2025-07-14

THEAMISH : 2025-07

THEAMISH
14 July 2025
Acrylic on aluminum
20 x 16 (50.8 x 40.6 cm) framed


There was a call for art at a local gallery, Cottonwood Center for the Arts, titled Metal. This call invited artists to submit works that either highlight metal as a primary medium or depict subjects made of metal. I knew about the call so I started saving some aluminum cans. I thought the metal could make a cool fish. This was my version. Originally, it was just going to be one layer thick, but I started adding some additional fins. That added some better depth. Whether or not it was accepted into the show wasn't known when I made this post.

I picked up this frame just a few days before finishing THEAMISH and thought it was a good match.
Even the mat was a good compliment

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2025-07-12

Terrace : 2025-07

Terrace
12 July 2025
Acrylic on hardboard
34 x 28 (86.4 x 71.1 cm)


Someone I flew with showed me a video of a rocket launch and I couldn't believe how awesome it looked. When you see somethings, they just stick in your head. I tried my version of it here. Pretty happy with it. Might have used a bit more orange than pink on the light side, but I think it conveys the night sky. Was a bit hesitant with the plume but very happy with it. I also tried using an airbrush for the sky but it wasn't covering as well as I expected. I think it was more an issue of the paint than the airbrush. Terrace comes from the idea that the clouds make something of a platform in the sky to view the rocket.

I only took three stage shots so I skipped the gif. You can see some of the airbrushing in the center pic.

Terrace in the frame it was cut to fit.

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2025-07-08

Boston : 2025-07

Another trip took me to Boston. This time, however, I arrived mid afternoon so I was limited as to where I could go (business hours), so I just walked around an saw what I could see. Here are some things that caught my eye...
Near the hotel was the Christian Science Plaza which has a nice reflecting pool and pretty cool buildings so I walked down there. Above left is a shot of the plaza. The center pic shows the reflecting pool and the Mother Church of Christian Science. Most things were closed so I walked the other way - toward that silver building - to see the Trinity Church (Boston), above right. The original was burned in the Great Boston Fire of 1872. The church was also closed, but it sits just across the street from the Boston Public Library. This was a bit of a hidden gem. Aside from beautiful rooms open to the public, there were several murals.

I walked upstairs and the top floor had murals by John Singer Sargent and I've mentioned I'm a fan of his work. The full cycle is called Triumph of Religion. They had these nice laminated cards that talked about the artist and the individual sections of the mural. He worked on these over 20 years in London and shipped them to America. Here's an article by Schliefke, Sargent's sketches for the work, and a new interpretation of the works. One of the murals, Synagogue, gets a lot of attention and got Sargent a lot of bad attention. Above left is the card you can read while you're there. In the center is a picture of a rather intimidating Mary in a Pietà you probably won't see elsewhere. I'm not particularly a fan of the upper right picture but it was one of the best lit areas.

Above left is above the stairwell from the ground entrance up to the library and galleries. The murals surrounding this entrance/foyer are by Pierre Puvis de Chavannes. I wasn't really drawn to these murals, but he was known for murals and was sometimes called "the painter for France". The left picture above is the layout of the murals with brief descriptions. Sargent's card had that too, but it was so worn out I didn't take a photo.

The last room I saw was the Abbey Room and its murals. Above is the card, but a very readable PDF is here. The works of Edwin Austin Abbey are titled The Quest and Achievement of the Holy Grail.

On the left, Sir Galahad the Arthurian Round Table and the Siege Perilous - he survived. I thought the figure in the white robe was superb. Above right, Sir Galahad crosses the seas to Sarras. I thought the angel was very well done and the grail is glowing under its cover.

This is the same picture with a zoom in on the monk giving Galahad the key to the Castle of Maidens. A detail of Abbey's mural is on the Wiki page for the Castle of Maidens. Similar to the figure in the white robe a few pictures earlier, I thought the monk and his robes were terrific. I hope to be able to paint fabric like that some day.

Two statues facing each other in front of the library. One is holding a sphere and the other a brush and palette. There are names listed which correspond to those two regimes - science and art. I would also call these two statues "The Names We Choose" because there are only eight names per side. I'll give my two cents...
The science side: Newton, Darwin, Franklin, Morse, Pasteur, Cuvier, Helmholtz, Humboldt. All I can say is, you get eight names and you have to include Darwin?
The art side: Raphael, Titian, Rembrandt, Velasquez, Phidias, Praxiteles, Michelangelo, Donatello. That is a tough list to make with only eight slots.
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2025-07-06

Why I Love Aviation : 2025-07

This is Lola and the sky is magnificent. I thank God I am able to fly.

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2025-07-05

Nest : 2025-07

Nest
05 July 2025
Acrylic on hardboard
18 x 22 (45.7 x 55.9 cm)


I hadn't painted (or finished a painting) for over a week and it was getting to me. I wanted to make a sky with a prairie that added flavor but didn't detract from the sky itself. The initial idea was a sky similar to Woodman East but with more contrast. More potential moisture. I like it and I like the prairie - especially the foreground blades which I can struggle with. In fact, the third frame of the gif (below) is something I like, too. It's just the clouds and sky - maybe that's something I'll revisit. I cut it to fit an 18 x 22 frame which had a print and a nice mat. Had I used the mat, much of the scene would be lost. The mat was green and the print that was in the frame was an arrangement of flowers. The first thought was Green Flow, but there was a little nest in the print and I thought Nest was more intriguing. Maybe a view from a nest or the grass provides a nest from the storm.

L: A gif with some stages - 14 days had passed (but over 10 days just sitting).
R: The frame it was destined for - a simple but detailed wooden frame clad in gold.

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2025-07-03

Hawgs and Steak : 2025-07

KC and I flew down to the Pueblo Airport to see the Pueblo Weisbrod Aircraft Museum (PWAM) for a second time. We were hoping to see the F104 Starfighter which was supposed to be finished. It was not, but they did get an A-10 Thunderbolt II. If you didn't know, the first Thunderbolt was the P-47. It was good to stand next to one again to remember how big they are. And we had nachos and hot dogs at the airport's FBO, formally Flower, now Freeman Holdings or Freeman Jet Center. They have a great setup.

On the way down and in front of the museum.
Pretty hot day but surprisingly green for the area.

This is their new A-10 (699). It's on loan, but for sale here. This jet flew 64 missions in Operation Desert Storm, from King Fahd International Airport, Saudi Arabia. The picture on the left is at Pueblo, the picture on the right is from September 2023.

We stumbled across the STEM corner where a 3D printer was toiling away. However, next to it was one of the best things in the museum. It is the MICROEYE Discovery. I think it was taking things (whatever you placed under it) up to 4K magnification. It was amazing. And we even saw a real grasshopper which happened to be in the area. We finished the day with a nice steak supper and homemade Caesar dressing.
I added this because it's kind of a museum piece. It was a nice little model for
teaching at a flight school where I fly. It was sad to see it like this one day.

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2025-06-28

MFA - Virginia : 2025-06

I had enough time on a layover in Richmond VA to visit the Virginia Museum of Fine Art (VMFA). And less than a week after visiting Boston's MFA. That was a cool proximity of visits. Similar to Boston, VMFA is free minus any special exhibits. They one-up Boston since it's free to everyone. The major exhibit requiring a separate ticket was Frida: Beyond the Myth. I missed which worked out because but I barely made it through the rest of the museum. This post is a pretty big collection of pictures so I'll try to keep the typing to a minimum. Above is my museum map, the north facing facade of the museum by the parking, and water feature with Poseidon. If you're ever in Richmond and have time, I certainly recommend visiting the VMFA.

Other exterior shots. The west-facing patio with a cafe (L), Chloe, a statue by Jaume Plesna (C) and another shot of the north side of the building. I liked the architecture.

Here are the works that caught my eye and/or had significance (to me)...
L: Erich HeckelSiblings, 1913, oil on canvas
R: Solomon Wolde, Eternal Echoes II, 2024, oil on canvas

WHY: The faces of Heckel and Kirchner remind me how energy and emotion can be captured and conveyed without overdoing the details. Another interesting thing about these is the artists knew each other and were cofounders of Die Brücke (The Bridge) - a group of German expressionists which had a major impact on the evolution of modern art in the 20th century. Eternal Echoes II was the first piece I saw when entering the galleries. I thought the colors and geometric shapes are great.

L: Emil Nolde, Blue Sea (Blaues Meer), 1918, oil on canvas
C: Wassily Kandinsky, Composition (Komposition), 1922, watercolor, ink, graphite on paper
R: Christian Rohlfs, Sunflowers (Sonnenblume), 1922, watercolor on paper

WHY: I know dark paintings aren't overly popular, but I am a fan. The blues and simplicity of Blue Sea were, to me, just about perfect. And I've been to the North Sea which is depicted here - he had a family farm near the area. I had to take a shot of Composition because Kandinsky is generally credited as one of the pioneers of abstraction in western art. The work itself - I'm on the fence, but it's great to see one in person. I liked Sunflowers because of the bold lines, and because it reminds me I used to paint in watercolors (and should probably again).

L: Falcon Mummy, 664-630 BC, linen and resin
C: Egyptian, Relief Depicting a Butchering, 2475-2345 BC (4500 years old)
R: Chinese, Tang Dynasty, Heavenly Guardian (Lokapala), 7th century

I don't often take photos of artifacts and relics, but there are always a few that win me over. The Falcon Mummy is pretty cool. Not only does it look like a falcon, but apparently the Egyptians mummified millions of animals. Even more puzzling is many of them don't contain animal remains. This one in particular had some contents (seen through x-rays) that could be remains. The Butchering is easy to miss, and the only reason I took it is because it was the oldest thing in the museum - possibly 4500 years old - and it has survived and is hanging in a wall in Virginia.  Pretty cool. The Heavenly Guardian was taken more for reference for a potential future painting. Good face, garb and pose.

L: Robert Rauschenberg, Cardbird (of the Cardbirds series), 1971
R: Peter Paul Reubens, Pallas and Arachne, 1636-37, oil on panel

WHY: It's rather a pity to place some cardboard by a Reubens, but it's here for a couple of reasons. First, it's a Robert Rauschenberg whose early works anticipated the Pop art movement and he is famous for his Combines. I thought he deserved a nod. The second reason it's here is to serve as a reminder that fame doesn't (nor shouldn't) equate to quality. When I dabbled in cardboard (see UNICOM, Screamin, and Radioman), I thought the least I could do was give them some functionality. If I hadn't they could easily be called garbage. The Reubens is here because it's a Reubens. It's also approaching its 400th birthday.

C: Eugène Robert, Braccio da Montone, circa 1895, glazed stoneware
R: Jean-Baptiste Marie Pierre, Apollo on his Chariot, circa 1755-60, oil on canvas

WHY: I think I've seen Guardi's painting before in print, and I've been there, so I took a pic. He was also considered one of the last partitioners of the classic Venetian School of painting. I liked Braccio de Montone because it is stoneware and quite impressive. There's not much info on Robert or this statue but he made three earlier versions in plaster, marble and terracotta. They were well received so entrusted a company to make colored versions in stoneware. The subject, Andrea Braccio da Montone, was a somewhat anecdotal figure of early Italian Renaissance who embodied the typical traits of a condottiere, a ruthless mercenary warlord. I thought that was a great contrast to the rather pleasant appearance of the bust. The third picture is rather large and I took it because it's a preparatory sketch for a ceiling. Pretty amazing sketch.

L: Alphonse Osbert, Enigma, 1898, oil on panel
C: Filippo Tagliolini, Laocoön and His Sons, circa 1805, porcelain

WHY: I thought the simplicity and hint of impressionism in Osbert's painting set an interesting mood. The model of Laocoön and His Sons is here because it thought this would be something to investigate further. The figures in the real one are nearly life-size and both depict the the Trojan priest, Laocoön and his sons being attacked by sea serpents. But the most interesting thing to me is that the original was excavated in 1506 (two years after Michelangelo's David) and has been one of the most famous ancient sculptures since the excavation and being put on display in the Vatican Museums. I wonder if I saw this when I was there - I can't remember. The picture on the right...all I can say is they had a Goya and I got to see it. If you don't know Goya, I'm betting you know Saturn Devouring His Son and/or The Third of May 1808.

L: Yaka culture, Mbawa Mask, 19-20th century, multimedia
C: Bamum culture (Cameroon), Buffalo Mask and Feather Costume, 19-20th cen, multimedia
R: Bwa culture, Serpent Mask, 19-20th century, multimedia

WHY: Masks are always interesting to me. These are just a few of the dozens on display. I thought they were some of the most unique and the amount of work involved is impressive. 


R: August Rodin, Saint John the Baptist, 1878-1880 (cast before 1852), bronze
C: Alessandro Magnasco, The Quaker Meeting, circa 1712, oil on canvas
R: Claude Joseph Vernet, Moonlight Scene, 1760, oil on canvas

WHY: It's a Rodin so it deserved a pic. Rodin was visited by an impoverished man at his studio, and his appearance made Rodin immediately think of John the Baptist - cool story. The next two pictures are dark imagines but as I've mentioned, dark scenes can be great. The surrealism and mood of The Quaker Meeting are perfect, and the moonlight in the night clouds is something I would like to be able to paint.

L: Fish Caviar Dish, 1896, silver
CL: Imperial Tsarevich Easter Egg, 1912
CR: Imperial Pelican Easter Egg, 1898
R: Imperial Peter the Great Easter Egg, 1903
All in this list of eggs.
The museum had a section dedicated to Fabergé. I'd never seen them (the eggs) in person so they were definitely photo worthy. That company has made a lot of items.


WHY: I thought the sky was great in Boudin's painting and I'm a fan of skies. The other two, while not necessarily a fan of these, they are Renoir and it's good to see his work.

L: At the Milliner, circa 1882-85, oil on canvas
CL: Dancers, 1885-1890, wax
CR: Little Dancer Aged Fourteen, circa 1880, cast 1922
R: Horses, 1919-1921, bronze

WHY: I thought the absence of a face in the left painting was genius - is a commentary on the person's feeling or simply a mannequin? The models of the dancers were fantastic and even more impressive that they're made of wax. Also, they were never exhibited during his lifetime. The Little Dancer is here because I saw it in Boston less than a week earlier. What I didn't know is there were only 25 copies authorized by Degas' heirs after his death. The horses resemble wax but are bronze. Degas is obviously known as a painter but his dealer once noted that when he called on Degas he was as sure to find him modeling in clay as painting. 150 wax sculptures were found in his studio upon his death - including The Little Dancer Aged Fourteen which was the only sculpture he exhibited publicly.

L: Paul Cézanne, Victor Chocquet, circa 1877, oil on canvas
C: Georges Seurat, Houses and Garden, circa 1882, oil on canvas
R: Vincent van Gogh, Daises, Aries, 1888, oil on canvas

WHY: I appreciate the recognizable face despite the lack of detail in Victor Chocquet. The simplicity of the Seurat is very pleasing to the eye. And of course, it's a Seurat. If you don't know his work, you'll probably know A Sunday Afternoon on the Island of La Grande Jatte. The van Gogh? Well, it's always good to see one and I missed the van Gogh exhibit in Boston.

L: Henri de Toulouse-Lautrec, At the Bar, circa 1886, oil on canvas
C: Vincent van Gogh, The Wheat Field behind St. Paul's Hospital, St. Rémy, 1889, oil on canvas
R: Pablo Picasso, Jester on Horseback, 1905, oil on composition board

WHY: It's a Toulouse-Lautrec - how could I not take a picture. I also appreciate the boldness and lack of detail, and I find it interesting the person standing seems rather short.  Toulouse-Lautrec was 4'8". Another van Gogh, and one I like much better. You can see how his skies and strokes are evolving. I posted the Picasso because it's a Picasso but it also reminds me of drawing exercises I did in Junior High - we drew other classmates standing or sitting in chairs.

L: Georges Braque, Fruit Dish and Fruit Basket, 1928, oil and sand on canvas
C: Pablo Picasso, The Chinese Chest of Drawers, circa 1953, oil on panel
R: Maurice de Vlaminck, Sailing Boat, Chatou, 1906, oil on canvas

WHY: I took the picture of Braque's painting to place next to Picasso's. Braque was a significant player in Fauvism and Cubism, but do you know his name? Of these two, I much prefer Braque's but that's how art goes. One could probably guess the center painting is Picasso which is a shout out to his recognizability - whether you like it or not. The Vlaminck painting could be passed off as the work of a youngster - but it's not.

L: Pablo Picasso, Pigeon on a Perch, 1960, oil on canvas
R: Georges BraqueThe Yellow Bouquet, 1952, oil on canvas

WHY: I would like to ask Picasso directly if this was nothing more than a sketch. Part of me believes he'd agree, but it hangs in a museum of fine art because it's a Picasso. I'm not commenting on the quality and/or value of the painting, but more the power of a name/notoriety. Another Braque, which I think is great, and whether it was a work favored by the artist is the same question as the pigeon.


WHY: I took this pictures because I like them. The lines, the colors, the composition.
Love the The Three Orders. Also of note, it's the same guy.

C: Robert Henri, Old Spaniard - Jartigo, 1923, oil on canvas

WHY: Haseltine had some fantastic sculptures of animals - this horse is just one of many and he had some great boars and sows, too. The Henri has terrific lighting and really captures the emotion. Henri was rather famous in his lifetime - something many artists don't attain. I took the Sargent because I'm a fan. I find this particular piece a bit busy but I'm still a fan.

C: Robert HenriSketchers in the Woods, 1918, pastel on paper
R: Edward Bannister, Moonlight Marine, 1885, oil on canvas

WHY: I noticed the left painting across the room and had a hunch that it was a Homer...and it was. It's here because it's wonderful but also because it's a Homer. If you don't know him, you might recognize, Breezing Up (A Fair Wind), 1873-76. Aside from being a great, iconic painting, I think the title is great. I enjoy titling paintings and maybe Homer had a similar affection. Another Henri and in this one, I thought the trees were ideal. I took a pic of Moonlight Marine because of that moon, clouds and lit waves. A bit of a recurring theme in some of my favorites.

Luca Giordano, St. Paul the Hermit, 1685-90, oil on canvas

I thought I'd end with this - it's large, I love the story and even the raven made the scene.

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