Helene Balzarini

Another artist in the Portrait Project: Helene Pinnisi Balzarini. If artists could choose their names I would gravitate towards names like Pinnisi or Balzarini. These names just sound inherently artistic, right?

This is not finished but fairly far along. She put her left hand on the wall as I took a reference photo. I asked her to move it up slightly to better fit the composition. She left her painting apron on, which I like for the color element. Helene wears glasses but took them off. This was a good move. The glasses have a very distinctive look and I suspect in a few years a picture of her in those glasses would look dated.

Work in Progress - Kevin

This just goes to show you how ghastly things can get in the underpainting stage. Night before last his face was green. It all gets better in the final stages. Honest!

Meself

At the drawing and under-painting stage.

Another contribution to the portrait project I have mentioned in earlier posts. Tough to look at oneself and acknowledge that I don't look as I did when I was twenty-five. You would think the mirror would do a pretty good job of accomplishing that but we do have a way of deceiving ourselves and, for an artist that doesn't go away until we drag a brush over every square inch of the face.

At that point the tendency may be to go too far in the other direction. Earlier self-portraits have prompted others to tell me that I'm not that gray, etc. Maybe this time I'll nail it.

Finished... Again

This little yard-side scene was up the road from where we stayed on Little Cranberry Island in Maine at the end of May. The top image is a reference photo I took for this painting. The finished painting is 24 by 30 inches, oil on canvas.

Although I signed this painting and considered it finished more than a week ago, I just went back into it and added a bicycle to the porch. It's an illustrative detail that may not add anything aesthetic, although I like the way reds and greens play off each other in this painting, along with the complimentary relationship between the maroon and the yellow. But I liked the addition of the bike for some sort of story-telling quality that the detail adds.

And as you can see from the reference photo, I chose to change the color of the shed in the background and lose the bush in the center.

More old brushes

Last week I wrote about the oldest brush I own, a boar bristle brush I bought 38 years ago when I was in college. It's the second from top in the photo. The three other brushes in this picture are actually in worse shape, and while considerably younger, they are still old bushes.

But I don't throw them out. The one at the top in the photo I used as a broad watercolor bush for a year or more before it began to deteriorate. Now I use it for priming canvas and linen. The two brushes at bottom are nylon or some version of nylon which means they're good for oil or acrilic glazing and they last significantly longer than natural sable brushes (which tend to be expensive anyway.) They go by cute names like sablette, but they are versions of nylon.

As you can see, they don't last forever either. The white handled brush is at least twenty years old but I still use it several times a month along with it's younger cousin with the brown handle. In both cases the nylon fibers have broken and splayed so that the brush no longer holds a cohesive shape. But I still use both for glazing large areas in which I've already built up a number of glazes.

Perhaps I should admit here that I also paint pretty actively with paint rags. That is to say that I apply the paint with a brush but then use a decrepit old paint rag to wipe most of the glaze or opaque paint off the canvas leaving only a trace on the surface. I like building up a color in this fashion but the brush is simply the means of getting the paint on the canvas. It's the paint rag that really leaves the 'brush-stroke' as it were.

Finished

Finished. Signed. Small differences between this image and the previous posted. Are they noticeable? Perhaps only to me.

No hard edges so far

I am trying to glaze my way up to the right colors. I've so far avoided any really hard edges and now it's getting on my nerves. I need to start drawing into this one to create some interest. This is on linen primed with a clear acrylic so the brown of the linen shows through. In principle I like this idea but wonder about how it may discolor as it ages.

Altered states

I finished this painting last year. Or so I thought. But something didn't look right and over time I grew to realize that I needed to do something with this painting.

I liked the basic composition, the relationship of the three objects and the definition of the space as being bound by a shadow. It took me a long time to realize that what I didn't like were two things: First the edge of the shadow was too hard and crisp. Second, the overall light was too bluish and I wanted to warm it up. These things sound simple now that I've articulated them but they took me a long time to realize.

But once having realized these things, it took less than an hour to make the changes. Now that I've made the changes I feel like the painting is more interesting and 'painterly.'

BTW, the top image is a bit too contrasty and the bottom image is more faithful to the colors and tonality.

Are you peeking at my underpaints?

There's a conscious effort on my part here to create some interesting colors and optical effects by laying in some complimentary colors as underpainting. You can be the judge as to how successful this is when I'm finished.

I did this kind of underpainting in the composition at top. You can see traces of the orange underpainting peeking out from beneath the pale blue surface on which the two shells sit.

Finito?

Sometimes I sign these things and then a few days later come back and add another couple of daubs...

And speaking of signing, I have used only initials here. Can you blame me? With a name like this? On a canvas that is only 9 x 12?

My son, Chris, is going to a reception tonight at the Chicago Public Library which is exhibiting, among others, the poster design he did for them. In an email to me he made reference to his incipient fame as a graphic designer on his way to becoming a 'household name.'

"With a name like ours?" I replied.

Half-finished

A gallery in Michigan expressed interest in my work and suggested I prepare a group of paintings for this summer. "Anything having to do with boats and the water," the dealer told me. He had been attracted by the seashell paintings I've done, of which there are many. But I thought about what he said and thought I ought to do more boating landscapes and seascapes.

Somewhat surprisingly I've had difficulty building up a backlog of these kinds of paintings. I had three and was working on this fourth but a friend of my wife bought two of them before Christmas.

This one is 12 by 9 inches and entirely made-up, except for the perspective of the rowboat itself which I took from a photo of Huntington harbor. The setting and background are off the top of my head.

This is a Belgian linen that is primed with clear acrylic so you see the color and texture of the linen as you work the painting. I have no idea whether this has any archival soundness but it makes for a great tone under the painting.

Things I want to do with this painting as I try to finish it: I want to manipulate the color of the rowboat away from the monochromatic sand color that dominates at the moment. I'm thinking an opaque pale bluish gray overpainting with some of this sand color peeking through in places. The weeds in the foreground need to be more specifically delineated but I'll leave them for last.