One of my heroes died this week. Joseph Raffael was an artist who spoke and will always speak to my soul. We lived in different places. Lived different lives. Worked in different mediums. He was famous but left the NY art scene to live quietly in the south of France. I never made it big enough in NYC to have to leave it. But I live in the quiet town of Northport on the north shore of Long Island. We have each experienced different successes in our lives. A man, a woman, so different but so the same.
In my continuing series of Studio Glimpses, I love to respond to questions by my collectors. The process of how I created this painting is generally one of those most frequently asked.
In this video, I begin by showing you the photo of a flowering hibiscus from my own garden which was the inspiration for this artwork.
Here I write my thought process behind the stages visualized in the video.
In my initial stage I work out the composition of the final art work and deciding whether it will be a square or a rectangle.
To work out the details of lights and darks that will be in the final painting I like to start with a tonal drawing. Using an HB weight graphite pencil I use my customary swirling strokes to give form to the drawing. Not being partial to outlines I don’t emphasize them but soften the edges by merging them slightly with strokes.
In order to transfer the drawing to the canvas I used a mapped grid system. In this case, I put a transparent sheet of paper over the tonal drawing on which I’ve drawn a grid. After measuring the same grid on the canvas I was able to upsize the drawing onto the canvas. Using pastels I created an underdrawing of a neutral ochre color using the tonal drawing as my model, followed by a layer of neutral ochre oil paint which seals the surface of the gessoed canvas.
In the next stage, I applied thin coats of oil paints in layers recreating the original composition in the base colors allowing the underpainting to peak through. Many, many layers of thin glazes are applied to give dimension and form to the final painting.
Details are added during the later stages, I think of it as putting jewelry on after you get dressed to go to a party. You save the best for last.
Each day after if finish working on a painting in my studio I photograph it for reference and view the images on my computer to see the progress and decide if I want to make any changes along the way.
I prefer to work on thick gallery wrapped canvas and finish the work off with neutral floating frames. I aim for simplicity in form with exuberance and abundance in surface color. This painting has no visible brushstrokes which is also my preferred style of painting.
I’m glad you came here so I can share my art with you.
Each person brings their own history, interpretation and emotion to a work of art.
My art isn’t complete without you. Thank you for being here. I love being an Artist!
Recently I had the honor to present my art and the meaning behind my thought process at Slide Slam. This event was sponsored by the Patchogue Arts Council and hosted by the Haven Gallery in Northport NY.
The presentation by the 20 selected Long Island artists was to display a slideshow of 15 images and speak for exactly 5 minutes each about the work. Such a daunting task proved to be an interesting challenge. How do you get to the essence of your work succinctly in such a short span of time?
With plenty of planning!
After the event, I created a video of my Slide Slam talk which you can see here.
Important for me was to convey how critical the garden is to my work. It is in fact the beginning of my creative workflow. In the garden I feel the power of the interconnectedness of all that surrounds me; the necessary ecological balance of the earth, climate, water and nutrients, that sustain the cycle of life.
The communities of birds, bees, insects and yes, humans to pollinate flowers with the assistance of the wind of course. This cooperation is the main critical component of maintaining not just my garden but our entire life here on earth as we know it. Without fertilization the cycle of life would die for all living things, not just for the loss of our beautiful garden flowers but for all our food sources as well.
To me, the garden is just a microcosm of the universe.
The vast beauty of color, fragrance and the architecture of each plant is created to seduce assistance in procreation. Each flower has evolved its own method for attracting exactly the pollinator they desire. Long tubes for hummingbirds, open centers for nice fat bumble bees. Certain colors are more visible to different insects than others. Fragrance signals an invitation to specific species that the time is right for fertilization. The Brugmansia is most fragrant in the late afternoon since it would rather have an energetic pollinator just arriving on their evening shift than a tired one at the end of it’s working day.
Working in and studying my own garden for the last 30 years has given me the unique opportunity to watch dynamic change occur. When my oak trees fell in Hurricane Sandy suddenly the types of plants that enjoyed their shade began to suffer from too much sun. I dug them up and moved them and their scorched leaves to where they would be more comfortable and replaced them with flowers that thrive in the drenching sun. Over time this would have happened naturally but I was able to speed up the process.
Each day in my garden I’m inspired by the energy of life. I carry this with me right into my studio where I allow that energy to inform my art.
Tired of the browns and grays and whites of winter? So am I!
I’m looking to get a jump on some brilliant color outside. I want to see color outside my windows, outside in my garden and outside on my deck. I’ll bet you are too.
Bright splashes of color greet me when the trees are bare and the shrubs covered with white snow. It is so cheery to see in the dead of winter. Seeing color reduces my stress. It probably does for you too. That’s why gardens are so relaxing.
During the spring and summer, I coordinate the color of my plantings with the colors in my art. It gives me a very creative palette of colors to work with. It adds to the fun of gardening.
I hang my aluminum art on the garage so I can see flowers all year from the windows in my home, I hang the art on my deck where we entertain and select art that color coordinates with my outdoor furniture. As a garden designer, I’ve designed woodland walks around my home and studio and even hang art on the trees for when people wander around on my garden tours.
I tried a lot of products outdoors in my own garden on Long Island in New York where we get snow and ice in the winter and lots of heat in the summer. I found that not all aluminum is created equal since much of it warped in the extreme temperatures. Then I tried the ChromaLuxe brand of exterior grade aluminum. I’ve tested these prints throughout all the seasons and they have flourished in my garden for years.
In my video, you can see some of the ways I’ve displayed my art in the garden and also the gardens of some of my happy customers. Take a look and be inspired.
Then have some fun. On my website I’ve introduced a separate category for the indoor/outdoor metal aluminum art with an augmented reality feature. Now you walk around your space with your mobile device and see how my art will look in your own setting. You can also try different sizes to see what will fit perfectly for you.
Seeing this live takes the stress out of deciding what artworks for you. It is the ultimate in customizing your own living spaces both indoor or out. Try it now. No commitment to purchase is needed to see for yourself. Go to my online shop, click on the metal print category, select an image that intrigues you, change the size, try a different print, try a different space. Enjoy yourself now!
Selecting art to buy online can be daunting but it doesn’t have to be. In my Art Shop I’ve added a few features to help you take the guesswork out of what art and what size will work in your space and what will not. It’s called Live Preview AR (for Augmented Reality.)
Using your own mobile device you can select a print from any of my collections of landscapes, floral portraits, still lifes and designer prints and view it through your on-board camera projected onto your wall space. You can resize the image of the print until you find that perfect sweet spot that will work for you in your own particular setting.
You can easily select different prints to view. Will a landscape style work or perhaps a square print? Choose prints to view either by clicking directly on their image in the category library or just press the left or right arrow to view the next in line. All the available sizes for each print are quickly and easily seen by you in the pull down menu right at your fingertips.
To exit Augmented Reality is easy and brings you right to the ordering page. You have an array of options in which to choose. What surface do you want for your print? Canvas, fine art paper, aluminum or acrylic? Once you decide the size and treatment you might consider a frame or matting depending on your choice of materials.
Now that your selection is made just click to see your shopping cart and the rest is a breeze. The hardest part will be anticipating the arrival of your very own piece of Art, custom chosen by you for your own special place. Enjoy!
All of my paintings start with the garden, mine or other gardens. On a trip one spring day in May as I wandered around the peony displays at the New York Botanical Garden, with my phone I took snapshots of many of the unbelievable peonies in their collection in full bloom.
Later that year on a cold winter day in December, sifting through my stash of photos, a particular pink peony image jumped out at me and demanded my attention. I knew we could develop a relationship together. It often takes months to complete a painting so I really have to love my subjects in order to spend that much time with them. We need to love each other.
Once deciding on the size of the canvas I want to use I sketch, using vine charcoal, to give the general outline of the final layout onto canvas prepped with multiple layers of gesso. Then I block in the areas of color, working on my lights and darks. Then I paint using many layers of thin glazing in order to get the vibrancy of color I crave.
Oil paints need a few days of drying times between layers and some of my paintings have 15 to 30 layers of glazing. In order to continue painting every day, I usually work on multiple paintings at a time. Each one a different day. A different palette of colors. A different stage of completion. I like the continuous challenge of picking up where I left off. I keep extensive notes at the end of each day for each painting. A sort of diary of each work.
I paint quite slowly and quite neatly. I don’t like to feel sticky so I’m cleaning brushes and washing my hands constantly. Gloves don’t work for me since I don’t like the barrier they put between my brush and my hand. Rolls of paper towels help with the tidiness of my style of workflow. In fact & have two different brands for two different uses.
I listen to music while I paint. During the duration of this particular painting, I was listening to many CDs of van Morrison music. I don’t know why. I just was. Sometimes I’m in a classic rock groove for weeks on end and other times might be jazz, classical or even new wave relaxation. I don’t plan it. It just happens.
I usually paint with just brushes, fan brushes in fact, but the center of this painting demanded a palette knife. It’s not something I usually turn to but since the painting had a mind of its own I complied. Glad I did since the center of this painting is rich with texture while the petals are completely without texture but rich in nuance.
I named this painting Centering – Pink Peony. The reason is that it represents two different views for me. I can see with my eyes that it’s an interpretation of a pink peony but in my soul I found it centered me. Made me contemplate the meaning of this painting, this flower, this world it had lived in and now lives in again but in a different way. One ephemeral, one eternal.
Although my stretched store-bought cotton canvas is already prepared with gesso, I add 3 more layers with a light sanding in between each. This makes the canvas less absorbent in my opinion. Everyone has their own recipe and this is mine. I apply the gesso with a roller if the canvas is big or a large brush if it is smaller.
Once the gesso is dry, which is within the hour of the last coating, I use vine charcoal to outline my composition. Because the charcoal is rather dusty, I blow the excess off using either my breath or an aerosol can of dust remover depending on the size of the canvas.
Next, I then use a thin wash of burnt umber paint and a thinner medium to cover the rough charcoal drawing and begin the shading process. This also fixes the drawing to the canvas & prevents the charcoal from blending further. That layer will dry, depending on the medium you choose, in an hour or a day. I then begin another coat of underpainting using either a warm or cool brown or gray base color. This can either be considered an underpainting or if more detailed and finished it would be called a grisaille. Over an underpainting, I would paint using opaque pigments and over a grisaille, I would be using transparent pigments for glazing.
Once this is dry in 1-4 days depending on the mediums used, I then begin painting with color. This is the very classical beginning to an oil painting that I was taught by my professors during my college years in another place and another time. I’ve always been glad that I was able to receive a formal Art education and it has been the basis of all my work over the years.
Here is a video which I originally created in July of 2013 of how I prepare prints for display and sale at outdoor art festivals .
I took these video clips in my studio as I prepared for the Northport Art in the Park hosted by the Northport Arts Coalition.
I used a Canon Power Shot SD3500 IS Digital ELPH, holding it in one hand and demonstrating with the other. I used the audio from the camera which is muffled at times since I put my finger over the microphone. I originally started with 18 minutes of video clips and brought it down to about 4:15.
I edited in iMovie with the end credits created in Photoshop.
Fun little project which I wish I’d given myself more time to perfect but there are always choices to be made. Time being the one thing I can’t seem to stretch.
I happily took the Long Island Railroad into Penn Station to then walk to Chelsea in NYC from my perch in Northport Long Island. This venture, on a cold winter day, was to gather in the brilliant colors and environments of the watercolor paintings created by the Artist, Joseph Raffael. These large-scale works envelop you into the tropical gardens and seaside shells which are the models and subjects of his work.
Some feature strongly defined focal points while other subjects are diffused, allowing you to meander through the tangles of flowers, leaves and stems. Koi provide the pivotal “Turning Point” between the water and air while leaving ripples which you know will be gone again in moments. Tibetan prayer flags flutter in the breeze sharing the brilliance of Koi colors. Time, movement and transience are significant subjects in these meditative paintings.
March 21-May 4, 2013
The Joseph Raffael show at the Nancy Hoffman Gallery at 520 West 27th St in Chelsea New York was a burst of color and soul. The show was there from November 2009 through January 10, 2010. For those of you who missed this wonderous presentation, I created a video of the show.
Visiting this show brought such a burst of the voluptuous joy of color and passion to an otherwise gray day that I was compelled to share it with others.
Joseph Raffael douses himself in his watercolors. His colors flood and pool in the most controlled display of virtuosity I’ve ever seen in this medium. Though in this show his subject matter seems to be primarily flowers, his style is the antithesis of botanical illustration.
As a matter of fact, Elisabeth, my fellow Artist friend and I gallery hopped to this show on the heels of a visit to the ASBA (American Society of Botanical Artists) show at The Horticultural Society of NY. The contrast of two exquisite art forms, both employing watercolor and using flowers as subject, was astounding.
For an extra treat, I would suggest visiting Joseph Raffael’s website and taking some time to view the meditative videos of him as he paints.
Take a moment to calm down and become immersed in the process of Art. It will make your day. It always does so for me.