Happy Dog

Happy Dog

5 x 10

Oil on panel

I seldom paint from photos I have not taken but, with permission, I have used this photo from a lady from Norway who has several border collies and uses them to really work her sheep. They are such smart animals. It is fascinating to watch them do their thing.

In this painting I loved the way the sun hit the dog and the funny shapes the posture created. I also wanted to capture the joy and relief of a job well done as this sweet little thing found the cool pan (of water I presume) to relax in. If I ever do pet portraits as commission pieces they will surely have to be ones that tell a bit of the animals story and personality like this one. I could do this kind of thing all day. I think I am also a little pet deprived right now too as we don't live with any at the moment.

Good Morning

Good Morning

8 x 16

Oils on panel

I haven't painted my little darlings in a while. Here they are all cuddly as I came upon them before they got up for the day. Sooo cute!

Working in the exaggerated oblong format is getting addictive for me. It seems to show off the subject  matter in a more pronounced way. I am also working with a different pallet too. Zero whites. 

Wading

Wading

Oil on panel

12 x 6

SOLD

Every once in a while I like to do a figurative piece. Sometimes I think I should paint more of them because I do love creating them. And what is it about the figure or animal from the back? It somehow tells a story that is somewhat simple and everyday that often speaks of innocence and quiet times.

Water can be quite a challenge but I am pretty pleased with my rendering of  it here.

Standing in the Sunshine

Standing in the Sunshine

7 x 5

SOLD

You may realize that one of the subject matters that I really like is stately trees. It must be the compelling abstract design of their shape against the relatively blank canvass of the sky that pulls me in. This painting was somewhat of a breakthrough for  me as I tried a technique that starts off with much larger and simpler shapes from which I chisel out the forms. I am very pleased with the results.

Old Tips

Old Tips

10 x 8, oil

SOLD

I have painted this fence before, much, much smaller. I keep going back to the pull of the sun seeping through the slats of the fence as it is in the very slow process of falling down.   You can see these fences of such character all over the place here. Often they are put up as a temporary boundary marker. Property owners usually plant bushes or trees along the same line that will eventually take the place of the fence so they leave the fence to slowly rot away and become part of the land. None of the slats are perfectly shaped either - unless you think that irregularity is perfect. They make me turn my head every time I see them - especially scenes like this one.

Celebrating .... it all

I am in the midst of an 8 out of 10 day Open Studio experience at my home. People come to my house during my open hours and look and buy (hopefully). I am in day two. Not many people here but the ones who are coming I am enjoying immensely.

During my waiting time I am working on some important things in my art - my vision, artist statement, why do I do what I do? What do I personally like about my work? Where is it all going?

Within this quest  I am getting clearer on some of own knowledge of self. I can now put into words that I understand why I paint - I am pulled to celebrate my connection with the subject by painting it.

The celebration just starts with the connection with the subject, which for me could be a special emotion or story that is enhanced with some specific lighting to help show it off.  It is also partly the 'pat on the back' when the painting is done and successful, or when a challenge within the process had been bested. Partly it is the gratitude for having the ability to begin with. Partly it is giving me credit for pushing myself to get better and better.  I guess I do believe that life is to be celebrated with all that we are - I am a painter, thus, I often celebrate with paint.

Several Plein Air Pieces

Sleeping Sailboat

10 x 5

oil on panel

Done on site at Whitstable Harbour in Kent, UK. This harbour town is jam packed with people on a nice day - especially since there aren't that many nice days in England. And it was a nice day the day I painted this. Odd how easily I could pretend all the people weren't even there, even as 100s walked by or settled in within 20 feet from where I was set up. There were also 100s of boats either in the water or waiting on the shore to go in or just nestled in their sleeping rows waiting for their next venture into the water.

Seashore at Clovelly

10 x 5

Oil on panel

Done on site in another gorgeous and out-of-the-way, ancient village called Clovelly, Devon, UK. I got up bright and early to catch the light. We stayed at a wonderful hotel, Red Lion Hotel, right on the water, so the walk to my painting site was a near 50 feet away, on a slippery, rocky shore. 

Clovelly from Below

10 x 8

oil on panel

This one is really just a sketch, generally I am not drawn to paint buildings but this place was just too captivating so I wanted to get some of it down in paint. The ancient beginnings of this village was 2500 years ago! Steep, VERY bumpy cobblestone streets. Cars are not allowed cause they simply cannot navigate the roads - all 1 of them.  The only traffic is by donkey, people and these odd, home-made sledges that they use to slide their goods from the top of the very steep hill down to the restaurants and homes there. The entire village is privately owned and has been associated with only 3 families in the last 600 years. What a place!

The Cliffs at Valley of Rocks

10 x 8

About 1 hour away from Clovelly lies a much larger tourist attraction - Lynton. One of it's beauty marks is the area they call Valley of Rocks. Not for the faint hearted for the cliffs can make even a seasoned height viewer a bit uneasy. I painted this at a cliff area where I only had to go about 2 steps out to .... my death I guess.  Really stunning area.

Rocky Bed

Rocky Bed

8 x 10, oil

I never thought I would get into painting boats. I was wrong. I am really enjoying the visual exploration of the shapes and colours. The different reflections that subtly come about on the shiny sides whether they are in shadow or sunlight. The nuances of colour and the distortion of shapes too. 

There is something very romantic about a boat in harbour - especially an empty one. It speak of adventures had and to come; of rest and yet anticipation; of imagination and wonderment. There are people always present having just left the scene or are due to come back into it. They are the living ghosts of the mysterious stories behind the travels of the vessel. 

I am studying with a renowned English painter this weekend. He is in the historic Wapping Group of painters and we will be painting boats in the harbour in a little seaside working harbour called Whitstable. The boat paintings I have been doing from my photo references have been in preparation for the different shapes and conditions that I will be doing from life.

Waiting to Float Again

Waiting to Float Again

9 x 12, oil on panel

SOLD

A last minute long weekend trip took us to North Devon and a little village called Clovelly that was first settled 2500 years ago! The town was amazing - no cars, very cobbly streets that only donkeys can manage along with the fit human. They delivered the goods to the houses and few businesses via a crudely made sled of 2 x 4 rungs nailed to a shallow plastic bin of sorts. The entire village is owned by one man and his family has owned it for 100s of years. EVERYBODY there rents from him - no one else owns property there but him. And as you can see, the base of this village is at the sea with this little harbor and a lovely hotel, where we stayed right on the shore. 

The boats were fascinating. I can't remember ever painting boats before. Great challenge, one that I will be doing again for sure. In fact, this weekend I am taking a workshop at a fisherman's harbour not too far away from home so this painting was great preparation for it.

The Progression of the painting, "Learning from Mama"

I thought I would give a little insight into the process of the last painting. 

Learning from Mama

Learning from Mama

16 x 8, oil on panel

SOLD

I am having more fun with the new elongated format. I also am re-in-love with the gypsy horses and their gorgeous mane and feathers. So instead of the tail end of this Millie, this time I thought I would show her beauty from the front. again, this is a reference photo I took 3 years ago and thank goodness I took so many photos then. 

Newborn's Nap

Newborn's Nap

5 x 10, oil on panel

SOLD

On the farm where we are living it is the time of year for foaling. Seeing these darling newborn horses is such a delight. Some years there are up to 8-10 newborns and when they lay napping it looks like a killing field as they seem to lay dead. And of course they are just being babies needing rest.

This painting is actually from a reference photo I took the first year were here (over 3 years ago already!!). Now this horse (Wobbly is his name) is a beautiful full grown 3 year old who is about to be trained for the saddle. I have yet to do a painting of him all grown up but it will come.

Girl with a Stick

Girl with a Stick

12 x 6, oil on panel

I do love a backlit scene. This one hopefully captures her innocence and mystery as she walks along lost in thought with a found stick to take along as a friend. Simplified background. Just suggestions of the details on the body. I want to do  more of these.

I am also experimenting with the new format of an elongated panel. Lots of different things to consider when working in this shape. 

A Collage of Some of my Animal Paintings

 

There is something pure, innocent and somewhat mysterious about animals as they interact with each other and with people. I love capturing that in a painting. Mom and baby, owner and pet, groups, no matter what, there is a relationship going on that is without words. I hope you enjoy this collage. I may be posting more of them down the road. Some are available, some are not. If you are interested in any of them let me know and I will get back to you on if I still have it.

The Lone Tree - Reposting one of my favourites

Lone Tree

9 x 12

One of the things I love about England is her trees - all of them. But the ones that speak to me the most are the tall and stately lone fir trees that are like silent giants watching over the land. This one was guarding the not-yet-plowed farming field. The irregular overall shape of the tree and the distant haze made for a composition that I thought showed off the scene well.

In June there is a 16 day period that is called "SouthEast Open Studios" where artists in South East England open their homes and/or studios for the public to visit and possibly purchase their work. This is the second year I will be in it. This painting is the one that I chose to be in the book for the show. I really love it.

Along the Way on a Sunny Day

I heard this a while ago and it hits home everyday:

     The more you learn about painting, the harder it gets. The more experienced you become, the more effort and time it takes to get to the next level. In the words of Monet:
“My painting...obsesses and torments me. I don’t know which way I’m going. One day I think I’m at work on a mas- terpiece, then it turns into a nothing. I fight, I fight on with- out making any headway. I believe I am seeking the impossible, but I’m filled with confidence.” Monet, 1888.

I am determined!
Here is my most current painting....

Along the Way on a Sunny Day

12 x 16, oil
SOLD

And as always I am a bit disappointed in the colouring of this photo.

I am very pleased with this painting. The light is doing what I want it to do as parts of it seem to glow in the bath of sunshine. I am doing what I have been wanting to do and that is to start with larger, simpler shapes of colours and values and then cut into them with other colours and shapes to sculpt the images and give them life. Like... the tree trunks were loads thicker to begin with so that I could be freer with the colour nuances that I wanted the trunks to have, then I chiselled  them down adding the cool tones of the background. Same thing with the sparse leaves in this painting - cutting into larger blobs of colour to create the illusion of the leaves against the sky.   Doing this has me appreciating the abstract basic shapes of the composition lots more.

What do you want from my Blog?

Hello my respected followers,

 I just thought that I would go to the source with some questions that are crossing my mind --

What is it that you want to see in my blog?
Photos of the paintings?
Photos of paintings in progress?
The stories behind the subject of the paintings?
Comments on the paint technique or other particulars on how I created the piece?
The struggles I may have had while doing the piece or about painting in general?
Painting advice?
Prices?
Guest Bloggers?
Showing other artists work?
Do you look at anything else on the page besides the post - links, archives, etc?
Do you ever follow another link to any of my other web - presences (FB, Pinterest, Daily Paintworks, etc?
Did you ever share my blog with others?
Do you follow any other artists blogs?
Do you ever go from the email of the post that you get when I post, to the blog itself or do you simply see it in the email and leave it at that?

Ok. That's enough with the questions already. If you feel so inclined to answer any of the questions it would really help give me direction for my blog entries. You can put it in the comment section of this post or email me at eileen.mcconkey@gmail.com

Thank you all so much for your support.
Eileen

Paintings From the Roos Schuring Workshop

The Long Beach of Katwijk

9 x 12, oil

3 days of workshop had us going to the same spot each day. It was amazing to get 6 completely different paintings out of the same location. It inspires me to just walk out my door where I live and do the same.

The Tide's Leftovers

9 x 12, oil

There was this dip in the beach where water collected and stayed between the cycles of the tide, leaving somewhat of an island between the two waters of the sea and the beach. It was too tempting to paint from the middle strip of dry beach. Of course, that meant that we had to keep our eyes open for the tide as it came in so that we would not get washed away. Hard to do when you have lost all sense of time and surroundings being very involved with the painting. There were many times we had to yell to the artists to get out of there as the water started coming onto the feet of their easels. All part of the adventure.

Walking the Beach Waters

9 x 12, oil

Tide was going out so the thin layer of water on the beach was very walkable, and many, many people did walk it. In fact, on a daily basis we saw one woman come down to the beach and just walk her unsaddled white pony, saw a great and picturesque horse and buggy take to the trot along the shore, saw lots and lots of dog walkers and of course we saw scores of people and school groups as well.
SOLD

Trolling for Fish

12 x 9, oil

The fishing boat was another of the out-of-the-ordinary scenes we saw. Big multi-sailed boats were way off in the distance too, as well as plenty of barges. Katwijk is not that far south of Amsterdam which is a major port for Europe.

Painting Against the Tide

12 x 9, oil

I couldn't resist painting painters. All of us there fighting the elements - the wind, some rain, the tide, heavy fog, cold weather, more wind,  more wind. Every one of my paintings has a souvenir of Katwijk beaches on it from the wind kicking up the sand. When they are thoroughly dry I will hopefully be able to brush some of it off.

Fishermen in the Mist

9 x 12, oil

Fog is so magical. Maybe it makes for good fishing too. The beachside fishermen just anchor their long poles into the sand and stand and wait for the show to begin, in the meantime they do whatever fishermen do. 

This was the last painting I did in Katwijk. By now I was really pooped but still invigorated. Lots I learned and can't wait to apply at home.

Seascape Workshop with Roos Schuring

Roos Schuring and me sharing a laugh. Her in her iconic coat and me just dressed for the elements.

There were two things I really wanted from this workshop: One was to learn as much as I could from her and one was to get to know her. I got both and that makes me very happy - although I know that I can learn lots more from her and I also know that the friendship will just grow.

This one is out of order but ... oh well...

This was our last day of painting. The fog was so thick we could barely see anything. The challenge was amazing but we trudged on and I got a couple of nice paintings from it. 

Posts on them in a day or so.

Day two had some rain as you can see. Our group made it to the papers 2 times during our 3 day workshop. I am here with the black umbrella. You have heard of extreme sports - well, here is extreme painting, and, just like the sporters who get addicted to extreme sports, I may be getting hooked on extreme painting. Love a challenge.

Day 1. Painting #2. Just starting to get into the groove of the workshop. Getting used to a different subject matter - I have not painted plein air seascapes before - and I was still getting over being in a new country and the "pinch me - where am I and who am I with" thing. I had been following and looking up to Roos for several months by now - and here I was in her workshop. WOW!

Trimming the Bamboo

Trimming the Bamboo

8 x 10, oil on panel

SOLD

The photo reference for this painting was one I took of my oldest grand daughter, Mya, as she sat trimming some of the smaller branches off of some bamboo so that we all could play with it (There's soooo much bamboo in the yard!). She was so intent on her job that she seemed to forget where she even was.  I was luck to capture her in action.

I posted this onto Facebook 10 minutes after the last paint stroke and it sold right away. Made my day.

And by the way, if anybody is interested in buying any of the paintings that you see on my blog you can go to the Daily Paintworks link that is listed in the right hand column here.

Long Shadows in Lotus

Long Shadows in Lotus

8 x 10, oil

Reference for this was taken 4 1/2 years ago when I went to California to help with my daughter Trish's first baby. At the time they lived on a 5 acre spot that was wonderfully remote in the town of Lotus. This odd little drive thru carport drew me in. I guess that I waited for my skills to develop enough to get a satisfying painting out of it. I do enjoy putting color in those shadows.

Big Mama

"Big Mama"

12 x 16

There are 6 Jacob sheep on the farm here where we are living while we are in England. There are also some gypsy horses and alpacas. The sheep - 1 is a male that has been fixed and the others are females, including this one. She is known to have a bit of testosterone in her, but even the male's horns are lots smaller. A fact about Jacob Sheep - they can have up to 6 horns! None of ours do.

This painting actually had me working a bit bigger than normal. You may be seeing more of them down the road. It has an acrylic undercoating that was actually very colourful. In fact, you may see some of the purple showing through. I'll let you find it.

Guest Blogger Linda Fisler of the AMO Art Chat on Blogtalk Radio- Part Two

Part Two : Linda Fisler on the AMO Art Chat. See the previous post for Part One where Linda give a bit of background on herself.....

Logo for Artist Mentors Online  AMO

Linda continues her thoughts from yesterday's post:

Today, I am writing, directing, producing and host a very popular Blog Talk Radio Show called AMO Art Chat as well as continuing to paint and write.   AMO Art Chat just celebrated our first birthday and we average about 8400 listeners per episode worldwide.  These phenomenal numbers, I believe, are due to our awesome listeners and the mission of the show.  Our mission is to provide our listeners with food for thought on our artist skills.  Since we are artists ourselves, we can focus on digging deeper into different art topics—from  the evolution of seeing to controlling edges to the current art renaissance and what that means for us, as artists.  Ours guest have included, Quang Ho (Evolution of Seeing), Kevin Macpherson (Staying Inspired), CW Mundy (Foundation aspects of painting), Michael Pearce (21^st Art Renaissance), George Gallo (Study Past Masters & Painting Large Plein Air), Sherrie McGraw and DavidA. Leffel (Classical Realism) to name only a few.  The list of guests and our numbers of listeners continue to grow daily! We hope you’ll stop by for a listen.

When I started this show it was to fulfill a dream of being a writer, director, producer, and creator of something appreciated by all of you, our listeners and all artists, and that it would bring something valuable to our creative lives.   Personally, the show is near and dear to my heart because it is a labor of love that is being so well received and recognized as a high quality show by so many people.  It has led me to create a series of eBooks and now opportunities to write two additional art books with two wonderful artists.  The show quality has been recognized by many master artists, as well as others in the art world. This has just been reinforced by the invitation by California Lutheran University’s Art Department Chairperson, Michael Pearce, to be involved in and broadcast live from The Representational Art Conference in March 2014.   To have academia acknowledge that your show is of high enough quality to cover their art conference is one wonderful confirmation!!  The rewards have been endless; from the notes from listeners expressing their love for the show to the honor received by the CLU invitation.  All compliments are so gratefully appreciated and honestly keeps it going! 

Probably the most memorable moment in this creative life was when I first called David A. Leffel to work on the show with him.  I expressed to David that I was so in awe of him and his life works, that I was very intimidated to talk with him at Weekend With the Masters.   The soft spoken hero to all us artists everywhere (my humble opinion) answered:  “Well, Linda…what took you so long?  I’ve been waiting for you to call.”    This wonderful man just inspired me with two sentences to throw my inhibitions aside and just ask for it.   Besides, what is the worst thing that could happen to us if we reach for something we want to do or have?   The answer may be no or we may not get it; but more importantly what have we learned along the way?

Guest Blogger Linda Fisler of the AMO Art Chat on Blogtalk Radio- Part One

Logo for Artist Mentors Online  AMO

This is Part One of a two-part blog by a guest blogger. It is most especially for my painter followers (and art interested followers) as it will be talking about a Blog Talk Radio Show called the AMO Art Chat hosted and directed by Linda Fisler. Linda has developed a show that highlights interviews with some of our present day masters in Representational  Painting.  I personally have been inspired, motivated and educated through her show and am hoping that my support of it will help increase it's listenership.  

Welcome Linda.

First, I’d like to thank Eileen for the opportunity to guest on her blog.  It is a very nice honor!

Allow me to introduce myself.  My name is Linda Riesenberg Fisler.  I grew up around Cincinnati, Ohio and always have had a flair for creativity.  As a child, I would create stories to entertain and like most children, would say “Let’s pretend…” a lot!   A happy childhood, filled with sports, make believe, crayons, pens, paper, typewriter and a vivid imagination.  Then high school and the question of what I wanted to be in my life arrived.  Did I mention I loved movies?  Chuckling now as I recall the look on my parents’ face when they asked what I wanted to be when I grew up and what college I wanted to go to; my answer “University of Southern California to become a film director.”  Did you hear them faint?  The disbelief—a young girl in 1979 going to USC for Film—not my little girl!

So being sent to my room for some “soul searching” and knowledge that I’d never turn them around brought my Irish stubbornness to the forefront.  No degree in film making, not interested in college.  “Get a job then.”  And I did.  I worked at Procter and Gamble for 26 years, resigning after achieving the goal of manager (one of only a very few who achieved management without a college degree) to follow my dream of living a creative life.  During my years working at P&G, I wrote like a madman—creating a novel I’m putting finishes touches on now.  I also picked up my love of painting.......

Tomorrow - Part Two.... The AMO Art Chat Show and it's prestigious guests

Watching MY Valley

Watching MY valley

9 x 12, oil

There is something I really am drawn to about a person or animal from the back, as many of you know already. There is a bit of mystery in not seeing the face - especially the eyes.  As the painter pulled to paint this, I feel like I am part of an intimate moment without disturbing it's energy. 

There is also a simplicity of form that can speak to the overall character of the animal / person that is just enough for me to know them in a way. When I view things from behind I put myself in their world rather than have them in mine. It's a place of wonder, curiosity and intrigue.

This cow is one I saw on my first trip to Ireland. He/she didn't even know I was there. I caught the scene and the photo - took in the mood and then was on my way.