favorite still life subjects. With these 2 little water glass demos, I took a minimalist approach, with a focus on the distortion - behind the glass.
This is the route I encourage students to take: say as little as possible in paint and allow the eye to fill in the blanks. More explanation can be beautiful - or just redundant. Clarity is key when interpreting clear glass.
"Duh"- you say,
but beginners always try to describe too much "glass"- which, when you think about it - if it is clear, should hardly be seen at all.
I use hard highlights and hard accents (the darkest marks) to communicate the hardness of the glass.
The lower photo is a quick study in colored glass.
So, how do you make glass look clear and still show the color? Think CLARITY.
If the glass is clear/transparent or colored/transparent, you have to be able to see through it.
Well, I got a little carried away with this colored glass - probably a result of too much time, alas.
In 2009 I was asked to join the stable of represented artists and was impressed by the integrity and professionalism of the group; artists like Robert Buckner, Joan Hanley, Tim Deibler, Janey Waldrep, Annie Enke, Claude Appel, and Paul Foster.
In the end, neither a lack of sales (I can attest to that) or interest, forced the closing but attrition and the wearing work of running a gallery, as artists - not strictly gallery owners.
Thank You, especially to Bob Buckner, friend, and fabulous painter/sculptor - I am your biggest fan. Thank you for inviting me to be a part of something really special, and for all of your support and encouragement.
Finally, all the Best, to every artist that was a part of this fine gallery.