My wife says I should do more still lifes. So, that’s one of my New Year’s resolutions: “Do more still lifes.”
Here’s the first:
I gave my wife a Waterford crystal vase for Christmas. We moved into a new house this fall, and we have a dining room in the front of the house that gets a lot of morning sun. I thought the vase would look good there, catching a lot of sun rays.
Sally bought a couple of roses, set it all in the middle of her grandmother’s diningr oom table, and I got inspired. I did one painting, which was ok, but I wasn’t satisfied with the background, so — in a rarity for me — I did it again. I am more satisfied with this one.
I need more practice at this still life thing.
About the painting
The paper for this painting comes out of a book of Daler-Rowney 200 lb. paper that I caught on sale at the end of the summer. The paper is very nice to work with — good absorbancy and transparency both.
8 x 10 watercolor, 200 lb paper
(The painting is a bit brighter than it shows up in this photo.)
Price: Not for sale
One of baseball’s early 20th century superstars was Christy Mathewson.
In an era when most baseball players were rough and tumble blue collar guys, Mathewson was a cultured and well educated player, who had an unhittable fast ball and who looked good on the field — and even better in front of the camera. He was tall and had striking good looks. Some of the photos of him are amazing.
Mathewson was what the lords of baseball wanted all of their players to be — cultured, well-mannered, modest and discrete. Fortunately, that did not happen, and instead we got personalities like Ty Cobb and John McGraw, along with the likes of Mathewson.
Still, there was no denying that Mathews had an “it” about him that few other players possessed on the field and in front of the camera.
And that’s probably he has inspired more than one painting or drawing from this artist.
11 x 14, watercolor on Bristol board
Price: $75
About the drawing
I was experimenting a bit with color here and am not sure this works. But, still, it has an appeal, at least to me. If it doesn’t sell by New Year’s, I think I’m going frame it for my office wall.
(This is an original piece, not a print.)
One of the most exquisite structures on the beautiful Emory and Henry College campus is Memorial Chapel. The building is striking for the design and height of its steeple. Even more striking is its sanctuary (something I had always meant to paint but never got to it), which is the soul of simplicity and elegance. From 2003 to 2006, I was privileged to be on the faculty of Emory and Henry, a small Methodist College in the mountains of southwest Virginia, about 25 northeast of Bristol. The campus has been on that spot since its founding in 1836. It is one of uncommon beauty, as is the surrounding area. The place inspired many paintings, one of which was put on this site in August. Another three are located just below this entry, and here is a fourth.
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10 x 14, Watercolor on Arches 140 lb. cold press paper
Price: Not for sale
About the painting
This painting is one of a series that I have donated to Emory and Henry College.
(This is an original piece, not a print.)
For almost the entire existence of Emory and Henry College,, there has been a Wiley Hall. During the Civil War, the college was closed, but Wiley Hall served as a hospital for Confederate and Union soldiers. That building burned early in the 20th century and was replaced by the one shown in the painting below. From 2003 to 2006, I was privileged to be on the faculty of Emory and Henry, a small Methodist College in the mountains of southwest Virginia, about 25 northeast of Bristol. The campus has been on that spot since its founding in 1836. It is one of uncommon beauty, as is the surrounding area. The place inspired many paintings, one of which was put on this site in August. Another two are located just below this entry, and here is a fourth.
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15 x 22, Watercolor on Arches 140 lb. cold press paper
Price: Not for sale
About the painting
This painting is one of a series that I have donated to Emory and Henry College.
(This is an original piece, not a print.)
Byars Hall, on the campus of Emory and Henry College, serves as the home for the theater, art and music departments. From 2003 to 2006, I was privileged to be on the faculty of Emory and Henry College, a small Methodist College in the mountains of southwest Virginia, about 25 northeast of Bristol. The campus has been in existence on that spot since its founding in 1836. It is one of uncommon beauty, as is the surrounding area. The place inspired many paintings, one of which was put on this site in August. Another is located just below this entry, and here is a third.
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15 x 22, Watercolor on Arches 140 lb. cold press paper
Price: Not for sale
About the painting
This painting is one of a series that I have donated to Emory and Henry College. More of those paintings will appear soon.
(This is an original piece, not a print.)
From 2003 to 2006, I was privileged to be on the faculty of Emory and Henry College, a small Methodist College in the mountains of southwest Virginia, about 25 northeast of Bristol. The campus has been in existence on that spot since its founding in 1836. It is one of uncommon beauty, as is the surrounding area. The place inspired many paintings, one of which is already on this site. Here is another.
15 x 22, Watercolor on Arches 140 lb. cold press paper
Price: Not for sale
About the painting
This painting is one of a series that I have donated to Emory and Henry College. More of those paintings will appear soon.
(This is an original piece, not a print.)
Baseball produces a series of set plays that make it exciting for the fan. The slide by a runner trying to beat a throw to a base is just one of those plays, and it always draws the attention of the crowd. The slide was developed early in the history of baseball as a way of avoiding the tag and the out. As this painting depicts it, the slide was just as exciting during an old time baseball game as it is today.
11 x 14, Watercolor and pen and ink on Bristol board
Price: $75
About the painting
This piece is the fourth of a series of four rendered with pen and ink and watercolor. (See below.) They all examine baseball players as they looked more than 100 years ago. They can be purchased individually or as a set (with a generous discount).
(This is an original piece, not a print.)
Everybody knows that pitching, ultimately, beats hitting in baseball. It was that way last night when the Cardinals pitchers beat the Mets hitters to win the National League pennant. It was true a hundred years ago when this big, burley hurler delivered a high hard one to his batting opponent. Think about a ball from this guy coming at you at 90 miles per hour. No wonder Ted Williams said hitting a baseball was the hardest thing to do in any sport.
11 x 14, Watercolor and pen and ink on Bristol board
Price: $75
About the painting
This piece is the third of a series of four rendered with pen and ink and watercolor. (See below.) They all examine baseball players as they looked more than 100 years ago. The last one will appear in the next few days. They can be purchased individually or as a set (with a generous discount).
(This is an original piece, not a print.)
With fielding percentages and Golden Glove awards — as well as ESPN highlights — the ability to catch the ball seems like it is finally getting its due after decades of neglect. But good fielding has always been valued by players and fans alike. Players such as Honus Wagner and Ty Cobb established themselves in their fielding positions as well as at the plate. That’s what this painting honors.
11 x 14, Watercolor and pen and ink on Bristol board
Price: $75
About the painting
This piece is the second of a series of four rendered with pen and ink and watercolor. (See below.) They all examine baseball players as they looked more than 100 years ago. The others will appear in the next few days. They can be purchased individually or as a set (with a generous discount).
(This is an original piece, not a print.)
Pitching is the most important part of baseball, but there is nothing that personifies the game more than the hitter. The hitter is the nexus of almost all the action of the game, and he is endlessly fascinating to this artist. Here we have a turn-of-the-century (last century) slugger laying the wood on the ball. The hitter sports a thick gray uniform but no batting helmet, no batting gloves, no shinguards. Just hitter, bat and ball.
11 x 14, Watercolor and pen and ink on Bristol board
Price: $75
About the painting
This piece is the first of a series of four rendered with pen and ink and watercolor. They all examine baseball players as they looked more than 100 years ago. The others will appear in the next few days. They can be purchased individually or as a set (with a generous discount).
(This is an original piece, not a print.)
