tag:blogger.com,1999:blog-62420188557572637662012-02-08T22:59:58.491-05:00Catherine Kehoenoreply@blogger.comBlogger371100tag:blogger.com,1999:blog-6242018855757263766.post-50919821292601331962011-01-30T15:37:00.089-05:002012-02-06T10:23:06.085-05:00

Susan Lichtman Susan Lichtman workshop at Art New England LINK TO GRID VIEW 

Catherine Kehoenoreply@blogger.comtag:blogger.com,1999:blog-6242018855757263766.post-33578454924050867242011-01-29T15:36:00.053-05:002012-01-19T00:39:43.090-05:00

It is no easy matter to give novelty to old subjects, authority to new, to impart lustre to rusty things, light to the obscure and mysterious, to throw a charm over what is distasteful, to command credence for doubtful matters, to give nature to everything, and to arrange everything in accordance with Its nature. — Pliny the Elder

Catherine Kehoenoreply@blogger.comtag:blogger.com,1999:blog-6242018855757263766.post-48850248977635548192011-01-28T16:10:00.005-05:002011-11-13T10:52:34.577-05:00

By Kim Sloane “I would prefer to claim with Pissarro that the art of painting, for those who know how to use their eyes, resides in an apple on the corner of a table. What could be more stupid than painting an apple! And yet to make of such a simple fact something that will be elevated to beauty, painting will have to engage all of its means; it will have to be solid, flexible, and rich in

Catherine Kehoenoreply@blogger.comtag:blogger.com,1999:blog-6242018855757263766.post-78612810288398507452011-01-28T16:00:00.003-05:002011-10-12T23:23:32.429-04:00

LINK TO GRID VIEW

Catherine Kehoenoreply@blogger.comtag:blogger.com,1999:blog-6242018855757263766.post-62722033651896992672011-01-28T15:34:00.007-05:002011-12-29T21:30:57.028-05:00

Paintings by Temma Bell, Stanley Bielen, Georges Braque, Lisa Breslow, Joan Brown, Paul Cezanne, Anne Vallayer-Coster, Robert Dukes, Phyllis Floyd, Josephine Halvorson, Israel Hershberg, Chelsea James, Rebecca Kallem, Tim Kennedy, Ken Kewley, Karl Knaths, Sydney Licht, Dik F. Liu, Sangram Majumdar, Eve Mansdorf, Louisa Matthiasdottir, Ruth Miller, Piet Mondrian, Walter Murch, William Nicholson,

Catherine Kehoenoreply@blogger.comtag:blogger.com,1999:blog-6242018855757263766.post-59403942050621428292011-01-28T15:00:00.009-05:002011-12-22T23:39:20.526-05:00

That is, in relationship to painting the world.  Mirror, Raven, Rose, Lemon and I, 20" X 20", 2011 We are in constant motion and the motion seen with two eyes gives us information about our place in space and the relationships of forms within space. We have since babyhood developed a keen understanding of the world as form and space. We use this knowledge plus the flat world we see (if we don't

Catherine Kehoenoreply@blogger.comtag:blogger.com,1999:blog-6242018855757263766.post-12377002062668312382011-01-27T15:35:00.006-05:002012-01-28T10:38:28.483-05:00

Paintings by Kimberlee Alemian, Paul Cezanne, Edgar Degas, Andre Derain, John Dubrow, Phyllis Floyd, Lucian Freud, Ann Gale, Antonio Lopez Garcia, Charles Hawthorne, Chelsea James, Alex Kanevsky, Tim Kennedy, Ken Kewley, Kurt Knoblesdorf, Lotte Laserstein, Susan Lichtman, Sangram Majumdar, Eve Mansdorf, Henri Matisse, Joe Morzuch, Andy Pankhurst, Fausto Pirandello, Nicole McCormick Santiago, Tai

Catherine Kehoenoreply@blogger.comtag:blogger.com,1999:blog-6242018855757263766.post-19908627393731557952011-01-26T20:13:00.061-05:002012-01-28T13:46:11.036-05:00

Some painters were invited to describe their palettes and the way they organize them, as well as their preferences regarding brushes, paint brands and medium formulas. Their replies follow. Paul Cezanne The colors on Cezanne's palette, according to Emile Bernard:Yellows:brilliant yellownaples yellowchrome yellowyellow ochreraw siennaReds:Vermilionred ochreburnt siennarose maddercarmine lakeburnt

Catherine Kehoenoreply@blogger.comtag:blogger.com,1999:blog-6242018855757263766.post-88510654871826570622011-01-24T21:49:00.000-05:002011-01-31T11:44:02.380-05:00

Paintings by Ken Kewley Link to grid view

Catherine Kehoenoreply@blogger.comtag:blogger.com,1999:blog-6242018855757263766.post-9821582736687119652011-01-23T15:33:00.001-05:002012-01-28T11:26:59.636-05:00

One of the first lessons regarding color I ever had was at RISD, in a two-dimensional design class with Gerald Immonen. The class, and his projects created a wonderful foundation that was steeped in acute observation as much as it was in understanding color systems. When I began working with oils, my color palette was based around a warm/cool combination of the primaries alongside green (

Catherine Kehoenoreply@blogger.comtag:blogger.com,1999:blog-6242018855757263766.post-58644874037069870412011-01-22T15:32:00.000-05:002011-01-31T11:45:08.317-05:00

Of most importance for me, regardless of what is on the palette, is that the color mood of the painting is not the result of what specific colors are put out, but of what the painter can do with those colors to create a color complexion in the painting. I use the same colors for night painting, day painting, painting in Italy, painting on the coast of Ireland, urban painting or rural painting —

Catherine Kehoenoreply@blogger.comtag:blogger.com,1999:blog-6242018855757263766.post-71971947200112618232011-01-21T15:30:00.000-05:002011-01-31T11:45:38.305-05:00

By Maurice Merleau-Ponty It took him one hundred working sessions for a still life, one hundred- fifty sittings for a portrait. What we call his work was, for him, an attempt, an approach to painting. In September of 1906, at the age sixty-seven—one month before his death—he wrote: "I was in such a state of mental agitation, in such great confusion that for a time I feared my weak reason would

Catherine Kehoenoreply@blogger.comtag:blogger.com,1999:blog-6242018855757263766.post-88849130339485317252011-01-21T10:30:00.000-05:002011-09-26T14:27:26.731-04:00

My palette, if I am to think of it only as a list of colors inside of tubes, has changed little over the past 40 or so years. Whether in the attenuated, saturated notes and temperatures found in much of the Northeastern US, or under the merciless and brutally denuding light that bears down on Israel’s long dry summers, or in that tempered and fragrant apricot tinged light that is Umbria or

Catherine Kehoenoreply@blogger.comtag:blogger.com,1999:blog-6242018855757263766.post-83938623143524084202011-01-20T14:00:00.000-05:002011-07-14T09:39:04.066-04:00

Still life paletteHere are pictures of two palettes I use. The smaller one with the paint built up that looks like a bunch of Giacometti figures is used in a little room in the house with a small north light for still life painting when I think I need intense light. The bigger one is the one I use in my studio where the light in more diffused and is about two years old so the paint hasn’t built

Catherine Kehoenoreply@blogger.comtag:blogger.com,1999:blog-6242018855757263766.post-17315250999067798842011-01-20T13:28:00.005-05:002012-01-28T10:30:30.364-05:00

Gulgun Aliriza, Anna Ancher, Meir Appelfeld, Giovanni Bellini, Lisa Breslow, Christopher Chippendale, Meredith Fife Day, Lois Dodd, Tina Engels, Yuval Etzioni, Phyllis Floyd, Elana Hagler, Rebecca Harp, Israel Hershberg, Diana Horowitz, Chelsea James, Rebecca Kallem, Alex Kanevsky, Ken Kewley, Stanley Lewis, Susan Lichtman, Sangram Majumdar, Paul Manlove, Sylvia Plimack Mangold, Henri Matisse,

Catherine Kehoenoreply@blogger.comtag:blogger.com,1999:blog-6242018855757263766.post-53659106656664109672011-01-19T15:26:00.000-05:002011-01-31T11:46:56.530-05:00

Link to grid view with artist names

Catherine Kehoenoreply@blogger.comtag:blogger.com,1999:blog-6242018855757263766.post-21883428198774798472011-01-18T16:49:00.032-05:002012-01-22T09:07:31.984-05:00

This essay was written by Christopher Chippendale  on the occasion of his exhibit at Soprafina Gallery, December 2011 Je ne puis pas distinguer entre le sentiment que j'ai de la vie et la façon dont je le traduis.* —Henri Matisse (1908) *I am unable to distinguish between the feeling I have about life and the way I translate it.  Through their medium artists reconstitute and give permanent

Catherine Kehoenoreply@blogger.comtag:blogger.com,1999:blog-6242018855757263766.post-5386645948301630312011-01-18T15:31:00.000-05:002011-01-31T11:47:32.446-05:00

By Imogen Sara Smith“Nothing humiliates his brushes,” the Goncourt brothers wrote in 1867 of Jean-Baptiste-Siméon Chardin, the eighteenth-century master of still life. Their amazement betrays disdain for such mundane subjects as copper pots, a jar of olives, a brioche, a dead rabbit, a clay pipe, a plate of plums. But while Chardin transformed kitchen scenes into enchantingly harmonious

Catherine Kehoenoreply@blogger.comtag:blogger.com,1999:blog-6242018855757263766.post-91044647202795026122011-01-17T15:30:00.000-05:002011-01-31T11:48:08.774-05:00

Link to grid view with artists' names Zeuxis is a grassroots organization of painters formed in 1995 to explore the contemporary possibilites of the still life. For The Common Object, Zeuxis artists and their guests agreed to produce a still life incorporating an ordinary dishtowel. Their approaches to this humble tool of daily life demonstrate the many ways in which still life painters can, in

Catherine Kehoenoreply@blogger.comtag:blogger.com,1999:blog-6242018855757263766.post-76700741969465603922011-01-16T21:48:00.000-05:002011-01-31T11:37:17.745-05:00

By Richard BakerI think of painting as mildly calcified theater — all the “action,” so to speak, moves at the rate of a slow moving liquid, like glass. To paraphrase something Myron Stout wrote in 1953, — in the process of painting, each successive moment is a list of moments spread out in time while the painting progresses — they are gathered together at the end and become a single immutable

Catherine Kehoenoreply@blogger.comtag:blogger.com,1999:blog-6242018855757263766.post-1230321425459797632011-01-15T09:32:00.004-05:002012-01-22T09:37:17.320-05:00

Leland Bell, Christopher Chippendale, Katie Claiborne, Susanna Coffey, Edgar Degas, Elaine Despins, Thomas Eakins, Emily Eveleth, Lucien Freud, Ann Gale, Alberto Giacometti, Elana Hagler, Israel Hershberg, Frank Hobbs, Peter Inglis, Alex Kanevsky, Diarmuid Kelley, Lotte Laserstein, Michal Lewit, Sangram Majumdar, Edouard Manet, Joe Morzuch, George Nick, Andy Pankhurst, Fausto Pirandello, Helene

Catherine Kehoenoreply@blogger.comtag:blogger.com,1999:blog-6242018855757263766.post-31560684104278011932011-01-14T23:07:00.037-05:002012-01-30T09:35:48.017-05:00

Don't think: look! — Ludwig Wittgenstein In art you never hit what you’re aiming at, but the difference may not be downward. — Robert Kulicke There’s no story. I don’t want to tell stories. Other people always read things into your work, which you can never see. That’s fine, that’s great. For me it was just exciting to look at it and try to do something with it. — Lois Dodd I have a criterion

Catherine Kehoenoreply@blogger.comtag:blogger.com,1999:blog-6242018855757263766.post-82423150530426049422011-01-13T22:39:00.000-05:002011-01-31T11:36:08.338-05:00

Catherine Kehoenoreply@blogger.comtag:blogger.com,1999:blog-6242018855757263766.post-60593595616242921272011-01-12T12:30:00.004-05:002011-12-15T09:32:54.365-05:00

Alphabetical by author Joan Mitchell, Lady Painter — a life by Patricia Albers Blanche Lazzell — The Life and Work of an American Modernist by Bridges, Olson and Snyder Looking at the Overlooked — Fours essays on still life painting by Norman Bryson  Albert York by William Corbett Philip Guston's Late Work: A Memoir by William Corbett The Journal of Eugene Delacroix by Eugene Delacroix

Catherine Kehoenoreply@blogger.comtag:blogger.com,1999:blog-6242018855757263766.post-17637247638908474002011-01-11T18:42:00.021-05:002012-01-26T11:21:55.680-05:00

Linda Anderson Artslides Digital ImagingFrank Auerback copies a Rubens — videoRichard Baker interview — Brooklyn RailLucy Barber Temma BellStanley Bielen Lisa Breslow Claudia Carr Katie Claiborne Chuck Close video Christopher Chippendale Susanna CoffeyMeredith Fife Day Edwin Dickinson by John YauLois Dodd at Alexandre GalleryLois Dodd videoRackstraw Downes interviewed by David Cohen Rackstraw

Catherine Kehoenoreply@blogger.comtag:blogger.com,1999:blog-6242018855757263766.post-37640149491660538032011-01-10T14:00:00.001-05:002011-04-03T10:21:50.790-04:00

catherinekehoe8@gmail.com Catherine Kehoe

Catherine Kehoenoreply@blogger.comtag:blogger.com,1999:blog-6242018855757263766.post-67662524367763973692011-01-09T11:46:00.000-05:002011-01-31T11:34:25.669-05:00

Link to grid view

Catherine Kehoenoreply@blogger.comtag:blogger.com,1999:blog-6242018855757263766.post-81589237154448349522011-01-08T14:07:00.002-05:002012-01-05T22:06:41.257-05:00

• Painting is an interpretation of tone. • Keep the planes free and simple, drawing a full brush down the whole contour of a cheek. • Always paint one thing into another and not side by side until they touch. • The thicker your paint — the more your color flows. • Simplify, omit all but the most essential elements — values, especially the values. You must clarify the values. • The secret of

Catherine Kehoenoreply@blogger.comtag:blogger.com,1999:blog-6242018855757263766.post-79839415462877119842011-01-08T14:06:00.000-05:002011-01-31T11:34:01.289-05:00

For me, painting from nature is akin to playing music. The notes are there. One tries to get them down in the proper proportion to bring out the proper impression. Realizing your palette is limited; it cannot begin to have the richness, the depth from light to dark that nature encompasses or the subtlety of it. Nature seems to strain for its effects, and yet it has so much power. One always wants

Catherine Kehoenoreply@blogger.comtag:blogger.com,1999:blog-6242018855757263766.post-10068260368101181022011-01-07T12:02:00.000-05:002011-01-31T11:33:39.766-05:00

by Tai-Shan Schierenberg Girlfriends by Tai-Shan Schierenberg Marigold by Euan Uglow I had been doing the usual: chucking on the paint, wasting prodigious amounts of energy and materials. Sometimes, something would appear in this undisciplined mess, full of vitality and beauty. However it all smacked of monkeys and typewriters, and my understanding of the way painting worked was purely

Catherine Kehoenoreply@blogger.comtag:blogger.com,1999:blog-6242018855757263766.post-22184864828789495022011-01-06T11:55:00.003-05:002012-01-13T11:40:31.026-05:00

For students and teachersFind a place you trust and then try trusting it for a while. General duties of a student:   pull everything out of your teacher. pull everything out of your fellow students. General duties of a teacher:    pull everything out of your students. Consider everything an experiment. Be self-disciplined. Nothing is a mistake. There's no win and no fail, there's only make.

Catherine Kehoenoreply@blogger.comtag:blogger.com,1999:blog-6242018855757263766.post-68859682894513072332011-01-05T10:42:00.000-05:002011-01-31T11:32:50.966-05:00

If you go into it knowing that you will probably not be rewarded lavishly, but you can in fact continue to work, you’re on a much better footing than if you go into it trying to make a huge impact when you’re 23 or 24, and then maintain that for the next 60 years. I’m interested in people who make good art, whenever they make it, and I think a lot of the best artists today are late bloomers.

Catherine Kehoenoreply@blogger.comtag:blogger.com,1999:blog-6242018855757263766.post-54606226265050294132011-01-04T09:34:00.000-05:002011-01-31T11:32:27.162-05:00

Essay for Human Measures exhibit at Indiana University  by Tim Kennedy Part of the beauty of living in the present age artistically is that the viewer approaches the gallery space with no fixed idea of what he or she will encounter there. Any form or experience is available or permitted. Part of our task as viewers is to engage whatever we encounter with strangeness and new eyes. In one way the

Catherine Kehoenoreply@blogger.comtag:blogger.com,1999:blog-6242018855757263766.post-660374731203120452011-01-03T10:39:00.000-05:002011-01-31T11:32:00.900-05:00

Link to grid view Good artists copy. Great artists steal. — Pablo Picasso

Catherine Kehoenoreply@blogger.comtag:blogger.com,1999:blog-6242018855757263766.post-9059242173677912792011-01-02T14:00:00.000-05:002011-01-31T11:31:38.144-05:00

Quotations from "Hawthorne on Painting"  by Charles W. Hawthorne Charles W. Hawthorne Do studies, not pictures. Know when you are licked — start another. Be alive, stop when your interest is lost. Put off finish — make a lot of starts. It is so hard and so long before a student comes to a realiztion that these few large simple spots in right relations are the most important things in the study

Catherine Kehoenoreply@blogger.comtag:blogger.com,1999:blog-6242018855757263766.post-2886106270056169962011-01-01T10:34:00.000-05:002011-01-31T11:31:09.775-05:00

Link to grid view

Catherine Kehoenoreply@blogger.comtag:blogger.com,1999:blog-6242018855757263766.post-73740290338677684642011-01-01T10:33:00.003-05:002011-02-21T15:05:58.735-05:00

LINK TO GRID VIEW

Catherine Kehoenoreply@blogger.com