Angus Wilson Studio

Amongst the rocks, a painting in progression

2012-01-25T08:38:00.000-08:00

On Martin Luther kings birthday I took the boys up to one of my favorite local painting spots. Castle rock SP. We got there early for nice light, but it was bitterly cold. So we only took a quick walk and lots of photos. It's a location I've been too many times so felt reasonably comfortable, not doing any location paintings, especially since the boys didn't have warm enough clothes with them (oops dad).

The park is filled with some great rocks and boulders, many with fascinating wind weathered effects
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I decided I'd work up a big painting of one of my favorite spots (I'd painted smaller versions in this location before so knew the subject well).

Blocked in the position of everything and did some colorful under painting. For my style of art I always mark in objects and form with a heavy dark line, I keep these lines all the way through the painting process.
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Starting on the forest floor, trying to get a nice transition between magenta purple tones and a warmer yellow ochre hue.
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My favorite part, painting tree trunks!
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Often I'll paint the foliage colors in sympathetic tones to the rest of the painting, but in this instance I wanted to get in some of the nice yellows and greens I'd seen in the mornings sun. This was a slightly dangerous decision, because it pretty much gave me a complete (basic) color wheel. Sometimes painting a full spectrum in a painting can fail and weaken the painting, but with care it's achievable.
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The sky and rocks are painted in. The rocks were 'color wise' the bridge to the painting. Bringing in tones and hues from other aspects of the painting into the rocks made the whole painting hold together - phew.
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The finished painting.

Amongst the rocks - Castle rock SP, CA

44X32

Acrylic on wood

detail

I'm not sure if this picture shows it, but it's an attempt to show some of the paintings use of under painted colors shining through the main body of paint. This process of painting can really make the the final piece come alive with life and energy.

oops

2012-01-13T10:15:00.000-08:00

Sorry, these days I get so used to posting on facebook that sometimes I forget to put something interesting up here too.

The other week I posted this picture of my new studio set up. I got an ipad for Christmas, so I mounted it on a poseable arm next to my easel. I can use it to bring up reference photos, or do digital color plan sketches on it (something that I find very useful). I'm also able to play music wirelessly to a speaker on other side of the room, so it's pretty cool. The downside of course is that I can also check my email really easily, so I'll have to be strong and avoid the temptation.

Ploughed field under Californian sun - CA

24X36 Acrylic on board

This painting is from an area really near where I live, this valley yields a lot of paintings for me, and it's beautiful considering it's so near to suburbia.

Happy New Year

2011-12-31T21:17:00.000-08:00

At the end of the year I tend to think about the year ahead, and set challenges for myself within in my art career; but I also enjoy looking back over the year at the body of work I have created, and evaluating different paintings. Here's a short little list of some of my own personal favorites!

MY FAVORITE STILL LIFE PAINTING

Hydrangea with circular fruit

36 X36 Acrylic on canvas

...And the award goes too...Gosh how does one pick a favorite amongst 'my children'! I produced less still life paintings, because of a broadening of subject matters (i.e. I painted a lot more landscapes this year). Despite this there still seemed to be a stunning selection and as ever a difficult choice. In the end I think this is my favorite, the circular motion of that table, combined with the fruits and the palette; well it just wins me over!

FLOWER MOST PAINTED

This year I painted most still life paintings of tulips! It always surprises me that each year it seems to be something different. Perhaps it's a subconscious decision, that helps me not have too many paintings of any one flower type?

BEST GOAT AWARD

Goats on Green

36X24 Acrylic on board

In the summer I painted a few goat paintings, and broke free from my usual style to have some fun with form and color. This painting was the first of those, and I felt compelled to include it here since I love this technique and approach to color and subject.

MY FAVORITE LITTLE PAINTING

Red Pinnacle Crags (above Bear Gluch Resevoir)

size: 8X10 Acrylic on board

I do very few small paintings, enjoying the more physical and visceral challenges of a large canvas. But in the hands of an expert a small painting can be pure 'miniature perfection'. I'm not quite in that league, but I really enjoyed this little one from Pinnacles National Park, capturing some of those spiky weathered volcanic rock formations, amongst the chaparral.

MY FAVORITE LANDSCAPE

Sunshine on Big Sur (California)

Size: 24X36 Acrylic on board

Well these are personal choices; and so I picked a recent one because in this painting I can see ideas and methods I wish to explore in future paintings. The inclusion of the near follage, portrayed with a drawing technique is something I wanted to dabble further with. Perhaps also incorporating the stronger line work that has become the signature of my Still life paintings? I guess that means tune in to 2012 and see what comes next....

latest tree painting

2011-12-18T14:52:00.000-08:00

Sticks in the stream (Big Basin SP, CA)
48X23
Acrylic on wood

Not much to say about this one, except the usual excuse about botching the exposure when photographing it. Somehow the foreground seems a little too washed out and the trees are slightly too dark. The original is not quite like this..... Sometimes I feel that I've never mastered the latest camera.

Recent commission looking back into the past

2011-12-02T13:54:00.001-08:00

Over the last month or so I've completed two separate commissions that were notable for a couple of factors. First they both involved looking back to past works to base new paintings from. Additionally they were also faithful recreations of the original paintings. (More commonly my commissions feature brand new subjects or reinterpretations of a subject). Indeed, I often try to steer a collector away from this 'copying' of an earlier work; however in this instance I ended up working on two paintings with very different styles and subjects, but with very similar MO's.

The original

West Lothian and firth

10.5X21.5 Acrylic on board.

The first of these commissions was completed for a collector who has gathered a number of my still life paintings around her home, but had fallen in love with a painting of Scotland that I did about 6 years ago. The painting features a view of the West Lothians, which is just a little west of Edinburgh (for those who like to get the geography right). The original hangs in my home and my wife and I are very attached to it, so we agreed to reinterpret the painting in a larger size.

The commissioned painting

West Lothian & firth No2

19X48 Acrylic on wood.

detail

It was a good challenge to paint with some techniques needing to be remembered or rediscovered. For example, the original sky had used a dark rich under painting color with strong opaque colors placed over the top. This was a technique I hadn't employed in a long time so it was fun to re-remember this and to exploit it. Also since the new painting was considerably bigger than the original, I had to reinterpret how much information to place in the painting, while still keeping the loose/ abstract feel. More detail and accuracy was applied to the hills and and stronger sense of color was given to the middle ground, since the painting was to be hung up high in the home and I wanted the color to bring the painting forward in the room.

The original

Carnations under Californian sun

21.5X30 Acrylic on wood.

The second commission was completed for a couple who had fallen in love with a painting they'd seen in New Masters Gallery in Carmel. They loved everything about this painting, except for it's choice of flowers. So we talked about many ideas and alterations, but in the end the collector decided they wanted a very faithful interpretation of the original painting, with only that single minor change.

The commissioned painting

in progress - early days (mostly under painting)

Tulips under a Californian sun

22X30 Acrylic on wood.

detail of finished painting (shows the nice under painting, poking through)

Not sure if I really needed too, but I spent great care in getting everything in the 'right place' including replicating poor AKA 'artistic' perspective where I saw it. My reinterpretation gave me the opportunity to place a little more contrast across the back drop cloth and a richer table cloth, but otherwise was extremely close.

sluggish to post

2011-11-21T14:37:00.001-08:00

Sorry I've been really slow to post these last few weeks. Here's a couple of landscapes of trees I've completed recently.

'The birch glade'

16X20 Acrylic on wood

'the forest floor'

24X26 Acrylic on board

I feel the urge to tweak this one a little. I'd like to connect the central tree canopy a little more and on the central trunk bring a little more blue across into the center of the base. But these are fairly small changes.

now tweeting....tweet tweet

2011-11-03T20:49:00.000-07:00

Finally been pursuaded to tweet. I plan on posting boring little details about what I'm getting up to as an artist. Who knows how sporadic, the tweets will be? I plan to also post up more images of semi finished work there too, so if any of thats of interest - follow me there.

@AngusWilson_art

http://twitter.com/#!/AngusWilson_art

just finished

2011-11-03T20:46:00.000-07:00

Tulips and lemons beneath summers glow
36X24 Acrylic on wood

Circles and squares

2011-10-14T21:02:00.000-07:00

This painting was finished up at the begining of this week. I don't paint these big'sih square ones often, but I really enjoy myself when I do. That is assuming I can make the composition work, and I think this one does.

The contrasts between circles and squares is very effective to me, the square painting and squares from the rug pattern, contrasting nicely the circle of the table with the circular composition and even the circle designs in the table cloth. Makes me happy to paint it!

Hydrangea with circular fruit

36 X36 Acrylic on canvas

detail

Workshop & show in Warm Springs

2011-10-11T20:55:00.000-07:00

I traveled over to Bath County in Virginia for my show at Warm Springs Gallery. The show was actually half way through, but this was a date that worked best for myself and the gallery. We had a great turn out and also ran a nice little mini-workshop (13 people) at the beginning.

High set Stargazers

2011-09-16T15:59:00.000-07:00

High set Stargazers

36X24 Acrylic on wood

Warm Springs Gallery, VA

2011-09-13T14:28:00.000-07:00

Just opened in Warm Springs, Virginia at Warm Springs Gallery a solo show of some of my recent work, catchily titled 'Recent works'!

Here's a few of the paintings in the show, -

Daffodils on flower patterned tablecloth

34X34

Acrylic on board

Poppies, vegetable and bread on pink cloth

30X44

Acrylic on board

iris with fruit on red

30X38

Acrylic on board

Peonies and limes on painted box

18X24

Oil on board

Papaya, pears and lemons with jug

14X34

Acrylic on board

Helianthus on orange

29.5X24

Acrylic on board

Sunflowers and lilies on long table

30X24 (tryptech)

Acrylic on board

...And many more, please contact the gallery for more information at www.warmspringsgallery.com or tel (540) 839-2985.

Reclining Irises

2011-09-05T12:17:00.000-07:00

Reclining Irises on orange

18X36 Acrylic on wood panel

This is last weeks painting, basically done, may tweak the odd bit, or I might not. I based it off some palette choices and a couple of design elements from a painting a number of years ago (the warm arrangement, see below). The other day I posted the old painting on facebook and thought, yes I liked that painting. So I decided to work from it and adapt some newer subject matter into an old painting, or perhaps adapt some old ideas into some new subject matter... well you get the idea. Artistic license was taken with the background and tablecloth to incorporate the old painting elements in the new subject.

the warm arrangement

Size 23X19

Not by the hair on my chinny chin chin!

2011-08-31T20:33:00.000-07:00

This post is consumed by goats (well not literally but you know what I mean). A number of months ago I did this little plein air study of a pair of goats.

A curious encounter, Goats, California

14X18 Acrylic on board

To be honest, I found it a little unremarkable. But some weeks later in my studio I decided to try something a lot more contemporary and freer with it's application of both color and it's representation of a goat scene.

Goats on Green

36X24 Acrylic on board

I painted the first 80% of it and enjoyed myself so much I thought I'd start another bigger one... I soon took this painting to about the same level 80% finished. I then found I had stopped, so I went off and painted other paintings, and from time to time I came back and fiddled, and changed things but never got either of them closer to completion.

The goat herd, California

30X48 Acrylic on board

What I enjoyed most about the process was the liberating expression, I could stand at the canvas and add a little different color here or there, or wherever I chose, it was put simply a wonderful creative freedom. However, this act was also it's Achilles heel; because there was always a little more 'playing' to be had. Settling on a finished painting was difficult. In the end I refined small details and sat them aside, labeling them as done... But the urge to pick up a brush and play with more color is a strong one.

Painting these goats has been an interesting process for me, these urges to fiddle with color, and work with little clear plan is unusual for me. I'm unclear at the moment, whether working in such unfamiliar territory with no time constraints, was a healthy growing process for me or not, perhaps time will tell?

Tulips and Pears on green

2011-08-15T18:43:00.000-07:00

Here's my latest still life painting.

Tulips and Pears on green

24X36

Acrylic on board

Woof

2011-07-31T21:22:00.000-07:00

Watching every move

Acrylic on wood Size 32X24

Recently I've been enjoying myself painting different subjects. This is a great example of one - a Jack Russell terrier! Painting a dog is a great departure from my usual subject matter and I found it great fun to to paint. You see to me clearly there's a lot of similarities to painting traditional portraiture, and one thing I always strive for with my 'people' portraits is not only a likeness, but also an importance of paint and the painting itself. In other words it's not enough to simply capture the person, but the painting should have a creative power or perhaps style of it's own.

When working on a 'person' portrait I find this balance between painting and likeness to be a dangerous and challengeing line to walk. However when approaching this dog portrait I found the battle easier, I was able to push colors and composition with greater ease, creating an effective and dramatic painting. (Perhaps the reason for this was a more obedient 'sitter')

A very early inspiration for me was to keep the color fairly monochromatic, with strong reds and a tonally contrasting dog - with very dark head tones.

(in progress detail of rug)

As you'll see here, I originally planned to paint the rug with greater complexity in it's patterning. I tried at great length to make this work, with numerous iterations of detail and colors; until I ultimately realized to make the whole painting work I needed to step away from the design aspects and focus on the compositional and tonal impact. I did however keep the circular shapes from table to rug that leads 'the eye' through the top of the painting, down to the dog focal point.

Latest Still Life paintings

2011-07-13T21:06:00.000-07:00

It's been nice to get back to painting.

Easter Lilly with creative curves

Acrylic on board 24X36

This was an interesting painting to paint. Originally the flower had straight stems and I painted it that way with the flowers stretching straight up, but I realized I wanted a better 'lead in' or 'flow' to the rest of the picture and this shape of flower wasn't working with the 'landscape' aspect. So I took some creative license and bended the stems around.

Bringing the outside, Inside

30X48 Acrylic on board

I liked the color scheme of this painting, I took particular attention to getting the color or the background and the curtain on the left the exact hues I wanted. The painting has a nice presence when viewed in the flesh.

London

2011-07-05T21:39:00.000-07:00

The final post from my travels to Britain.

At the end of our vacation we stole a few days and nights away from visiting our family to show the kids the sights, sounds and history of London. Though the weather was a little mixed we still had a great time and ticked of many a sight. From the Tower of London to Buckingham palace, we also spent considerable amounts of time in the British Museum and the Natural History museum. But perhaps most noteworthy for my 'art' blog was that once again I was able to escape for a few hours to visit a gallery or two.

First...

While, the family watched 'the changing of the guard' at Buckingham palace (yawn); I sidled away to my first stop, the Courtauld Gallery. For those who haven't been, it's only a small collection in part of a lovely building - Summerset house. Though small it does however have some wonderful art, covering the impressionist and particularly the post impressionist paintings with some nice Van Gogh, Cezannes, Gogan, Vlaminck, and more. Even better, they had a Toulouse-Lautrec exhibition, focusing on his 'painting' relationship with the dancer Jane Avril.

As some of you may recall from previous posts, I go nuts over Lautrec's paintings and they had a handful of really nice ones, plus a number of his sketches & lithographs, (which I tend to gloss over I confess). I'd arrived right on opening time, so I had the paintings pretty much to myself, I spent an obscene amount of time studying the painting 'At the Moulin Rouge' which is just fantastic.

(the contrast levels seem wrong - the original seems much darker and richer than it appears here)

So many of his painting have fantastic palette choices, and I love the green colors that work through the background and shadow areas of this painting. There's so much richness and interest in all the warm darks and browns, something which rarely comes across in reprints or photographs. For me the painting both in color and composition is so daring and yet completely and utterly captivating.

Next...

In all my years I'd never had the opportunity to visit the Royal Academy's Summer exhibition, so I traveled there to soak in the eclectic spectacle. For those not in the know, arguably it's 'THE' British contemporary artist exhibition of the year, for both professional and the hobbyist artist. Thousands enter in the hope of hanging on the walls and though the walls are primarily hung salon style, (from wall to ceiling), many great art fails to make an appearance, and of course (arguably), much mediocre art gets in too.

One of the things about the RA show is it's mandate is so vast and all encompassing. On it's walls you'll find everything from the most traditional of paintings, to print and photographic work, to the most modern and 'edgy' sculpture or installation; there's even a section for notable architecture. As is to be expect from such a broad brief there's something for everyone, and also a lot than can be glossed over.

Most of all I enjoyed looking through the painted works, marveling at the great and marveling (for different reasons) at the not so good. I also enjoyed studying the spread of red dots (sales), particularly in the small works room, (which had a fantastic sales to hung ratio).

In hind sight I wish I'd visited the galleries in reverse order; my woeful short-term memory would have benefited from seeing some of my favorite paintings in the Courtauld last, rather than the RA; but oh well, there's always next time!

Kendal, UK

2011-06-25T21:29:00.000-07:00

Another post from my travels in Britain. While visiting my parents in Kendal I went with my mother to the local art museum. Considering it's location, (i.e. Kendal is a small northern town) it really gets some great exhibitions; I remember a Lucian Freud and a Walter Sickert exhibition as examples.

The museum this month hosted the work of Sheila Fell (1931-79). She spent most of her life painting the local landscapes and I imagine was aided greatly in her success by her friendship with the artist LS Lowry (famous for his little stick figure 'naive' style art). I was unfamiliar with Sheila Fells work, and it was a great discovery.

Skiddaw 1964

She painted the local 'Lake district' countryside which can be stunning with it's rolling hills and patch-work of dry stone walls, small cottages and plentiful lakes and rivers. It does rain a lot in this area, and that I felt could be witnessed in her work, since many were quite brooding and dark with an emphasis on tonal painting. She seemed to me to have two strong techniques or styles. One with heavy impasto painting and another a lighter thinner brush with more careful considered placement. Both styles where extremely competent and she deserved all her success.

Her work also offered me a realization that there are a wealth of post-war British painters who's styles and techniques of work I am immediately drawn too. This realization has been quite an epiphany for me, because though I would always have listed one or two artists from this period as influences, I don't think I'd ever been aware of just how many artists within this era created work that inspires me.

Large Wave, Allonby

A final little comment - The exhibition rather ominously stated that she died from 'an accident in her home'. I confess this kind of statement really sparks my curiosity, perhaps I have a bit of Agatha Christie in me? You see I can't help but ponder a variety of ridiculous and unlikely artist accidents that could occur in the home; - 'falling of the roof while trying to paint the view' or perhaps 'tripping over with a brush and impaling a vital organ'. Agreeably these are unlikely accidents to have occurred, and I suppose a google search would sate my curiosity; but too lazy to do so, for the moment I'll be left with my ruminations.

Visiting the' Watchie'

2011-06-21T02:17:00.000-07:00

As some of you will know, I've been enjoying a few weeks vacation back in Britain. Primarily a family holiday we've been on a frantic schedule of traveling up and down the country visiting friends and family. I debated at great length whether or not to take my painting materials with such an aggressive schedule but in the end opted to simply pack a sketch book and my camera.

Catterline Harbor (or Harbour, when in the UK)

Despite this lack of art creation it's an impossibility for me not too sneak in a little art viewing here or there. As luck would have it my brother now lives in Catterline a small village just below Stonehaven, (south of Aberdeen). Catterline is an important location for the history of Scottish post war art scene, chiefly because my favorite Scottish artist Joan Eardley spent much of her life living and painting there.

Beehives at Catterline

J Eardley

Children & Chalked Wall

J Eardley

Eardley, painted in the area for roughly 20 years and produced a great array of paintings, known in equal measure for her depiction of Glasgow children and the rugged seascapes and landscapes of the Catterline area. While in the village, my sister-in-law (Kathryn) was fantastically thoughtful, and arranged for me to visit a home of a collector who had two Eardley works, an oil and a lovely pastel. Later we dined in the lcoal pub, which houses the communities Eardley painting. But best of all was the village to 'the Watchie'.

An artist painting the Watchie

The Watchie is a beautiful, little cottage with very basic amenities stuck out above the harbor on a rocky bluff. The building is called the Watchie because it was originally used by the coastguard to keep watch for Smugglers. Eardley spent much of her time painting from there and the surrounding area. Since her death in 1963 a number of other artists have worked in the Watchie, and in recent times it has had a number of artist residencies. For the last 5 years the Scottish artist Stuart Buchanan has worked there, he also lives in a near by cottage that Eardley at one time also owned. Kathryn had again come to the rescue and arranged for me to visit Stuart and the Watchie.

Stuart was fantastic and a great guy, he gave me hours of his time and we enjoyed talking about the history of the place and our own painting lives. Stuart was a graduate from Glasgow's school of art and he produces very thoughtful work often from his imagination, painting solitary or grouped figures in sparse environments, that convey a sense of atmosphere and solitude.

Stuart in front of his easels in the Watchie

The other view of the room.

One thing you are struck with at the Watchie is that there are no distractions. There's power for lights and a wood burning stove for heat and that's about it. From the windows you can see the wild garden and the ocean and ever changing light on the cliffs and ocean. It must be a fantastic place to live and work and impossible not to change and be affected by such an atmospheric environment. It's a far cry from my kind of studio and views from my window!

Stuart and I talked for hours and I would have loved to have stayed longer, but I was probably getting annoying! Stuart has a forthcoming solo show in Berkshire during October at the “Modern Artists Gallery” ( www.modernartistsgallery.com ), so if anyone is in the area his work is well worth a look or purchase?

Poolside

Stuart Buchanan

oil on board

17 x 24 ins.

Painting in the deep dark woods

2011-05-30T20:52:00.000-07:00

Well, not really deep dark woods.... more nice leafy ones near my home called Castle Rock SP.

I thought I'd throw up a post before I go on holiday for a number of weeks.

I painted one of these a good while ago and since I've been enjoying painting Plein air and landscapes I thought I'd revist some old favorite locations. I love painting the complexity of a forest in a simpler Alla prima type style.

Light through rocks and trees (Castle Rock SP)

12X16

The older painting (two years ago approx.)
It's a great park, nice woodland with these fantastic boulders, and rocks.

Through the woods (Castle Rock SP)

14X18

On location, probably a very similar spot to the 1st.

Flowing through the wood

18X36

Did some quick sketches for this in the field, but painted later in the studio. The original seems to hold a little more depth and resonance that the photograph suggests, I wonder why? I really pushed the colors around in this rendering responding to the warmth in the rocks in a dramatic way. I consciously kept some areas very contemporary in approach. I like the Fauvism feel to this painting with the palette choices; it feels like a bridge between my Still Life paintings and some of my landscapes....Something to explore perhaps?

Pinnacles National Monument

2011-05-25T11:48:00.000-07:00

This weekend I was camping with family and friends at Pinnacles NM. It has to be my favorite park that's near-ish to where I live (an easy 2 hour drive). The scenery is fantastic with heavily erroded rocky crags and cliff faces that are so dramatic; There is a variety of follaiage as you move from riverbeds to the dry scrub hills (if that's the right words). The park has an added bonus of two caves which prove a great incentive for kids who don't really want to walk, the promise of a cave and a flashlight works every time! I love it at the park and often think I should consider doing an artists residence there sometime.

The weekend was all together too busy to do any Plein Air painting, but I took a camera and took lots of pictures, so there will no doubt be some paintings to follow painted from memory and the photographic reference.

Here are three little paintings I've painted of the park in the past. Strangely enough the large work titled ' Pinnacles National Monument' was painted only 2 weeks ago, I must have been channeling the forthcoming trip though I didn't realize it.

Red Pinnacle Crags (above Bear Gluch Resevoir)

size: 8X10 Acrylic on board

Pinnacles Study

size: 7.5X18.5 Oil on a rather thick off-cut of wood

Pinnacles National Monument

size: 13X25.5 Acrylic on board

Composing new arrangements

2011-04-25T21:09:00.000-07:00

The Easter Lillies in the stores inspired me to compose some fresh photographic reference for some new paintings. I thought I'd compose outside, might make for some interesting backgrounds, though the lighting was a little flatter than I'd have liked.

My eldest son, was home from school (mildly) sick. He helped out, though he also played with some toy cars and kept sneaking them in to my compositions! :-)

One of the best parts, at the end of an intensive photo shoot, is eating the proceeds - though the flowers don't taste that good!

Rebuilding, Reinventing, Rejuvenating

2011-04-14T21:20:00.000-07:00

Following the theme from a few weeks ago, when I took a new vase of flowers and placed it in an old painting with a new color theme; I decided to take it one step further. Altering everything, taking elements from other paintings, and combining them with color schemes from another painting and finally designing them in their own unique 'fabricated' composition.

First, I took my vase of Irises, which were mixed in color and turned them all white. I then placed them in a color scheme and design based from this painting (below).

Clematis, Star fruit and limes on white

Size 24X36 Acrylic on board

I then took elements/objects from this painting below and repositioned them within the new painting.

Tall arrangement with tangerines and green vase

Size 44X30 Acrylic on board

The end result of this amalgamation is dramatic.

Irises with Purple & Gold

Size 24X36 Acrylic on board

Another interpretation

2011-04-07T20:55:00.000-07:00

Usually I work completely from compositions that I carefully arrange and photograph. I then work from a print of the photograph, I find this process gives me a sense of removal from the original subject and stops me from painting it too carefully or literally. Thus it allows me to be more creative with greater ease (You can read more about this process in older blog posts). Very, very occasionally I choose to paint a subject that has been created whole heatedly from my imagination. This is very rare, and in these instances I use reference material for the subjects themselves, but the composition and lighting will be created from my mind.

For these paintings below however, I did something a little different. I photographed a new arrangement of flowers in a vase (Irises), I then took compositions and subjects from old paintings and worked my new flowers into these designs with fresh colors, these are the results of this process -

Irises with Papaya and Kiwi

Size 48X23 Acrylic on board

The original painting that the composition and some objects were taken from.

Blue Iris on blue

Size 36X24 Acrylic on board

The original painting that the composition and some objects were taken from.

Working in this method, gave me a fresh perspective and challenge within the painting. The painting subject thus provide some familiarity and answers but also yielded uncharted ground and fresh challenges.

Bakersfield Museum of Art - photos from the show

2011-03-26T12:06:00.000-07:00

Here are the first photos from show. Rather annoyingly I forgot the camera on the actual opening night. I had a small talk with a 'powerpoint presentation'. I think there must have been about 100 people, but I can't be sure, quite intimidating, but I think it went okay! If I get photos from anyone of the actual night in coming weeks I'll post them up.

Roses with fruit
Acrylic on Board
40X23

Arrangement on long table
each panel is 30X24. (triptych)
Acrylic on board

Bakersfield Museum of Art

2011-03-19T13:51:00.000-07:00

Less than a week now, till opening night. (This Thursday). Very exciting, I put a number of the paintings from the show up on my facebook page. You can visit here and don't need to be a member of facebook to see it http://www.facebook.com/AngusWilsonStudio

Also, if you wish I can email you a pdf file of my flier if you email me, but I can't work out how to make an attachment for the file here. Sorry.

Here's one of the paintings from the show.

Peonies and Peruvian Lillies on blue table
24 X 48
Acrylic on board

I completed a larger painting of some Irises this week, but haven't had a chance to photograph it yet, I also completed a little Plein Air landscape painting, which was fun though challenging. I spend so much time painting my 'colorist' style still lifes that to sometimes change gears to a more representational landscape it a little challenging. Perhaps I should do more...

Fiddling with my blog

2011-03-17T20:19:00.001-07:00

Apart from painting I've been tweaking my blog design, what do you think?

Ranunculus with Oranges over gold

2011-03-11T09:53:00.000-08:00

Love these flowers, bit of a mouthful to say, but both beautiful and wonderful to paint. I love the way the stems twist and turn as they open.

Ranunculus with Oranges over gold
Size 24X20 Acrylic on board

Lost the fight

2011-03-08T11:39:00.001-08:00

Here's last weeks painting (see previous post) of Tulips, called 'White Tulips on green' which worked out - Yipee.

Sadly however, I think I lost the fight with the larger Lily painting, it's been put to the side, in the hope of a saving flash of creativity and maybe a little luck. But usually when things don't go well, no amount of fiddling can save them... :-(

Back in the saddle!

2011-02-28T14:09:00.000-08:00

After a week spent battling with the business side of being an artist and not painting and then a further week away with my family having a good time, skiing at Lake Tahoe. It's good to finally get back into the studio and start painting again! Here's the early beginnings...

YouTube

2011-02-17T20:26:00.000-08:00

My first foray into YouTube - a bit of a painful experience, not because of YouTube, but it just took me ages capturing the footage into my little laptop, juggling hard drive space, and then spitting out a usable file.....Sigh... better stick to painting.... and boy - I wish I could paint that fast!

http://www.youtube.com/watch?v=P2YYEwb49Bw

illness

2011-02-14T09:21:00.000-08:00

We've been passing nasty stomach bugs amongst the family, so my usual creative output has been somewhat delayed, but here's a painting from before the plague!

Poppies with watermelon and lemons

18X24 Acrylic on board

Video on it's way

2011-01-27T13:32:00.000-08:00

Last week a friend persuaded me to do one of those videos of painting a painting, that then gets speeded up, so it all happens very fast.

Filming it was interesting, I had to be pretty focused on subject matter to get it done quickly. So I borrowed from my previous painting 'Papaya, pears and lemons with jug' (see it at the bottom of this post), the color palette and many of the design decisions, leaving me open to paint it physically as quickly as possible. In the end I nailed it in just under two and a half hours which is very fast for me and faster than I'd like, so I wont be making a habit of it! ;-)

Papaya and lemons with milk jug
12 X 24 Acrylic on board

Above is the final painting, and once I find the time I'll take the video footage and cut it together and put it on youtube or facebook or somewhere like that. So stay tuned, and watch this space!

Papaya, pears and lemons with jug
14 X 34 Acrylic on board

the painted cabinet

2011-01-13T17:47:00.000-08:00

the painted cabinet
Size 24 x 36 Acrylic on board

This is the first time I've used this painted cabinet in one of my still life arrangements, it was a good challenge in working out how much information to leave and what to take out, since the cabinet is pretty ornate. In the end I took some liberties, but I wont bore you by listing them all... I think this will serve as my last Peonies painting for a while, time to find some more flowers.

The exposure of the photo looks a little flat, so I think I'll have to retake the image at some point, but I wanted to get this up as a blog post.

one of last weeks

2011-01-05T18:45:00.001-08:00

Papaya, pears and lemons with jug
14X34
Acrylic on board

I'm sure I've said it before, but I do enjoy painting in these CinemaScope 'wide screen' formats; you can make such a wonderful passage of objects and fruit on the table, that the eye can travel along so easily.

Peonies and Peruvian Lillies on blue table

2010-12-28T20:20:00.000-08:00

Peonies and Peruvian Lillies on blue table
Size 28X48 Acrylic on board

Here's a few pictures of my latest painting. Again this was a little larger than paintings I've been doing recently, so it was satisfying to work in this scale. I also always enjoy working in a stretched 'widescreen' style aspect ratio. It adds such a nice passage through the painting; great for landscapes or still lifes!

The early line work.
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Color plan
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Me working feverishly!
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in progress
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in progress (detail)
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The final painting again.
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a detail
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another detail
(I loved the compliment color of that shade of blue vase in front of the back drape)
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Blame it on Christmas!

2010-12-21T20:49:00.000-08:00

With little ones in the house there's no end to preparations required for 'the big day'; to that end some things fall of the plate! Last weekend probably in place of doing essential Christmas shopping, I finally got round to hanging a few of my paintings and photographing them (something I'd been meaning to do for quite sometime). Let's hope that too much time spent doing this and painting in my studio doesn't result in a cancelled Christmas in the Wilson household - 'Baa Humbug!' ;-D

Usually I just present cropped images of my final paintings, but if I can supply a photograph of them with the frame or even better - on a wall with furniture, it can really give a potential collector a greater feel for the final work and it's appearance.

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Patterns

2010-12-08T11:36:00.000-08:00

tulips on red patterned cloth
Size 36X18
Acrylic on board

Just finished this new painting, it was fun to put some patterning in again, in this case on the tablecloth. I vary a little how I approach painting patterns on cloths, but in this case I painted with fairly strong colors and then toned the contrasts back with a series of glazes. This is a process that works better with oil than Acrylic, since Acrylic washes do tend cover so poorly. The problem of course with oils is you have to wait a long time between each layer, so Acrylics can get the job done quicker.

Overall I'm pretty happy with the amount of tone and contrast in the cloth design, though I preferred the color tone of the little gray/blue/purple squares before glazing. I could have repainted these, but I wanted to keep the continuity across the design. Additionally of course the focus of the design is not solely the tablecloth, but I thought it was note worthy.

2010-12-01T14:36:00.000-08:00

Snapdragons with Pears & Lemons
Acrylic on board Size 24X18

latest paintings

2010-11-22T14:13:00.000-08:00

Helianthus with lemons
24X18
Acrylic on board

Stargazers with Pomegranate on green table

36X24
Acrylic on board

To copy is to study

2010-11-16T20:47:00.000-08:00

The other day I'd been looking at some of my older work and realizing that over the last few years, my approach to accurate perspective had tightened-up, compared to some of my earlier pieces. I've always had a love for a casual or flagrant regard to accurate perspective and enjoy many Naive painters and the works of artists like Mary Fedden. Though I don't feel I wish to push my perspective or painting narrative as far this, I do feel I'd like to dabble with a more relaxed representation; at least for a while....Whether that's one painting or a larger volume of work is anyones guess.

To get this ball rolling, and help me break from my style I thought I'd have a go at copying another artists painting. - From time to time I like to have a go at working from another artists style or even an actual painting. I tend to really suck at this, but it's a great opportunity to learn their techniques and get a feel for how they paint. It's important of course only to use this as a learning tool and not to run away with their techniques on a more permanent basis.

After a bit of thought on who and what, I turned to a Scottish painter who's work I had admired back when I lived in Edinburgh, by the name of Archie Forrest. As a painter he regualry tackles Still life subject matter and has a far more relaxed approach to both his painting and perspective. Rather than trying to work on my own painting with his techniques I decided to try for a direct copy. This in theory allows me not to worry about anything other than the art of paint emulation.

I had this small low resolution web image of this painting, which made the deciphering of some information challenging, but I wasn't interested in a 100% copy I just wanted to get a feel for the work.

The greatest challenge turned out to be working with Acrylic, because Archie's work so clearly has a strong oily bend to it. I did my best to emulate this with some dry brush scrubbing over areas and working quickly in one area before moving on.

Here's what I came up with... the colors aren't quite as flat and bright as they appear (fire the photographer!)

Lilies by Forrest (no idea what the original painting is called)
18X25
Acrylic on board

I quite like the end result, of course the original painting is wonderful, so even a mediocre copy should be enjoyable. More importantly, it served as a break and springboard for me when going back to my work. I plan in my next few paintings to have a more relaxed perspective incorporated into my next few paintings, and hopefully this little exorcise has helped me break a little from usual method.

a triptych

2010-11-09T15:15:00.000-08:00

Sunflowers and Lilies on long table
triptych - 30X24 (each panel)

I love painting triptychs and indeed diptychs too. Planning the structuring of the overall piece is so much fun. I try to make each section or panel hold up in it's own right, but still relate to each other. Additionally planning the lines within the painting becomes more interesting, because each panel division serves as a line too.

This is a painting I did last year, but the other day I had a collector considering it and then I thought, "well why not..."

I changed lots of minor things, - the colors inside the lilies, the color of the pineapple foliage bit (what are those bits called?), the lemons and sunflowers (a little), the segmented apple, etc... The end result is much tighter.

The final painting looks great, I love the way with a multi panel painting you can choose how much space to place between each panel as you hang them, to create a very different effect. I frame each separately; though I try to frame them in something contemporary that does not intrude or break the continuity of the three paintings and their relationship together.

a detail of one panel. (I like the way I handled the vase in this)

Visiting the Post Impressionists!

2010-10-28T13:41:00.000-07:00

At the risk of writing one of those blog posts with ill founded personal opinions that will follow me around for years to come, just be thankful I'm not giving a painting by painting run down....

I tend to be very 'wishy-washy' and evasive when I'm asked for my influences, and because I paint colorful still lifes many label me with Cezanne and Matisse. One assumes Matisse for the palette and Cezanne for the subject matter. I confess each have works that I like but there are many artists I prefer. However having said that, I know my passion in painting begins with the Post impressionists and though it may not end there, my first and possibly deepest love is rooted in much of this art.

So with great anticipation I took a mornings trip into San Fransisco today to see the second show of art from the Musée d’Orsay at the De young museum. It was in short, fantastic!

Earlier in the year I'd seen the first installment called 'the birth of impressionism' and had been rather deflated by it. The first few rooms had been composed of french Pre-impressionist art; which let's face it is kind of stuffy and not as interesting as what other countries were producing at the time, e.g. Goya (to name just one). Additionally the first show had been very overcrowded, and nothing spoils an exhibition more than having to fight for space to get in front of each and every painting! Plus you know early impressionism, well it's nice enough, but to me it's not as exciting as what came later!

The latest exhibition is titled as 'Van Gogh, Gauguin, Cezanne, and Beyond' which let's face it a pretty broad and all encompassing banner; well the 'beyond' bit in particular. I have to say however, they did a good job of presenting a lot of variety. Personally I can find something I love in most post impressionists, and there was lots to choose from. They had a full room of Gauguin, who's pretty good and a nice selection of pointillist paintings too with a good number of Seurats. They also presented the Nabis movement well and had a some great works that I liked by Maurice Denis and Vuillard, (more about Maurice Denis later). But best of all was a shared room featuring 10 paintings (approx.), of Van Gogh and Toulouse-Lautrec. I died and went to heaven, what could be better than Van Gogh and Lautrec in the same room!

Van Gogh - Bedroom at Arles (love this room)

Other things worth mentioning - They had only one Picasso, but it was a nice one and a Still Life! In the initial room they had a few Monet, Renoir and a Sargent, which though nice, should have been placed in the previous exhibition. Plus Sargent, though a fantastic painter is a strange fit for either of the exhibitions, if you ask me. They also had a nice Degas in the first room, I probably should say he too should have been in the first exhibition, but here I'm biased. I love painters who draw with the brush, hence Lautrec and Degas are always at the top of my list. To my mind Degas always made his oils appear pastel like in their appearance, which is a style I very much admire. So you can put a Degas in any exhibition and I wont grumble.

Picasso - large still life

I left the show feeling like they'd accomplished a lot with such a wide range of styles and movements within the umbrella of 'post impressionism and little more besides'. It was nice to see the collection and people enjoying it, sometimes I feel people forget the importance and beauty of a period that yielded so much exploration. This exhibition served as a good reminder.

Maurice Denis - landscape with green trees

Actually I have to say Maurice Denis was a bit of a discovery for me, I really liked some of his small paintings and will be Googling him a little to find out more about an artist I've obviously previously over looked.

An article

2010-10-10T22:23:00.000-07:00

I'm very flattered and fortunate to have had a fellow artist (Erin Fickert-Rowland) want to write an article about me. Do check out the article and read her blog postings!

http://elysianstudiosart.blogspot.com/2010/10/featured-artist-angus-wilson.html

Got there in the end.

2010-10-06T21:17:00.000-07:00

I struggled a little with this painting. Mainly in deciding what to do about the tablecloth. For a while I worked with the patterning in place, I then tried different colors; eventually I painted over it and the whole painting started to come together. Phew.

Pottery wine jug with fruit
Acrylic on board Size: 20 X 24

One of the original source photos I took.

The patterned cloth (at it's worst and most fiddled with).

Clematis, Star fruit and limes on white

2010-10-06T21:16:00.001-07:00

24X36
Acrylic on board

New ideas

2010-09-23T21:13:00.001-07:00

Tulips with color
Size 24X18 Acrylic on board

This is my favorite painting of the moment.* I think it's because it's pulled together a number of processes I've been exploring of late into one painting. In some senses it illustrates a direction I want to explore further. Many of these 'concepts' are pretty subtle, but one example is placing dabs of color throughout the painting that relate to other areas within the painting, these are sometimes done as small flecks or tones of color shining through from the under painting, or as very clear defined brush strokes of color. This technique of course isn't new in the world of art, or even new to me; but recently I've been consciously engaging it and acting on it in a more dramatic fashion. (This can be seen in the backdrop with the pink on the left having sympathetic 'blobs' of pink on the right, surrounding the flowers).

Another more compelling idea I've been exploring is having swathes (or bands) of color moving through the painting, this can be seen with both the usage of the pink and the blue around the background. This week I'm completing another painting with a similar color plan to this, to reinforce in my mind some of these ideas. I'll post it when it's done.

detail.

* Over the years, I've come to realize that my favorite painting is not always anyone else's favorite. These things are very subjective and personal. Generally in a solo show it's my least favorite painting that sells first, so there you go what do I know! As a rule I find it best to love them all and keep quite about which ones I like the best; just breaking the rule a little today with this post.

Sometimes I just can't help myself.

2010-09-21T13:21:00.000-07:00

Sometimes I just can't help myself; sometimes it's easier to say leave a finished painting alone, rather than finding yourself tampering. There I was just about to varnish my painting and I thought, well why not. Dark blue becomes white/pink.

I thought it would be improved if I allowed the Delphiniums to stand out more by giving the paintings background a higher key color around the flowers allowing them to do this.

Before...

After...

Delphinium with melon No2
size: 12 X 9 Acrylic on board

Underpaintings - Plums, pears and lillies

2010-09-08T14:03:00.001-07:00

I tend to always use an under painting when painting a still life, for me it's a little like building a good foundation for the house to be built on; in other words, 'it keeps me right' as I progress. I enjoy to paint colors within my under painting that either harmonize or contrast with my planned colors for the final paintings. Then as I paint later stages of paint I allow it to show through in areas to create interest and depth to areas of color. Additionally the under painting also creates greater complexity of color in the final painting.

Here's a couple of examples.

example color plan: stargazer lilies with fruit and chair (size 40X55)

example color plan: Tulips with bell peppers and limes (size 20X24)

This latest painting felt a little different to me, because I consciously chose soft pastel hues with unusual color choices.

the under painting

The painting mid way through.

I think because I was planning on leaving a lot of color showing through I kept the colors throughout the painting fairly close together in relationships; - the green/ yellow tablecloth, with the yellow ochre back drape, coupled with yellow and brown/red objects. I did this somewhat subconsciously, but I'm glad I did.

This is the final painting. I think these dramatic pastel color hues poking through the final paint have worked well in this case. Giving both the tablecloth and background drape a lot of energy and warmth, especially when studied close.

Plums, pears and lillies. Acrylic on board size 24X18

I took these details (below) to show the under painting really showing through and reacting with the foreground colors.

detail.

fiddling going nowhere...

2010-09-07T15:54:00.001-07:00

fruit and milk jug on patterned cloth
12 X 26 Acrylic on board

I confess I fiddled rather a lot and largely needlessly on this one. The final painting is even fractionally different from this! For a while I had a different edging on the table cloth, but it was too distracting. Additionally I made a lot of changes to the tone and color of the Papaya, but the end result was always much the same....oh well. Sometimes it's hard to realize you're spinning your wheels... moving on.

More small paintings

2010-09-07T15:50:00.001-07:00

Pear with Papaya study
9 X 12 Acrylic on board

Lemons with cherries
9 X 12 Acrylic on board

Delphinium with melon No2
12 X 9 Acrylic on board

smaller paintings

2010-08-28T13:02:00.001-07:00

Have been painting a run of smaller paintings. Enjoying the process of working faster and simultaneously on a few at one time. I frame these in a different style to my larger works, they go in a clean cut float frame that has a simple maple finish. I think this gives them a nice contemporary or modern feel.

Bread, Papaya and tangerines
12 X 24 Acrylic on board

Study of beets.
8 X 10 Acrylic on board

Helianthus with plums
11 x 14 Acrylic on board

lemons, plums and blue vase
9 X 10 Acrylic on board

Blessing or a Curse?

2010-08-28T13:00:00.001-07:00

my 'thinking or contemplation chair'

Like many painters I'm a huge proponent of painting standing up. I tend to feel as a practice, it helps keep the art energetic and loose. However, a 'thinking chair' set back from the easel can be an invaluable tool. I use mine a lot; while taking a moment to step back and break from the painting, an opportunity to contemplate how the work is going and where it needs to go next.

I have to say however I'm guilty of having a chair that's perhaps a little too comfy. Last few days I've been spending too much time in it and not enough time at the easel!

Painting in Monterey on the 14th

2010-08-16T11:13:00.000-07:00

Monterey, CA

Here are a few photos from painting demonstration I did at Gallery i fine art in Cannery row, Monterey on Saturday afternoon.

I'd painted at the gallery before, in the front, but this time I painted in the back of the gallery to entice people in and to give them room to sit and watch. I had one very faithful viewer who stayed with me for the whole afternoon.

I arrived in the gallery with the black 'outlines' blocked in and an under paint wash mostly in red.

Early days...

The painting was mostly completed in the gallery, but I spent a little time the next day (around 2 hours) back in my studio finishing it off. I think my photo of it makes it seem darker than it actually is.

The finished painting - Delphinium, apricot and green vase No2
Acrylic on board Size 20 X 16

I had painted this set up once before about 2 years ago, it's nice to revisit an 'old friend' like this especially when it's being given a new feel and look.

The previous painting - Delphinium, apricot and green vase
Acrylic on board Size 20 X 16

2010-08-11T09:04:00.000-07:00

Helianthus on orange
Acrylic on board Size: 29.5 X 24

I've been doing a few landscapes in oil recently. I tend to do these with patches of color, so this has started to show up in the Acrylic Still life painting, note the 'blotchy' background and table cloth. I also do small color outlines within the blotches - little brush strokes of similar colors. Though I'm not sure these are showing up in the photos.

detail.

2010-07-26T21:36:00.000-07:00

Peonies and plums on painted box

Acrylic on board
36X24

Unusual colors for me. (How's that for a short post?)

A couple of oils

2010-07-22T21:22:00.000-07:00

It had been a while since I'd done any Still lifes in oils, so I worked up these two.

I've often find I paint to thick with oils, so I did have to occasionally let these sit for a number of days and revisit them once parts had dried, allowing work to continue. This can be frustrating, but it does gives the final work a very unified look re - thickness of paint.

I tried to keep their colors a little understated compared to some of my 'usual' palette choices. In the first one I used the red in the outlines to create some drama.

Peonies and Pomegranates on bird cloth
Oil on board Size 20X43

Detail

Peonies and limes on painted box
Oil on board Size 18X24

Detail

I tried to keep the brush work in this one pretty loose and clumsy, giving the painting a nice energy.

Detail

fruit and flowers on bird cloth

2010-07-22T21:16:00.000-07:00

fruit and flowers on bird cloth
Acrylic on canvas Size: 36 x 48

Detail

Hawaii

2010-07-07T15:13:00.000-07:00

Recently back from my families first vacation to Hawaii. I probably should have done more work while I was away, but instead spent the time snorkeling with my family and enjoying the cocktails.

Only later did I start to think about some of the wonderful flora and fauna Hawaii offered, some of the orchids were really fantastic! This painting was worked on back at the studio, but the over-sized exotic bouquet was originally photographed in a cafe that we lunched in twice. I just loved the expanse of foliage beneath the flowers.

I used local fruits to fill out the composition including the Noni fruit, which is a pretty awful tasting fruit, but there are many health claims to it.

The Hawaiian arrangement

Acrylic on board size: 48X28

Detail of Noni fruit

Anyway, it all made for a great painting and I have subsequently wished I'd spent some time gathering reference materials and paintings while on vacation. Perhaps next time?

a couple of recent paintings

2010-07-07T15:03:00.000-07:00

Here are a couple of paintings from recent weeks. Currently working on a couple of oil paintings; it's been so long since I've done a oil of a still life I feel like I've forgotten how! (results of my efforts soon)

tulips and limes on painted box
Acrylic on board size: 36x24

Iris with Papaya and Lemons
Acrylic on board size: 48X24

fixing and adjusting

2010-06-23T21:20:00.000-07:00

It's been a few days of fixing and readjusting. One painting came back from a gallery with minor damage to a corner, so I restored this to it's former glory.

Lily and fruit on red cloth (after repair) Size: 18X36

I also took the opportunity to adjust the another painting that had been hanging for a number of months in the gallery.

BEFORE - tall Iris in green jug Size: 42.5X24

As an artist I try not to revisit works, especially if they're varnished and out the door; but this one (to me) just felt a little too colorful. I realized I wanted to tone it back a little, so I took the time to remove varnish and adjust to something that made me happier...

AFTER - tall Iris in green jug Size: 42.5X24

DETAIL - Showing irregular texture in the paintings ground, (heavy impasto brush strokes and sand)

...However, since I was adjusting that piece, I thought I may as well alter another.

BEFORE - Peonies in purple vase with Lemons Size: 24X36

I really liked this painting but had felt perhaps I had painted a background that was a little too strong. If I chose a more subtle backdrop color it would really make the Peonies flowers flourish. So again I stripped away the varnish and then made this singular background change.

AFTER - Peonies in purple vase with Lemons Size: 24X36

...So I'm done adjusting, and have some other new works nearing completion.

The sad loss of a dear friend.

2010-06-23T21:00:00.000-07:00

With a heavy heart I have to report on the sad loss of a dear friend. Yes my long term partner in the creation of my painting is nearing it's death....

...That's right, my faithful watercolor pencil is nearing it's end (yes, that's a pun). You see my watercolor pencil out lasts most things, a loose sketch at the beginning of each painting, steers me right before any fumbles or incorrect placement are made. Allowing me to paint with greater confidence and vigor.

A watercolor pencil, so as I begin to work it's marks wash away or disappear beneath layers of paint. The lightest of touches and the smallest of marks has meant this dear friend has seen more paintings than many other materials; the used brushes blunted to stubs, the tubes of paint (too many to count) all have gone, but my ever faithful pencil endured and kept working until the very end...

Rest in peace little pencil.

Probably the final painting for this poor pencil.

...Still on a brighter note I have a brand new pencil ready to go, so who cares! ;-)

Dragon/fish patterned cloth

2010-05-30T10:32:00.001-07:00

Been painting these nice Rhododendron on this fantastic patterned table cloth. Though in both paintings I did find myself fiddling rather with the tablecloth design, trying to find the right level of complexity and correct amount of contrast within the design, without being overpowering.

Rhododendron, mangos and limes on dragon/fish cloth
24X18 Acrylic on board

Rhododendron and fruit on dragon/fish cloth
24X36 Acrylic on board

A recent commission

2010-05-24T14:22:00.001-07:00

This commission was finished recently. The planned painting was 40X55, painted on canvas.

Originally I supplied a few color plans, to guidelines supplied by the collector (the Dieters), the image below was thier chosen color design.

The Dieters had specific colors in mind for the work, because they wanted it to take pride and place in a new room extension of their home.

The painting after initial lines are marked out and some under painting.

Usually I paint the flower foliage pretty early on, but in this case it came later. A key reason for this was the Dieters had requested some 'color magic'. They'd chosen a color plan with primarily cool colors, however they were concerned the final painting shouldn't be too cold. In short, they wanted it to be a warm, cool colored painting - no small task. For that reason I established the correct major background tones first and when I came to the greens of the foliage I took special care to keep them in the right ranges. I also used a lot of the warm under painting, allowing it to poke through. All of these things helped warm the painting up.

The final painting.

This weekend I finally met the Dieter family at Gallery i fine art (Monterey, CA) and they saw the painting for the first time. They loved it, (always good)!

Painting demonstration

2010-05-17T14:32:00.000-07:00

Here are a few photos from my afternoon painting on Saturday in Gallery i fine art in Monterey, CA.

I arrived at the gallery with the outlines of the initial painting prepared and went from there.
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In the gallery.
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Blocking in the color as quickly as possible, to create a feel for the work. I always feel that on location you need to get the flavor of the work as fast as you can, to entice watchers and let people see how you plan to progress.
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A shameful example of a disorganized palette. I've never been able to embrace a well laid out palette despite how many other artists feel about this; thus, I've developed a thick skin.
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A few of my works hanging in the gallery.
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People watching as I get fiddly!
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Always time for a photo moment!
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Getting there.
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The finished painting - Snapdragons and oranges with blue drape - 36X24.

been sluggish

2010-05-06T20:33:00.000-07:00

Sorry, I've been sluggish. Not at painting, but at posting on the blog. If you want to see a few new paintings, head over to my facebook page, just click the link on the left.

More soon'ish......

from Awilson to Angus

2010-04-26T21:18:00.000-07:00

When I moved back to America I brought with me a significant amount of art I'd created in Scotland, some are still around and I thought it would be nice to share it on the blog, since it's interesting to compare changes with this work and more recent paintings.

(NOTE: all the painting featured on this post are from my period in Scotland)

arrangement with tray

Change
An artist never stops learning, they're always 'moving forward', always developing, always honing their skill (even though at times it may not feel that way).

However, I was recently reminded that at times an event or a circumstance can dramatic change an artists work, and from that moment on the artists work is noticeably never the same again. There are many great examples in history of dramatic changes to famous artists, but since this blogs about my work I'm not going to write about them!

vegetables with lilies & white pears

Looking back I realize there was a fairly significant change to my work about 3 years ago when I moved from Scotland back to California. There were a couple of quick and obvious changes -

I went from 'AWilson' to 'Angus'. In Scotland I'd always signed my work 'AWilson' moving continent and effectively starting from scratch gave me the benefit of going for my first name, a more memorable 'Angus' replacing the boring commonplace surname of Wilson.

Everything's Bigger in America. Most Scottish galleries and homes have smaller rooms, thus the demand was for smaller work. My move meant get bigger!

canes and table & Winter sun

There were also some more subtle changes that happened gradually perhaps over the first 6 months or so of living in California -

The paintings became less tonal, using a wider range of colors. The colors also often became more saturated, more dramatic.

Composition groupings changed, I think for the most part these grouping became more conventional and traditional. Often simpler in their arrangements.

Perspectives I think also became more conventional; in Scotland I had enjoyed painting a lot of compositions from a higher view point looking down onto the table. These viewing angles for the most part got replaced by a more traditional 'classical' still life perspectives.

Lanterns with easel and orange drape & apricots in a bowl

Viewing paintings from both time periods I think there's something to enjoy in each, indeed I find many people respond to the new, but others like the palettes and compositions in the earlier works. So, the big question in this blog entry, do these changes amount to a dramatic change in my work, or just another chapter of growth and change, I suppose only time and history will tell?

Stripped cloth

Changes

2010-04-17T21:04:00.000-07:00

It's commonly said that one of the biggest mistakes and artist can make as he completes a painting, is to 'fiddle' or 'fuss' with a painting. 90% of the time I'd say this is pretty accurate; it's rare that the repainting or painting-over of an element within a painting can ever recapture the vigor and essence of the original. (Though we all do it sometimes and regret not leaving it alone in the 1st place!)

But a fear of 'fiddling' shouldn't be confused with 'reworking'. Okay granted for the most part I'm quibbling about semantics. But if there's a clear difference in the process or even the thinking of the artist, then this can often be a successful and necessary part of the process.

On occassion when I take a painting to completion, I realize I still need it to sit for a while. Whether it be hours, days, weeks or months, this settling time for a painting can sometimes generate change and in most cases these carefully considered changes are for the better.
.
This is an example of a painting that had long periods of 'resting'. Though signed, I never felt it finished, while I continued to change colors in the table cloth, fruit and Lilies. I think it's fair to say I 'struggled' with resolving this painting, but when I finally found the right colors I new it was truly finished and was able to walk away happy, with the achievement.

.before

The painting above I realized needed a little adjusting I was never happy with the cool hues contrasting with the strong colors on the table and table elements. I need time to digest this and think about what colors might have made a better painting, before I was able to rework it with some warmer hues.

after

before

I was in truth always pretty happy with this painting, but I still found myself adjusting it many weeks later. I made a lot of subtle changes to the cloth, all I felt for the better, and the color change on the pot, helped to further tie the painting together.

after

detail

Bigger is better?...

2010-04-06T13:53:00.000-07:00

Unconsciously near the end of last year many of my paintings had been getting smaller, I realized I wanted to tackle something bigger, so I chose to work on a 48X72 painting. Jokingly codenamed BIG BERTHA (not meant to be sexist, most of my paintings are probably female... though I admit, perhaps I am being sizeist).

Early beginnings

It has been the my largest painting in a number of years and it's literally just finished. I really enjoyed myself working in this scale. For convenience I painted in my garage, since I wasn't confident I could get the painting through some of the bends in my house to get to my studio. I also thought the garage would be a good location to store the painting as it dries.

The light wasn't too bad painting in this location, there was good indirect light from the main doors and in the evening I used a couple of 'construction work' type halogen lights.

Working at night

Because I usually paint on wood panel when I began working on a canvas of this size I really noticed the canvass bounce, especially working in the center of the painting (it was quite exciting).

When I initially planned and began work on the painting it felt like a really large canvas, but as I worked on it I suppose I soon got used to that scale. I even found myself thinking - next time, perhaps I should paint even bigger?

more shots of painting progress...

There can be a nice physicality to working in this scale having to move across the whole painting and mixing much larger quantities of paint. Additionally of course it also provides a wonderfully dramatic final work. Scale can really create an impact!

The final painting.
Titled 'Tulips and fruit with Denby jug on blue'.

Primarily Acrylic on Canvas, but with a few light oil glaze washes in certain areas, to give greater color depth and subtly. Work is yet unvarnished, but I will ultimately varnish with a semi gloss finish, that should give it increased richness and luster.

Details

More details

Me holding it wonky....

latest painting

2010-03-30T19:58:00.000-07:00

Changing direction

2010-03-19T20:05:00.000-07:00

I thought I'd post this painting up since it showed a good example of loosing your way and 'changing a color direction'.

The final painting

Title: Peruvian Lily and vegetables Size: 30x48

I nearly always work from a color plan, sometimes I store this in my head, but more often than not I generate a little thumbnail of my planned colors. Here's an example of one.

Color plan.

However despite working from this carefully considered plan, there can be a point in the painting of the subject where you realize it's just not working.

Photo of the painting near the end, but not working...yet

At this point you need to rapidly rethink and often repaint to make new colors and new designs work. From the image above you can see how I lost me way and floundered before dramatically changing the colors of the background darks (in the middle of the picture). Then in turn, some of the elements on the table needed a repaint to come in to line with the new and exciting design.

Sometimes it's important to let the painting speak to you and work from that, especially nearing the end of a painting. Forgetting the old ideas or plans, can build for a stronger finished painting.

This rethink, is a scary time, when you can feel everything has gone wrong and you're never going to be able to pull together a strong piece. But on occasion, ironically enough, these times are when you produce your very best of work.

Though different from its original plan the end result is powerful and I think a great color choice. Sometimes a painting just needs to evolve as you go along...

An additional image of a random detail.

Adapting Color

2010-02-27T20:53:00.000-08:00

For me, to be a colorist gives me exceptional freedom and opportunities for creativity. It's what really inspires me within a painting, the limitless options and opportunity I have simply by manipulating the color.

Many contemporary colorists fall into the trap of painting with a limited tonal range, strong colors in similar hues, perhaps with only one or two other 'key colors' placed to create drama (these are often complimentary colors). This can make for dramatic and emotional work, but it can also miss an opportunity. I feel there's a wealth of options available to us when we choose to adapt and change colors within a subject.

Often I like to approach my color adaptations by finding a single element (or perhaps the lighting) within the scene that inspires, and then manipulate all other colors around that theme. The color of a few or many elements may change, some slightly, others dramatically. Working from this single element or concept and relating that to other elements within the scene, adjusting colors as appropriate.

This method can produce dramatic eye catching paintings, with strong colors but with a wide variety of color too.

From time to time I enjoy using this technique, but working from a more subdued palette range. Producing something that has arguably a less challenging or showy presentation, this I feel presents a nice contrast to some of my more 'punchy' palette choices. Of course, in this painting it's not completely understated; I couldn't resist making a dramatic red back cloth, but other colors fall into line with that color choice -

As you can see from this detail below I changed the coloring on the fabric dramatically, but were often I would have used dramatic color, I chose muted earth based tones.

Still wet!

2010-02-16T19:33:00.000-08:00

A good challenge

2010-02-09T20:44:00.000-08:00

At the risk of waffling a bit - as an artist I believe it’s important to have an area of focus for ones work. For me part of that process is a continued exploration in the subject. For a good number of years now I’ve found myself continually energized by Still Life subjects and I’m always finding a new method to dissect the subject or a new color plan; thus re-exploring the same subject never gets dull. I do however paint a lot of Still Lifes, and it raises another point. To often a singular focus on the same subject for too long can ultimately lead to the works losing their edge and they become less than they should be. To that end, I believe it’s crucial for artists to dabble and explore other artistic endeavors, (to move out of their comfort zone). For it is through this journey that we often grow and develop, bringing new, fresh ideas and even skills back to the original concept/focus.

So to cut a long story short, from time to time I tackle something dramatically different that challenges myself artistically and so here is my most recent challenge –

A Portrait

Painting a portrait is pretty much as far removed from my normal day-to-day painting as I can get. Additionally because of this dramatic departure from the norm it always proves to be a great but rewarding challenge.

The brief I set myself was simply to paint my two children as a double portrait. I’d previously painted them together in May 2005 and I felt it was time to tackle this subject again, before they became too old and I missed a beautiful phase in their growth.

Above shows the painting from May 2005.

I set out to attempt to paint in a different style to the method I had used previously. This was achieved by borrowing from one of my heroes. Joan Eardley’s work has continued to resonate with me through the years and I love her portrait works of Glasgow’s impoverished children. I particularly remember visiting the portrait “brother and sister’ in Aberdeen Art Gallery as I grew up. I chose to borrow this composition for my portrait, knowing that this would immediately set me off in a different direction from my previous portrait. My original intension was to paint in an equally loose and free style as Eardley; but as I worked I found myself unable to keep things as loose as she was able. Over time I had to rework and move away from my original concept, but ultimately produce something that was very different from 2005 rendition.

I consciously gave the portrait a flatter appearance and kept the colors fairly close in relationships as a color/mood contrast to much of the ‘Still Life’ paintings I currently produce. I may not have been able to produce as loose a painting as I may have liked (sheer cowardice to blame I suspect). However, I’m fairly happy with the end result. There’s pretty good continuity across the painting and it captured them both reasonably. I feel this time I slightly missed the mark with my youngest child Luke, though it’s still him. I partly blame this on the expression I chose, in retrospect it perhaps wasn’t a characteristic one?

Luke detail.

It took me a full year to complete this painting so already the children have grown and changed from this point. Various delays and many weeks at a time when I would let the painting sit in my studio, semi-finished; has probably flied in the face of my originally argument of ‘tackling different subject’. Certainly, I feel for challenges such as this to have their greatest impact one should always really focus and explore the new direction, not dabble slowly as I have done here - Oh well, there’s always next time… :-)

Morris detail

Last years, most painted...

2010-01-26T21:01:00.000-08:00

At the end of a year, I like to look back and review the paintings I've completed over the past 12 months. One thing I like to do just for fun, is reflect on what my favorite 'muse' was? In other words, what object did I find myself painting most? I even broaden this question to see which flowers I painted most that year?

So, my 2009 most treasured object was...

So for me this vase proved to be my most treasured possession. It was purchased in the summer, from a 'budget-antique type' shop, while I was vacationing back in Britain. I just fell in love with the simple organic curves of it's form and the wonderful crisp leaf and stem designs on it's sides.

Here are just a couple of example paintings I completed using the vase -

And the 2009 most painted flower was....

It actually turned out to be a close run competition with a number of flowers all coming pretty close, but in the end 'the Lilly' squeaked across the finishing line first. Which if I'm honest, is a surprise, because I can struggle a little with them and tend to think I prefer painting Irises or tulips, (which it should be noted have been previous award winners). Just goes to show you never can tell.

..and here are just a few examples of this years Lilies....

2010-01-13T14:45:00.000-08:00

Painting on wood panel

2010-01-07T20:45:00.001-08:00

The preparing of a wood surface to paint on.

For me this task can be a bit of a chore, but it is a very important stage to get right, and one I like to do myself; from the selection of the wood, all the way through to creating the painting surface (known as the ground). I tend to paint on Maple or Oak, both are hardwoods and have fine grains with few knots, thus good surfaces to work on.

Sometimes I'm asked why paint on wood rather than canvas, for me the answer is simple. I do paint on both, but much of my work is on wood. Wood provides a nice hard surface unlike canvas which gives a bounce when painted on, this effects how you can paint on the surface. You can see this with crisper edges and lines in my paintings on wood, and softer edges on canvas.

An additional point is that the texture of the two surfaces can also be very different. Canvas has a very regular texture on it from the cloths weave; with wood however a number of coats of an Acrylic based paint (gesso) are need to seal the wood, these can be brushed on to create a textured irregular effect, that I find to be a more pleasing under surface to the painting.

As a side note, many of the paintings that have survived the best from previous centuries are painted on wood panels. So perhaps that also speaks to a good painting practice, though I feel these days with proper care, both supports hold up pretty well.

2009-12-21T11:55:00.000-08:00

This painting was completed on a wood board with a heavy textural 'ground' (painting base). For the ground the paint is thickened to add defined brush marks and sand was added to give a stippling effect; the result gives a lot of energy and excitement to the painting.
detail (example of textural effect)

Mini Masterpieces

2009-12-10T21:59:00.000-08:00

Visit my facebook page Angus Wilson Studio to see more of my latest small works at a competitive price!

2009-12-05T22:03:00.000-08:00

A painting through the Stages

2009-11-23T21:53:00.001-08:00

Here's one of my paintings through it's stages to completion with a brief description of the process involved.

Like much of my work it has been painted on wood which has been primed with a gesso ground (a base layer of acrylic paint). I allow the several coats of gesso to create a random brush worked texture, this ultimately give the final painting extra depth and interest on close inspection.

Stage 1 - Really this shows stage 2, the first stage would be marking in the outlines in this case with a mixture of cadmium red and burnt umber. The next stage as shown above is then to wash on color, knocking away the white canvas/board. On starting a painting I have a pretty clear idea of the final colors I want, so will either paint compliment colors underneath or secondary colors.

Care needs to be taken at this stage not to make a color tonally to saturated, since it will obviously effect greatly the luminosity of later stages of paint.

Stage 2 - Here some of the color has been placed in loosely on some objects such as the oranges and some areas of the background. But most attention and painting effort has been given to the Peonies. Since the flowers were the key to this painting I wanted to tackle them first. Additionally they're really the most complex part of the painting so required most work to get right.

Stage 3 - Other broad areas are boldly painted in. Notice how in the red cloth I have intentionally let the purple undertones shine through, this adds depth to the final painting.

Stage 4 - Mostly there now. All areas have been painted and there's only small areas to refine. The flowers in the back right need to be resolved, careful decisions are made on how refined and detailed to complete them. I try to remember to keep them subdued and loose since the focus should be on the foreground.

The Complete painting - This proved an unusual work for me, since there was little adjustment in the painting. It's common for me to rethink and evolve a painting as I work on it; usually this means changing the color of something away from my original color plan to enhance the final work. Sometimes it requires something more drastic. This painting however remained consistent through it's entire process.

Influences

2009-11-23T21:38:00.000-08:00

Every artist is asked at some point, (or often) about who they feel has influenced their work? For me I find it a difficult question to answer. Many compare my work to Matisse or even Van Gogh; it's nice company to be in, but in truth I'm not aware of my work having sprung directly from any single artist or style. Producing a unique and singular voice within my work has always been important to me and developing a style that speaks too closely to another artists work has no appeal to me.

Perhaps I would say I'm an artist of the modern age - My art has been born from a 'Google' like approach, where a variety of artists, paintings and media got chewed up in my garbled head and out came the work I produce now. But then again, I'm not sure if that's quite accurate.

Early in my career I certainly studied specific artists work. For example, I was a great admirer of Toulouse-Lautrec's oil paintings, particularly some of his palette choices. Additionally I had a strong passion for the method of Walter Sickert with his use of broken lines and dabs of color that can be seen in much of his work. I know for a while I extrapolated from these and other 'borrowed' styles; but eventually as my own work became stronger and more cohesive, I found myself removed from those influences. The paintings I admired became simply that, rather than something to borrow from.

So, when asked who I feel has influenced my work? I invariably begin to list 'past' painters and works that I have loved and admired, and for your benefit I have produced a small list of just a few here -

* Joan Eardley – particularly her early paintings of Scottish/ Glasgow street kids.

* Arthur Melville

* Toulouse-Lautrec

* Anne Redpath

* 'The Glasgow boys', particularly Peploe

* Edward Seago – wonderful landscape oils and very Sargent like watercolors

* Rothko

* Some Van Gogh, some Klimt and some Picasso

* Henry Moores Sculptures

* and many others…

There's a good number of Scottish painters listed, a product of local art galleries in my youth.

Final footnote: To list contemporary artists and art friends whos work I admire would just take too long, so apologies to them for not finding themselves included in the venerable list.

Not quite 'carbon copies'

2009-11-20T09:47:00.000-08:00

In an effort to get a little more 'conversational' on my blog....

As a rule I never repeat a painting. I do from time to time revisit an older successful painting, and work from it and the photographs of the original subject, to paint a new and fresh painting. I attempt to keep the essence of what I enjoyed about the original, but to re-explore new avenues, perhaps with a slightly differing perspective, new colors or adjusting the 'all important' line placement. (Example below)

Monet seemed to spend much of his life painting haystacks , so I have no problem reinventing a theme.

However, very, very rarely I do this...

...Attempting to paint two painting produced simultaneously, exploring the same subject in basically the same way.

I do this partly as an exercise, but also to reinforce the idea that I'm just not very keen on working in this 'carbon copy' method. Despite my disinclination to work in this way, I think both paintings turned out well and had interesting aspects to them. It's enjoyable to see them side by side and spot the differences and changes between the two works.

To keep things interesting for me, the paintings were produced at different sizes and the large one is painted on a heavily textured ground, producing a very different effect.

(The ground is produced by adding some texture paste and sand to gesso primer).

2009-11-03T14:05:00.000-08:00

Recent paintings including a new Trypic

2009-10-25T20:40:00.000-07:00

Video!

2009-10-09T21:01:00.000-07:00

At long last the videos of myself talking about my work have been posted to my web site -

'A conversation with Angus Wilson, Still Life painter'
and
'The painting process'

Follow this link to go there and watch them!

www.anguspaintings.com/page panels/Video.htm

-Angus
www.anguspaintings.com

Latest works

2009-10-09T21:00:00.001-07:00

2009-09-22T20:31:00.000-07:00

2009-09-14T13:52:00.000-07:00

Sorry, a bit of bounced reflection when this was photographed.

2009-09-01T20:46:00.001-07:00

More Peonies

2009-08-24T21:40:00.001-07:00

New works.

2009-08-11T21:04:00.000-07:00

Sometimes you know, you just need to fiddle.

2009-08-11T21:01:00.000-07:00

Altered the table color again, tweaked the vase (top right) and the plant (top left). Small adjustments elsewhere; overall much happier and better - this time it's done!

.

2009-08-07T10:02:00.000-07:00

Recent work

2009-07-28T15:42:00.000-07:00

Been gone but now I'm back!

2009-07-14T21:21:00.000-07:00

Had a couple of weeks summer vacation in Britain, but I'm back now and working away.

View more work at - www.anguspaintings.com

2009-06-19T19:22:00.000-07:00

Amended the table color in the foreground. This time it's finished!

2009-06-18T19:47:00.000-07:00

Not sure if the photo does this justice. Colors seem richer in the original.

2009-06-09T19:30:00.000-07:00

Angus Wilson Studio

Amongst the rocks, a painting in progression

oops

This painting is from an area really near where I live, this valley yields a lot of paintings for me, and it's beautiful considering it's so near to suburbia.

Happy New Year

latest tree painting

Recent commission looking back into the past

sluggish to post

now tweeting....tweet tweet

just finished

Tulips and lemons beneath summers glow 36X24 Acrylic on wood

Circles and squares

Workshop & show in Warm Springs

High set Stargazers

Warm Springs Gallery, VA

Reclining Irises

Not by the hair on my chinny chin chin!

Tulips and Pears on green

Woof

Latest Still Life paintings

London

Kendal, UK

Visiting the' Watchie'

Painting in the deep dark woods

Pinnacles National Monument

Composing new arrangements

Rebuilding, Reinventing, Rejuvenating

Another interpretation

Bakersfield Museum of Art - photos from the show

Bakersfield Museum of Art

Fiddling with my blog

Ranunculus with Oranges over gold

Lost the fight

Back in the saddle!

YouTube

illness

Video on it's way

the painted cabinet

one of last weeks

Peonies and Peruvian Lillies on blue table

Blame it on Christmas!

Patterns

latest paintings

36X24Acrylic on board

To copy is to study

a triptych

Visiting the Post Impressionists!

An article

I'm very flattered and fortunate to have had a fellow artist (Erin Fickert-Rowland) want to write an article about me. Do check out the article and read her blog postings!

Got there in the end.

Clematis, Star fruit and limes on white

New ideas

Sometimes I just can't help myself.

Underpaintings - Plums, pears and lillies

fiddling going nowhere...

More small paintings

smaller paintings

Blessing or a Curse?

Painting in Monterey on the 14th

A couple of oils

fruit and flowers on bird cloth

Hawaii

a couple of recent paintings

fixing and adjusting

The sad loss of a dear friend.

Dragon/fish patterned cloth

A recent commission

Painting demonstration

been sluggish

from Awilson to Angus

Changes

Bigger is better?...

latest painting

Changing direction

Adapting Color

Still wet!

A good challenge

Last years, most painted...

Painting on wood panel

Mini Masterpieces

Tulips and lemons beneath summers glow
36X24 Acrylic on wood

36X24
Acrylic on board