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Archive for the ‘The American West’ Category

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British fine artist Ann Blockley advocates picking an art subject about which one is passionate, and then building a file of photos, sketches, word descriptions, etc. dealing with the topic.  Eventually this resource will continue to seep in and ultimately create significant art.

I love the concept of building the resource file.  One subject very dear to me, a place where I spent some beautiful university and early marriage years, is the state of Colorado,  So I have been building a file of pleasant memories, focusing on that drop dead gorgeous part of the USA.

Specifically prominent in my memory is the environs of Colorado Springs and Manitou Springs—where my husband, our first child Laura, and I lived in 1956.  Our home was four rows of cottages up from Canyon Avenue on a foothill looming over stately Victorian mansions, where the wealthy of the late 1800s and early 1900s gathered to drink the allegedly-healthful waters of Manitou Springs.

In 1956, Colorado Springs was a sleepy Southwestern town of about 27,000 people—only slightly disturbed by the presence of the military, of which my husband was a part at Fort Carson.  Construction of the Air Force Academy began about the time Joe left the army for civilian life, when we returned to our native Wisconsin.

When we lived in Manitou Springs we were a young family, and we had only a primitive box camera in our limited stash of possessions—plus just a bit of extra cash for buying film.  I have only a few snapshots from that era, and naturally they are closeups of Laura—our darling first child.

So to resurrect the familiar scenic views of our neighborhood, I resorted to GOOGLE, and “he/she/or it” referred me to everything I could recall and more—views of Williams Canyon, The Cave of the Winds, the charming adobe houses and motels along Colorado Avenue in Old Colorado City, and of course The Garden of the Gods which we could see from our high-on-a-foothill bathroom window in Manitou Springs.

I printed out a stack of the online photos for my file, and added a string of my own sketches, rough watercolor and colored pencil renderings, plus word impressions—samples of which are pictured above.

The above drawing of a building is noteworthy—not my crude sketch but the history of the Colorado Springs area landmark, a mini castle called Glen Eyrie.  Glen Eyrie was built in 1871 by General William Jackson Palmer—the founder of Colorado Springs.  “The Glen”, as the castle is frequently called, is set on 750 acres.  There are 97 rooms of scenic Old World ambience, now tastefully refurbished with every modern convenience.

I recall this building to be dark and mysterious in 1956, and I always wondered about it when we drove by.  Whether or not refurbishing by new owners as of 1953 had begun when we lived in the neighborhood of The Glen, I cannot recall.

But if you GOOGLE “Glen Eyrie” as it is today, as well as it was before remodeling, you will see an amazing transformation in keeping with the castle’s Old World charm.  The “new owners of 1953” were and still are a Christian Campus and Community Ministry, THE NAVIGATORS* with a combined emphasis on evangelism and Biblical discipleship.

Glen Eyrie serves as a year-round NAVIGATORS’ conference center, especially meaningful to me as two of our six children were successfully “navigated” through the University of Wisconsin system via the NAVIGATORS.  Both our son, Karl, and daughter, Martina, have spent fruitful times at Glen Eyrie.

Thus my art file is building.  I am still waiting for some fantastic art to emerge, but oh what fun anyway!  Thank you, Ann Blockley.

Meanwhile, since all of Colorado and New Mexico are special to me, I do have a backlog of paintings inspired by vacations in those states.  Come along and see for yourself.

 

Remaining Days 1.jpg

And more!

Margaret L. Been — November 14th, 2018

*THE NAVIGATORS MINISTRY was founded by an evangelist, Dawson Trotman (1906-1956).  Trotman died while rescuing a young girl from drowning in a water-skiing accident, in New York State.  Since then, the ministry which Dawson Trotman began has resonated world-wide.  The Navigators Ministry has been used by God to save countless individuals from spiritual drowning. 

A beautiful picture of the truth of Psalm 116:15, “Precious in the sight of the Lord is the death of His saints.”

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Bottle Fantasy--6Condo at Santa Fe--1WindowsWindows Series 2.jpgwindow scene made strange abd strangerMilwaukee South SideJars in a WindowDans la Fenetre 2.JPGBottles and Jars.jpg

When I began art making in in 2006, I entertained a short period of thinking each rendering had to be of a different subject.  But I quickly realized how silly that was, having had some exposure to art history in college.  Didn’t Monet do a lot of haystacks?  And lilies?

And how about Degas with his ballerinas?  Winslow Homer at sea?  Not to mention (but I will) Georgia O’Keeffe with her massive flowers and striking New Mexico scenes.  Not that I am placing myself on a level with the above, but rather to simply say it is good to paint favorite subjects again and again.  Each work will differ from its predecessor, and there is infinite variety possible via palette, season, details, mood, and the list goes on.  Again and again.

I like to do waterfalls, ships in peril (I don’t want to BE on one, just to paint it), trees waving in the wind, adobe structures, gardens, bowls of fruit—and pots, pitchers, bottles, and jars often in the setting of a windowsill.  There is something about the bones of structure, even in the evanescent ideas I like to present.

At the top of the page you see what is one of my very first attempts at watercolor.  In a book, I’d found a repro of a painting by Fine Artist Jeanne Dobie, where she portrayed bottles in a window not by painting the bottles themselves but rather through showing the liquid color contents of the bottles surrounded by white paper representing light.  Pretty leaky bottles (mine—Jeanne’s were stunning).  But that was 2006 and it was what it was.

The next one down is a quick colored pencil sketch through the window of a rented condo in Santa Fe NM, where we spent a wonderful Easter week with our son, Karl, and his family in 2008.  The NM scene is followed by three more window bits with stuff in the windows, then followed by an albeit primitive and super child-like rendering of Milwaukee’s South Side as viewed through a lobby window at St Luke’s Hospital where my husband was undergoing cardiac care.  That painting, as odd as it is, is close to my heart because of the stressful time it represents in our family.  Painting IS therapeutic!

The domes of Milwaukee’s South Side, historically Polish and Serbian, are followed by a 2013 window scene—getting just a little bit more presentable.  Then comes a 2016 scene which I like a lot.  The print doesn’t do the painting justice, as in real life the colors and shine are noteworthy—and so is the real life size, which is 20″ x 24″.  I like wet, blurry effect, which was achieved with Gum Arabic.  (I tend to get that name mixed up with what I put in my gluten-free baking:  Xanthum Gum.  I hope I don’t get the gums mixed up in the cookies!))

One more of blurry bottles.  I like the frayed and fringy effect in the yellow/purple on the right side—produced by wet color introduced alongside another, slightly drying paint.  This works best on wet paper, and I love it even though it drives some watercolorists crazy.

And finally, the 12″ x 16″ pictured below is my very latest studio creation.  The wood on the window was textured by dropping Winsor & Newton Texture Medium onto the wet paint with a pipette or medicine dropper—one more tool of the trade available with acrylic ink bottles, or from your local pharmacist.

Since I will probably go on doing window scenes, along with Peril at Sea, etc., I am covering the latest in this series with one name, “Dans la Fenêtre”—because I am besotted with the FRENCH LANGUAGE (in which my proficiency is nearly zero on a scale from one to ten.  🙂

Margaret L. Been — March 18, 2018

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Shawl 1

Shawl 2

Just for fun, I’m planning a brief digression from palette presentations—in order to share some other arts that I’m passionate about.  Painting is a huge part of my life, but there are other huge parts as well.  For starters, FIBER ARTS.

I love to spin wool and knit, and I’ve had wonderful years of weaving countless garments, place mats, and rugs on two looms which are currently up in our Northern home, as there simply is no place to put them in our condo.  (But my two best spinning wheels, Jensen Wheels, are right here beside us in our living room.  They are an indispensable aspect of my lifestyle!)

For eighteen years, when we lived in the Town of Eagle in Southeastern Wisconsin, I raised a spinner’s flock of from two to eight sheep—fine wool breeds.  At that time, I taught Fiber Arts Workshops in our home.  I found a (rather crochetty) gentleman to make a large rustic sign for the entrance to our drive:  FIBER ARTS:  Spinning, Weaving, Knitting . . . .” plus phone info, etc.

But what a struggle, getting that sign custom made.  The sign artist was bent on refusing to make the sign as I directed because, in his rather vehement words, “The is no such thing as ‘Fiber Arts’ “.  Finally I won.  I had cash, and money talks.  But I’ll never forget my shock over someone trying to tell me that “There is no such thing as ‘Fiber Arts’ “.  Yikes!

Anyway, I’m as nutty about fibers, as I am about my paint brushes and tubes of paint.  Recently some friends and I have been knitting prayer shawls for the local Vince Lombardi Cancer Center.  Since a lot of shawls can be produced at a rapid pace I make shawls for family members, friends, and myself as well.  Recently I had a shawl ready for the Center, when I learned that a friend in Seattle has cancer.  So that shawl went to Seattle, instead of to the local Cancer Center.

The shawls are too much fun to make.  If they were any more exciting, I wouldn’t be able to stand it!  Each one is an original, one of a kind, in a variety of colors that might have made Old Testament Joseph weep with envy.   I love color, and I love to make up garments as I go along—incorporating pattern stitches.  If I discover that I’ve inserted a color that doesn’t fit, or a pattern that doesn’t add anything to the mix, I simply rip—sometimes many rows—and start over to get it right.

It’s good to include button holes and buttons—at least one per shawl.  This prevents the slipping and sliding that shawls otherwise tend to do.  The buttons are special, some hand-made clay or fabric creations from art fairs, and others from yarn stores.  Currently I’m working on a Southwestern shawl in New Mexico colors.  It will have two buttons, roses in a brushed gunmetal grey substance resembling pewter—made in France.  Finally I trim edges or interior areas with a double crochet or fringe, or both as in the above example.

Here is one more recent creation:  perfect for our newest family member, great-grandson Leonardo Aguilar II.  His Mexican Daddy says Baby Leo likes to be wrapped up “like a little burrito”.

Little Senor 3

Margaret L. Been, May 2014

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The Cliffs Were Weirdly Lit

I am greatly blessed with the gift of a visual mind.  When I read, the scenes described in a book loom large before my eyes in living color.  Although I dearly love words, it’s actually the pictures which words evoke that thrill me—or terrify me, whatever the subject of the text may be.  Plot and character development are “biggies” in successful fiction, but for me it is a sense of place and the scenery which rise up larger than life.  I’m perfectly happy with a virtually plot-less novel and one with few characters, if the book abounds in adjectives and adverbs which delineate a scene so vividly that I think I am really there—en plein air!

Visually oriented people are tremendously contented with being “armchair travelers”.  I can take extensive voyages, pilgrimages, and treks anywhere in the world—all from the comfort of my sofa or my “read in bed” 1/2 armchair which serves as a sit-up pillow.  (What an economical way to go!!! 🙂 )

One of my favorite American recent writers is Louis L’Amour.  Yes, Louis was tremendously skillful at plotting, and his characters are amazingly individualistic—never the fare of “canned” formula fiction.  But most of all, I love this author for his painterly writing.  And he is my first assignment in my self-programmed Autumn Painting Agenda of painting en plein air via literature.  With words before me, I can pick up my brush and render my take on the scene described.

The above watercolor on Arches (pronounced “ARSH”—it’s French) 140 lb. cold press paper was inspired by the following description in Louis L’Amour’s SACKETT BRAND:  “The sun was just below the horizon and the red rock cliffs were weirdly lit.  Out of the west a tiny puff of dust lifted, grew, and became a fast running horse.”

I’m very excited about painting passages of literature.  Additional Louis L’Amour scenes may be forthcoming, plus quotes from painterly poems—including my own poems.  From long before I found the courage to pick up a paint brush—in fact for most of my life since early childhood—I have happily painted with words.

Margaret L. Been, 2013

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The Haunted Mesa . . . inspired by Louis L'Amour's novel by that name . . .

In the above painting, inspired by one of my favorite novels—THE HAUNTED MESA, by Louis L’Amour—I began with the “dampen the paper/charge the paint/and back off” concept but backing off simply did not work.  Instead, I spent hours letting layers dry, painting new layers, sponging off muddy parts (Arches 140 lb. cold press paper takes a lot of sponging and reworking without falling apart), and much consternation to the point of nearly tossing the whole bit into the waste basket.  Hour after hour and layer upon layer, I just couldn’t seem to make the painting come alive.

Then I accidentally turned the paper (to what I’d thought was) upside down, and voilà—THE HAUNTED MESA materialized before my eyes.  I like this one as much as any I’ve ever done.  I guess my punch line is, in the words of Winston Churchill, “Never give in . . . .”

The painting is large enough that it wouldn’t completely fit into my scanner.  (It will be matted and framed to the outside dimension of 16″ x 20″.)  But I was able to scan aspects which especially appeal to me:  the yellow-green sky and the faded background layers, as well as a good amount of the alizaron crimson/permanent magenta/ultra-marine violet foreground. 

The cloudy areas in the foreground were created by randomly rolling a wadded up facial tissue over the freshly painted, wet surface.  I’m just a bag of funny tricks!!!  🙂

Margaret L. Been, ©2013

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Variations on a theme can apply to more than music.  Here ↑ is a southwestern scene which I made with Elegant Writer® pens, on 140# greeting card paper—specifically for water media art.  You write with the pen, and then go over the lines with a damp paint brush and wonderful things happen.

Then I ran the scanned and filed picture through a couple of different options on my HOME PHOTO STUDIO® program, an economically priced alternative to PHOTO SHOP®.  Voilà!  Variations on a theme.  ↓

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