements- composition, geometry, perspective and color. She had a wall in her dining room picked out so that determined the size. She also wanted a deep space so that it felt like another window. She liked the painting I did a few years ago titled "Rabbit Summer" so that helped us with the narrative and structure. She also had some wonderful palette ideas that would work with her dining room. Springer Spaniels have always had a place in her life as well as a beautiful garden behind her home in West Virginia... and she is known for her baking talents. The outcome is "High Tea with Friends".
Alfred and Friends on the Farm, oil on linen, 20" x 24"
Alfred is the fellow sitting right in the center foreground of the painting looking out at you and he is a very lucky guy. He was adopted by a wonderful family who had recently lost their beloved Spaniel so in a mutual arrangement he filled their hearts with joy again, and they are giving him a life any dog would envy.
Next to Alfred is his buddy Lily. Lily is a demure city girl living in a nice building on the upper east side of Manhattan. She goes to the beauty parlor regularly and lives a posh life with her mum. But when Lily goes to visit Alfred on his farm, she becomes quite another beast completely, and has been known to get appropriately muddy for a farm dog.
Behind the pups in this pastoral setting are Mason and Jake, Alfred's very curious donkey friends. Whenever Alfred is near they watch him closely and appear to be amused by his antics.
And back in the field are the beautiful farm cows grazing peacefully.
This painting was a surprise for Alfred's family from his grandmother who is also the former director of the Tatistcheff Gallery NYC where I exhibited by work for many years and my close friend. She stealthily collected photos of the farm from her son and sent them to me one my one. As a writer, she had an amazing ability to describe all the subjects' personalities in great detail so that I could get them on canvas. It was a cheerful project to work on together and now I look forward to meeting all the characters in person one day!
"Citizen of the World"
This painting was a surprise for the recipient. I am always a little wary of doing paintings as surprises because art is so personal. But in this case I knew that the fellow commissioning it for his wife would have great insight into what she would like. AND she is a dear, long time friend of mine- which made the experience especially wonderful.
She grew up in Malta and from a very early age she knew she wanted to make her life about travel. She went to school in Switzerland and ultimately became a leader in the travel industry. So her husband wished to make the painting about that and call it "Citizen of the World" because that is how she has always felt, and lived her life.
The painting shows a young girl, looking at a globe and writing in a journal- perhaps planning future itinerary or writing about the journeys she has already taken. Some of her favorite books as well as books about travel and an atlas are in the bookcase below. Golden Retrievers have always been their family dog. In the distance between the arches I melded together New York, Paris and Malta, all places where she spent time and which are dear to her heart, as if they were one landscape.
In the middle distance, there are two luzzo, traditional maltese fishing boats, which visually help make the transition from foreground to distance. In the foreground architecture, on either side of the arch are a Maltese Cross, and the emblem from the Rosey School in Rolle Switzerland, which she attended. The school emphasizes an international atmosphere which obviously had a big influence. A family of swans floats near the steps, symbols of her family life. I based the color scheme for the painting on Maltese tiles.
Here is the watercolor study for the painting
"7 pm with Hopper and Bonnard" (If Edward Hopper's Model had lived during the Pandemic and had Pets")
"Sanctuary" oil on linen 36" x 48"
I was working on this painting at the beginning of the Pandemic so I titled it "Sanctuary". The room is a place of calm and reverie, isolated from the chaos and stress of the outside world.
Formally the painting is a play on the Matisse painting “The Piano Lesson” which is on the wall. The real painting hangs at MOMA and I visit it whenever I am there. It is a mystifying work of art.
In "Sanctuary" the boy at the piano is the reverse image of the boy in the Matisse. Other elements I have pulled into this painting are the arabesques of the wrought iron balcony, the angles, horizontals and verticals which are either opposing or aligning with those in "The Piano Lesson". The colors also relate to Matisse’s palette. The owls have found the sanctuary to their liking and the head of the boy in "The Piano Lesson" has always looked quite owl-like to me.
Commissioning a Painting
"Plutarque" |
"Portrait of a Young Poet" |
Preliminary Sketch for "Shadow's Woods" |
Final Painting "Shadow's Woods" |
Dance an Ode to Matisse
In recent years I have been looking back at various artists who have influenced my work in one way or another during my career, and studying their paintings by incorporating one into one of my own compositions. It is now time for Matisse. I first starting looking seriously at the paintings of Matisse on a trip to Russia in 1987. I was with my husband, who was a foreign correspondent. He was reporting on stories in Moscow and Leningrad, so I took the opportunity to go along and visit the Hermitage Museum. To my amazement, among the incredible collection there were a large number of Matisses -- none of which I had ever seen, even in books. You have to remember, back then St. Petersburg was still called Leningrad, the Communist Party still ran the Soviet Union, and the number of Western visitors to the Hermitage and exchanges of paintings between Russia and the West paled compared with today. One of the paintings was The Dance, which was commissioned by the Russian collector Shchukin, who asked Matisse to paint a second version of the one that hangs in the Museum of Modern Art in New York. The panel that Matisse did for Shchukin depicted the figures more robust and muscular, less graceful and in a strong orange-red color, whereas the figures in the painting in MOMA (which is the version I loosely copied in my painting), are lithe, simply drawn and lighter in hue, and the entire painting is imbibed with an airiness and lyricism. The Dance was deceptively hard to copy, which says a lot about the simple shapes and elegant line which is the beauty and magic of Matisse.