Thursday, March 29, 2012

Painting White--Again

I'm drawn to white and fabrics like a moth to a flame!  And, since my last painting of my french lace table cloth and pot quickly sold, I wanted to do it again. French Lace IV is the latest in this series.  As I have experienced before when I get in the middle of folds, lace, and embroidery,  the words come out of my mouth, "what was I thinking?"  I keep asking myself as I put in the lace work, did this detail or that detail make the work a better painting, or is it just too much and detracts from the overall quality of the work.  Not long ago I had someone say about one of my lace paintings that I was just showing off.  It was said in jest, but it made me think.  I don't paint every detail, but rather keep a lot of the lace just as a suggestion especially toward the bottom of the work.  I didn't finish French Lace IV in time for my last outdoor show for this season, so this is it's debut.

                                                                    French Lace IV        
                                                                 30 X 40 oil on linen

The subject of French Lace IV is morning light reflecting on my favorite things--lace and pottery.  Just like a landscape painters who is drawn to the elements of the outside world,  I am drawn to the "landscape" of fabric and hand thrown earthenware with there peaks and valleys. I have the same feeling about my subjects as does the landscape painter.

I now have a true north light studio which is good, but the one big drawback is I can only paint in the morning.  Shadows and color temperatures changed drastically as the sun move across the sky.  Because of my work on this major piece, I have not recently painted anything small---my weekly small gems.  Small gems will return soon.  So what do you think?  Your comments and questions are always welcome and are greatly appreciated. 


  1. Couldn't you have 2 set-ups. 1 for morning and 1 for afternoon light?

  2. Thank so much for your comment. I wasn't very clear. What I meant was I couldn't paint on my white painting in the afternoon. The other issue is space. I teach three days a week and have individual stands for my students still life set-ups. Between easels, stands, and tables,I'm running out of space for myself where I have the "walk back" space from my easel and still life. Setting up for another still is not available for me. Sometimes I wish I painted from photos or my computer but I just like having the real thing in front of me. Keep your comments coming.

  3. Incredible textures, Deborah. I can feel the softness of the lace and the smooth finish of the fired pot. Outstanding results.

  4. Wonderfully nuanced. I can imagine the actual weigh and feel of your fabric.
    I, too, paint in a north light studio and the light does change significantly between morning and afternoon.

  5. Thanks for your comment. Fabric is like a landscape to me. Yes it has weight and actually will move the first 24 hours from the climate in the studio. And they call it Still Life!


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