At the Kami Shrine
oil on canvas
24"x18"

The Red Pail - 1947

oil on canvas board

20"x16"

Great-Aunt Otie and Uncle Charles Chisholm

Oil on canvas board

Work in Progress

In the Park - 1941

Oil on Canvas

(work in progress)

Spring Reflections - Chicago Botanical Gardens
oil on canvas
24"x18"

(gallery-edged)

Bandelier II

oil on canvas

(work in progress)

Chicago, Green Line, Pilsen

(from a photograph by Ania Banas)

oil on canvas

14"x17 3/4"

Dorothy - 1942

Oil sketch on canvas paper

Harvey - 1964

Oil on canvas

Harvey - 1982

Oil sketch on canvas paper

Back from Boston

I returned this past Saturday from a five-day painting intensive with artist Ann Christensen. It was a very worthwhile thing to have done - I think it has already had a big impact on how I paint. The funny thing was that though I thought I wanted to simplify my style (hers is very spare, with very effective use of color), this latest effort is anything but simplified. Thinking about it, I feel that what I really wanted to get rid of was a fussy obsession with detail that I don't have the technique to pull off. I tend to get bogged down in trying to paint realistically, and I really appreciated Ann's approach, which I felt liberated me to be more impressionistic (since that seems to all I can do at this point).

So I am putting to use some of the techniques she taught me, but in my own way. This sketch was done wet-to-wet, very loose, very quickly. The larger scale painting is proving a bit more difficult to pull of - I'm having to re-work it much more than the sketch. Maybe that's only to be expected.

Chelmsford Forest

Oil Sketch on canvas board

11 1/2"x14 1/2"

This is perhaps the first somehwat successful painting I've done entirely from imagination. I used some ideas from the copies I did of Hudson River paintings, because I love those wending rivers and distant mountains.

Far River

17 3/4"x14"

Oil on canvas

The painting below was done after a trip to the Chicago Botanical Gardens. This is as close as I can get to a "vista" at this time, in flat old Chicago. Though at first I didn't care for the painting because it's so "bright," I've lately come to like it - maybe because it's among the most successful of my pictures that aren't copies of someone else's work.