The Entomologist

Dear Friends,

Here is another early sculpture piece. The title is self explanatory. This cat is inspecting a beetle ( which, by the way, is superbly rendered if I do say so myself ), but has no intention whatever of actually touching it. If you have cats, you know this situation. This piece is about 12" high and a tad longer. It is made of water based clay, fired to stone hardness, and it sits on a base of hand rubbed wood.

I've entered this in a couple of shows and it's done well, receiving good reviews and winning prizes. Judges seem to like the looseness.

I did this one early on in my sculpture learning process and I hope I've improved some since then. But maybe not. You'll have to be the judge as I present the pieces as they came later. There are some horses and those will come along in the blog soon. I hope you like this.

Our place is a riot of purple color right now. Since the bad drought last year killed off much of our grass, even the native stuff, the fields have been taken over by the weed species. In our case, at least the weeds are beautiful purple prairie verbena. I should post a photo just so you can see it. Maybe I will.

Best regards,

Jay

The Sneak

Dear All,

I am trying to keep my promises to post more often so here is a cat I did a while ago. I like this particularly because of the finish on it which makes it look like old copper. The piece is about 6 inches tall and about a foot long counting the base. It is fired clay painted to look like the oxidized copper. It has been shown in a couple of big shows and has won prizes in both.

The base wood is hand finished with hand rubbed oils and is almost an artwork itself. Made by my art friend, Kathy.

This is one of my more favorite pieces as I think it captures the essence of the stalking cat and it has some nice decorative values to it.

It's for sale too, if you know anybody who needs a cat to decorate their place.

I have lots more to show you so keep tuned and I promise to keep up the contacts. If you are tired of receiving these as emails, let me know as I have others who would like to be on the list and I am limited in how many I can send to directly.

Have a great spring. We already have mounds of prairie verbena covering our place. Of course, that's because we have no grass after last year's drought. We'll take the verbena.

The Beach at Charleston

Dear Friends,

At long last, I am back to the blog. Here is a large piece I did this past year based on a photo I asked my brother to take for me last fall. I wanted to try a backlit beach scene and this is the result. He sent me several pictures from this particular photo session and I have a few paintings from it. I'll be posting those too.

This is Barb, my brother's wife, and their dog, Maggie. As you can see they both really enjoy the beach. And I really enjoyed doing this painting.

The painting is a studio piece, obviously, and larger than my normal plein air size. It's 24 x 28.

I have been painting all this past year, in spite of what you might think, but it's been in the studio and so I have been spending more time with each piece and not producing as much of it. Thus, less to put on the blog. And I also returned to some watercolor work. It has not been as successful as I would like, so you won't see any of that, but if I get anything worth sharing, I will.

More exciting is a new project--clay sculpture! I am working on animal sculptures and have been very pleased with the results. When I finish the three pieces currently on the table, I'll send pictures along.

So let me hear from you so I know I'm not sending along pictures into the ether. I'll be looking forward to it.

Jay

Dry Wash

And here's one more of the resurrected landscapes I had stored away. I really like this one. It was very basic when I pulled it out of the bin and I have made only a few changes to make it more finished. I particularly like the edges which reveal the underpainting along the ridge of the hill. I think it gives the distance some vibrancy.

Still waiting to photo the two workshop pieces.

A reminder to all of you on the email list: if you are tired of hearing from me with the blog, feel free to ask to be removed. It will not hurt my feelings and I can always add other names.

We are again awaiting rain. It is such a big deal here!
Jay

Out of My Element-Snow!

Faithful Readers,

Here's something I didn't think I'd ever do--a snow scene. But my friend Sally sent me a fantastic picture of the valley in front of her house in Virginia this winter. Plainly they had way too much snow. It was just too beautiful a view not to paint so here it is. Sally will note that I eliminated a few buildings in the distance and shuffled a couple of trees and shrubs, but I don't think that matters. The rest of us don't care.

I am just off a three day workshop with Vie Dunn-Har, who does rampant vibrant florals and was gracious enough to let me apply some of her techniques to animals. I feel a wave of new ideas coming on. I'll post the two results of the workshop as soon as I get them photoed. I am anxious to hear how you like these new things as I am thinking of a dozen ways to put my new knowledge to work in my own way. Stay tuned.

Jay

South Texas in the Spring

Here is one more bluebonnet done at the same ranch as the last painting. Again, done plein air, on 8"x10" board, and now, years later, fussed with in the studio to bring it up to code. The one from yesterday is at the gallery downtown now, and this will go down there as soon as it dries. I have more to post, so stay tuned!

Have a great day!

Jay

A little bit of blue

Folks,

Here is another piece of the group I just finished. It was done on location at a friends ranch south of San Antonio several years ago. I put it away and never finished it. All it required was a bit more paint to give it a more painterly look. I don't do real detailed bluebonnets but have come to appreciate why the public likes bluebonnet paintings. Often we artists look down our noses at bluebonnet paintings and those who do them as trite and overdone, but the fact is, when you are faced with the things in real life, they draw you into their landscape. A field of bluebonnets is a wonder to behold. I try not to go that spectacular, because it always looks fake to me, but really, they do exist in those huge fields and are impossibly spectacular.

Jay

Sunset

Dear All,
I can't believe it's been a whole month since last I published something on the blog. I've been working on three or four works at a time and this is one of them. I did this from a photo I took in Charleston's harbor area. I learned or relearned a lot from this one. One thing which continually amazes me is that nature works so consistently in telling you what the complements of colors are. In this case, the late sun reflected such strong red-oranges and yellows that one would expect the complements of purples and lilacs to show up somewhere. And by gum, there they were in the photo.

As usual this one is an 8"x10", oil on board and it looks particularly nice in an ornate black frame I have. It has more than the usual impasto (for me) on it as I am still striving for that painterly effect.

Now stay with me for the next few days as I have a couple more that are finally done and are ready for Jay Lauver's Art Blog.

We are beginning spring here in South Texas, and I will soon be outside again, with paint brush in hand. For a change, it will be the art paint brush and not the barn paint brush!

Hope you like this one.
Jay

Old Fashioned Roses

This is an oldie but a goodie. I know I said I don't like doing flowers, and I don't, but now and then a good opportunity arises. In this case it was roses. Now roses don't intimidate me as much as other flowers for some reason. I can make a bunch of indistinct, non-drawn, blobs and if my values are right, I'm good. I don't think you even have to have good color to do roses. Just good values and an approximation of the drawing. Well, and good composition. I still have this one because it is one of the few flower paintings I've ever done which I like. Notice that the one with the vase which I also liked was also roses. Yup. Blobs. I promise never to do a sunflower.

Jay

A Still Life with Flowers-Oh No!

Dear You'uns,

Yes, I actually heard someone really say that once.. " you'uns. " She was from Pennsylvania.

As you may or may not remember, I have stated flatly that I don't like still life, and further, that I hate painting flowers. Having said that, I admit that I kind of like this one. Why? Because of the light. I got that right. And that unfinished looking spot over the top of the vase? I like that too. Makes the whole thing more arty and less drawn. I need to remember this lesson in all my work.

This is a studio piece, obviously, done on gessoed board, 8"x10". Why did I paint it even though I don't care for the subject matter? Because it was good for me. I learned from it. I do occasionally do things just to learn something from them. That's why the now-and-then still life, portrait, life-drawing, etc. is inserted into the body of my work. Every artist should use these things to improve their work.

This one is still available, by the way. I've rarely showed it to anyone for some reason or another.

I hope you like it!
Jay

Palmettos

Dear Folks,

Now here is truly something different for me. This is the view outside my brother's house in Charleston, SC. I was inspired by artwork he already had in his house by another artist. The vibrant colors were perfect for that coastal setting. I learned a lot from doing this and the several other views and versions of that yard. I am hoping that it keeps me reminded that just because I am used to only mild variations on arid and semi-arid landscapes,my work doesn't need to all be yellow ochre. Even if the view in front of me really is. One can extrapolate to push color if one is careful how one does it.

I feel that the teaching artists I've worked with over the past have given me a pretty good grasp of color theory and I've usually been pretty determined to tell the absolute truth about a landscape. That's what I try to do in my plein air work. But you can have some fun with the color notes you make in the field when you take it into the studio. You have to be conscious of your color choices though. There aren't exactly rules to follow, but you need to stay true to value and consistency or it won't read right.

I've been very happy with these particular pieces and am trying to work a bit more of that sort of color choice into my landscapes. I've always put a little of these bright colors into my work, but it's it often so muted by the overpainting that it's lost. I need to be reminded to let those colors stand sometimes.

Do you like this type of thing? Or do you prefer the more naturalistic form of landscape?

Jay

The Color Challenge

Dear All,

Before we leave the subject of still-life, I have to show you this. This is of some Chinese bronzes I inherited from my grandparents who went to China in 1920 as missionaries. In fact, my mother was born there. They returned from four years there with, among other things, a two year old child and these items, an incense burner, two vases and the candlesticks. I have a photo of these things in their house in China.

But the history of these items is not why I show you this painting. See how muted the colors are? Well, that's because this was an exercise in using a very very limited palette. I used four tubes of paint. White, black, yellow ochre and cadmium red light. That's it. Think you see blue in there? You do. It's what happens when Ivory Black is mixed with Titanium White. It goes blue. But that is only a relative thing. If you were to mix those colors on a neutral palette, it would look gray. But in this painting, with these other muted colors as background, it looks blue. Neat huh?

OK, this was just an exercise piece, but I thought the result was interesting from a skills point of view. Hope you do too.
Jay

Pears

Those of you who know how much I hate to do still-life will be proud of me. Peggy and I actually set this up at my studio and painted it without an instructor looming over us with a whip. Well, Peggy doesn't need to be battered. She likes still-life. I, on the other hand, detest it. It's way too technical for me. And, ok, I admit it, I don't even like other artists' still-lifes. And if it has flowers in it? Whoa, Katy, let me out that door! Now THAT'S complicated! Unfortunately most workshops I encounter are offered in still-life. I don't know if that's because most people are more mindful of technique and detail than I am or if they just don't want to get mosquito-bit outdoors. Now I try to paint my landscapes en plein air, and the reason is that I fully understand the criticism of painting from photos--that the light lies, the color lies, the perspective lies, etc., but I would way rather do that than paint something which just sits on a table doing nothing but gathering, reflecting, emitting and changing light. So confusing.

So, anyway, this is a still-life of pears. At least you can eat the subject matter when you get tired of it.

Jay

Morning in the Hill Country

Dear Folks,

I am back at it with the Jay Lauver's Art Blog and wanted to show you another piece done for reference purposes for a later bigger studio piece. This one is another 8x10 done on location. I took photos and used both this and the photos for a canvas, 16x20. It looks much the same so I won't bother to put that on the blog, and besides, I kinda like this a little better. I think the things done plein air are actually a bit more free and lively.

This was at a ranch in Comfort Texas, and in fact, the place where the previous blog posting painting was done. Peggy and I got up early one morning and found this lovely misty morning glowing outside the door. Hard to resist.

I've had several rather shy inquiries about my prices and while I am not doing this blog strictly as a commercial enterprise, I am not averse to lettting you know that my work is mostly for sale. Almost all of my plein air pieces of the 8"x10" size come framed and range in price from $200 to $500. The vast majority of them are about $300 framed. I have gotten to the point too, where I do not sell them unframed unless there are extraordinary circumstances. I learned this the hard way when I would see pieces I had sold unframed put in cheap thin black frames which did not complement the work and presented it very poorly. Framing does not necessarily make the painting but it certainly can belittle it. I don't understand why you would pay for an original work of art and then not present it like you were proud of it.

Oops. I think that's another lecture. And if you are reading this, I am likely preaching to the choir. Sorry.

I hope you are enjoying the rain, which is a big weather break for us South Texans. Maybe the drought is going away?

Jay

Hill Country Cedar

Dear Folks,

Thanks for the positive feedback on that exotic painting from last time. It's not my usual thing, but it was fun.

Today's painting is more my usual thing. This was done plein air at a ranch up near Comfort in the Texas Hill Country. We sat outside on a gray day during the late winter. Technically, the trees we all call "Cedar" in this part of the country are actually junipers, but tradition holds sway over biological accuracy.

Again, this was done on an 8"x10" gessoed board. You may ask why so many of my pieces are done on this board, and the answer is twofold. One: it's very convenient to carry when going on location. It fits in a backpack with several other boards until I am ready to use it and it takes up no room. When it is a done painting I can either leave it in my paint box or put it in a wet box designed specifically for that size painting. I have carried many wet paintings of that size board all at the same time in such a box. Mine holds six at a time. They even dry well in there. Secondly: I like this surface for a more impressionistic work. My brushes are very soft because this surface does not really allow the use of bristle brushes, but it allows me to control edges and make good blending lines and color.

Sometimes these small paintings make great reference material for a bigger, more studious piece, but I am usually trying my best to produce something complete when I paint out. Or at least something which can be easily made finished. Sometimes I go out with a plan to work on a specific element of art--such as color or light--and then I don't necessarily worry about producing a finished piece. This painting did not require much attention in the studio as I had time and unchanging light the day we were out.

That's my lecture for today. It may be more than you wanted to know!
Jay

Dear All,

I just love horses in action. I am lucky in that there is a racetrack near me, Retama Park Racetrack, and I can go there to photo horses doing their thing. These two paintings are from such photos. I think this style of oil painting lends itself to action and movement. The backgrounds are a loose wash of oil color and the figures are done more opaquely to draw attention to them and to make them stand out a bit more. These two are small works, 8"x10", and are done on gessoed board. They look pretty good in a gold frame.

Hey, I just learned that if you type Jay Lauver's Art Blog in the search engines, this blog will now come up. I guess we've been on the WEB enough now. That sure makes it easier, eh?

Again, thanks to all of you who have been so supportive of this publishing venture. You all make me feel pretty good about it. I admit to still working on the nuts and bolts, but I'm getting better at it. And I remind you that you can email me at jaylauver@sprintmail.com if the comments section on this thing excludes you, which it should not but does anyway.

Ta for now,

Jay

Personal Friends

Any artist with pets sooner or later makes them subjects of their work. I am no exception. I want you to meet two of our co-habitants who held still long enough for me to get a useable photo for painting purposes. On the right is my very good friend, William. This is his puppy picture. He looked just like this when we got him at 3 months. He is an adoptee from the Animal Defense League in San Antonio. He is the guy who got us into agility way back a long time ago. He is now ten and retired from competition but remains top dog in the household and one of the sweetest dispositions in a dog I've ever met. On the left is Louise, now about seven. She and her brother Bo came to us as street urchins as kittens. She never stopped eating when she moved in. This painting is enhanced somewhat in that I made her look a little thinner than she actually is. Sort of what you hope any artist would do for you too.

My objective when I do any animal, besided just loving to do it, is to create a piece of artwork, not just a record of that animal. I want the work to stand on it's own as something anyone would appreciate, not just animal lovers. I try my best to apply all the elements of art to these sorts of work-- composition, lighting, color, edges, etc. Thus I am not aiming for a strictly photographic likeness, but more of a feel for the animal. I think this gives the painting life.

I have finally competed my photography project and will now be able to put more of the existing work on the blog. I'm looking forward to showing you more! Keep those comments coming, please!

Jay

The Prize Winner

This is the painting I described in my first post on this new blog. Sorry. I'm still learning how to work this thing.

This painting was done on location on Evans Rd. north of San Antonio along the Cibolo Creek. The old house is still lived in, but remains very much the way it was when it was built. An old family cemetary exists not far from the house but I don't know if the residents are related to the cemetary family. The painting is small, 8"x10", is framed in a wide gold "plein air" frame and is available for $500. Buyer pays shipping. I have another version of the same house, painted the same day, but with a slightly different composition, which is also available.

As I become more accomplished with the blog, I will publish a great number of my paintings so that they can be viewed as a body. Please look for that when I get it done. If you have comments or questions, please do respond as I am interested in what you have to say about the piece. Besides, I'd just like to know if anyone is looking at the blog.

Thanks!
Jay