Monday, July 23, 2007

Vincent Van Gogh






Did Vincent Van Gogh know his art would hang in galleries and museums? Did he ever think his art would be worth millions?

If he had know how would it have changed him. Did he think he was only average? Is my art only average? Will it ever be hung in galleries and museums? Should we paint thinking that someone in the future will look at this and wonder about us the way I wonder about Vincent?

Thursday, July 19, 2007

Bay City Studio 23 Gallery Show

Salsa Dancing
24x24
Oil on gallery wrapped stretched canvas
$1700.00
This painting can be seen at the Bay City Studio 23 Gallery

Studio 23 Bay City Michigan
for more information check the galleries web page. The Exhibition is from July 20th to Aug 24th. There is an opening reception July 20th 5:30 pm to 7:30 pm. Please come and meet soom of the best artist in the area.

Tuesday, May 29, 2007

Studio Space

I spent the weekend working on my studio space. Putting storage shelves and rearranging the general work area. I now have a big mess to finish organizing this week.It seem that the days are not long enough to get it all done.

I love working in my flower garden but now I have the grass to mow also. Now I paint for two hours and do yard work for one then back to painting after I toss some wash in the machine.

Somewhere I have to find the time to update that mailing list of mine and finish the news letter that should have gone at last month.

It's not all work here at the studio. I took a long break today at 5PM and paddle boated around the lake for two hours. It was 80 and sunny.Life is good.

Friday, May 25, 2007

Shows/exhibits for summer 2007

DELILAH
EXHIBITIONS/EVENTS
HOME PAINTINGS CONTACT BIOGRAPHY Statement EXHIBITIONS/EVENTS COMMISSIONS
Representing the positive with uniquely radiant paintings.
2007 calendar ,

Next Show
Lyndhurst Ohio June 9&10 07
www.artfest.com
12th Annual Art Fair Columbus Ohio June 23&24 2007
www.artfest.com
Luddington Mi, 40th annual West Shore Art Fair
June 30& July1 2007 www.westshoreartleague.org
Mackinac Island July 13-15, Great Lakes Plien Air Painters ( painting on the island )
Marquette Mi ,49th Art on the Rock
July 28-29 www.artontherocks.org
Nappanee Indiana, 45th Annual Amish Acers
Aug2-5 2007, www.amishacers.com
Rochester Michigan, Spotlights Market
Sept 7-9 2007 www.meadowbrooktheatreguild.com
Sedona Arizona, painting with William Scott Jennings
Oct 15-19, 2007 www.sedonaartscenter.com
Updates on events added monthly

Delilah travel through out the United States painting.

Fresh Plowed

,

Fresh Plowed
Fresh Plowed, painting by Delilah Smith

About This Painting:

It's spring in Michigan and if you are in farm country you see lots of freshed plowed fields. I love the smell of the fresh turned earth.
Landscape painting on hardboard 5x7 oil ready to frame. A fresh plowed field,ready for seed.

Media: oil painting on hardboard
Size: 7 in X 5 in (17.8 cm X 12.7 cm)
Price: $100 USD

How to Purchase:

Buy this painting on PayPal
Price: $100 USD plus $10 USD s/h
Or, send me an email

Monday, May 21, 2007

Plien Air Paintings


Here are two paintings done on Saturday in Marshall Michigan with the Greater Michigan Plein Air painters. If you are in the Michigan Area and would like to join them for a paint out or to take a workshop please look at their web site at www.glpapa.com
The group is wonderful to paint with and I will join them again in July to paint on Mackinac Island.

Great Lakes Plein Air Painters












The Plein Air painters painted this weekend in Marshall Michigan. The Brooks mansion,Avery Garden and the Brewer Estate were the sites of the paint out. Marshall Framing Studio had a reception for us that evening. The weather started out drab and cool almost cold then warmed up in the afternoon with lots of sunshine. I am posting some of the view we were able to paint from and I will post the finished oil paintings that I completed later today.





The grounds were in full spring bloom. Warm fresh green was everywhere.





This weather vein was very interesting as were many sculptures in the gardens around the old mansion. The owners were so kind to allow us to paint for the day in their private gardens.




This little nook of the house was very interesting. I started painting it and the large pine tree that you can just see in the corner of the picture in the early morning. It was such a dull gray morning that I had a hard getting the feel that I wanted and I think I will do a secound painting later.

Sunday, May 06, 2007

Red Pear (click on picture to bid )


Red Pear
6x6x1 1/2
oil on gallery wrapped stretched canvas

The Color RED part 2


The eye is drawn to the color red, it is a very dominate color. The first reds were introduced by Egyptian artist who used madder root and cinnabar to add to their palettes of black white and ochres.

Cadmium Red: available in light, medium,and deep. A very strong, opaque color that blackens when mixed with other copper pigments. If mixed with cadmium yellow gives a warm opaque yellow. This Red is one of two reds I use on my limited color palette.

Scarlet Red: A bright red with blue under tones good for glazing and washes.

Alizarian Crimson: A dark, transparent cool red with blue under tones. You can add this to other reds to darken them. Good for transparent washes. This is the synthetic version of rose madder. I use Alizarian crimson on my limited palette.

Vermillion: A bright intense red. It can turn black if left in the sunlight.

Carmeine: A traditional red.

Rose Madder: A transparent red made from the madder root.

Permanet Rose: Mixed with ultramarine to get a great purple.

Venetian Red: A orange earth red made from iron oxide.

Indian Red: A warm, dark earth red with a blur undertone. Makes cool colors when mixed.

Earth Reds: red ochre,red oxide,mars red, burnt sienna,terra rosa, red earth.

Remember using a complementary color intesifies a colour. Red will advance in a painting when place beside a backround of dark blue or green.

Monday, April 23, 2007

Collecting Art number 3



Collecting Art
Part 3

Your collection should reflect your personality. Don’t be afraid to ask questions of the gallery dealer or the artist. Learn as much as you can. Determine an annual budget and buy a small work every year if that is what you can afford. Keep your collection momentum going and continue to build your collection. Buy original if possible. Be wary of large edition prints or photographs.

Monday, April 16, 2007

The Color RED


The Color RED
Red hair, red hat, red wine, red cherries, and of course red paint the list of things red goes on. I used to be a stockbroker and there was the red herring a business term not a color. We have the singing group "The Red Hot Chili Peppers" and several paintings that I have done of those hot little peppers. The red rose is a symbol of love and fertility. Red is an emotional color. It enhances the human metabolism, increases respiration rate, and raises our blood pressure.

Red is hot. It is the color of passion, always strong never mild. Red is power. Red is the flashing lights of danger…the call in the dark” The red coats are coming!”. It was a common belief that the color red had the power to protect against evil. Warriors wore red to battle to protect themselves. Wearing red bed cloths was believed to protect you from the fever. Aha! So that is wear those red flannel P J’s came from.
Madder was a European herb. The root was used as a source of dye to produce various shades of red.
Light Red: joy, sexuality, passion
Pink: romance, love, friendship, feminine qualities
Dark Red: vigor, will power, rage, anger, leadership, malice
Brown: stability, masculine qualities
Reddish Brown: fall, harvest

To read more of how we relate to color:
http://wwwsciencedaily.com

The color red is a bit sassy, hot and electric just like my mood when I paint. This week I will paint in red. The focus of the small daily painting will be subjects of red and I will do one large painting this week with the emotion of the color red. Neolithic cave painters, oh those old artists, ascribed magic powers to the color red. Maybe red will bring magic to my paintings.

Wednesday, April 11, 2007

CRITIQUES

Sierra
8x10
Oil on Hardboard
A new friend of mine Charlie Spear http://www.charlieart.com/ who is an artist in one of my work groups recently suggested that the group start a group art critique of work we were currently working on and wanted some feed back on.

Now, I have been through art school and have had some professors who were brutal in their critiques. One professor comes to mind, that would take our precious infants of new born work that we had literally handled with gloves while creating so as not to smear them and would put them on the floor and walk on them as he critiqued them. I guess the lesson to be learned: was never to become to attached to ones’ work.

There are different kinds of critiques. There are the ones that come unsolicited, like at an art show I did recently when I over heard an older women telling her friend that one of my painting was the most god ugly thing she had every seen and to make it even worse I had made it so large, did I have no common sense? That would have been a killer and ruined my day, in fact it almost did but about an hour later another lady fell in love with it and bought it. Who knows?

Then there is the kind of critique that we all want. The one where we ask: what, where, why, how, do you have an idea and can you help me. Is this too moody, to light, to dark, to yellow, and should I just trash it and start over? The feedback comes and it is so helpful, just the icebreaker you needed to get you going again.

With this is mind I ask;” I have painted this small painting Sierra and now I am thinking about doing a much larger one. This one is 8x10 and I am thinking of doing one 20x24 what do you think?

It’s okay to say OMIGOD it’s so bad why would she want to make it larger. I have had worse critiques and after all I am strong, so go for it.

Monday, April 02, 2007

Tuesday, March 27, 2007

Collecting Art II


Collecting Art II

Develop a long term strategy in your collecting that reflects your personal interests. Collectors who speculate on art as an investment may be disappointed in their end results. Be suspicious of dealers who promote investment stories. When a collector buys art they love there is always a return on the investment every time you view the work. If it happens to increase in value, that’s just another benefit.

Sunday, March 25, 2007

Collecting Art

Collecting Art
I

Are you a new collector wishing to start a collection or are you just searching for an additional work to enhance your environment. Many believe that it is out of reach. A collection can be started with as little as $500.00 to $4000.00 per year. When spread over 20 years of purchasing, one or two works a year, you can grow a modest but meaningful collection.




Monday, January 15, 2007

First Show of 2007


Downtown Dunedin street Art Festival


The first show of the season is always fun. This is a Howard Alan Art event and if you are an artist and have done one of his shows you know how well run they are. Set up was a breeze, of course it was at 5 AM bright and early. Actually this is wonderful because it's cool, there is lots of time before the first clients come out, and a little time to get breakfast also. Speaking of breakfast, if you have never been to Keely's for breakfast it is a must so yummy and wonderful service.
Art lovers were out in full force at this show. There were plenty of lookers and just as many buyers because the weather was as beautiful as the art.
Now I have to paint for my next showto replace all the painting that I sold.
Thank you to everyone who came out and bought my art and thank you to everyone who took a few minutes out of there day to say hi.



Wednesday, January 03, 2007

Trip to Florida


It's been a busy week. I'm getting ready to do shows in Florida; then off to Mexico to paint. Gee Whiz everything is in boxes,I hope. What have I forgotten? Next year I need to make a list. Do any of you have ideas on how to do this better?

Monday, January 01, 2007

Happy New Year

40x30
Christmas in Mexico.
This is a new oil painting that I just finished.


I am thrilled to be starting a New Year. We often skate through life with our heads down missing so much. I am going to start my New Year off right by living my dreams.I have written my goals for the year, what I dream, what I want to learn, what I want to accomplish and what I would like to give back. I am lucky to be an Artist and dream big dreams. This year I will write in my journal daily about all the wonderful things that I am so lucky to have,do,learn, and share.
Thank You for sharing my art.

Delilah

Saturday, December 16, 2006

Night Owls are more creative

Wow Is this why I'm up all night painting?




It seems people who're up late at night are more creative than those who get up early in the morning, according to a Discovery News report. It's thought to have something to do with "an adaptation to living outside of the norm". Read more about the link between creativity and night owls...



"Being in a situation which diverges from conventional habit — nocturnal types often experience this situation — may encourage the development of a non-conventional spirit and of the ability to find alternative and original solutions," lead author Marina Giampietro and colleague G.M. Cavallera wrote in a study to be published in the February 2007 issue of Personality and Individual Differences.


The researchers, who are both in the Department of Psychology at the Catholic University of the Sacred Heart in Milan, Italy, studied 120 men and women of varying ages.

A self-report questionnaire evaluated degrees of morning and evening dispositions. In fact, true morning and evening-oriented people are actually rare, since most of us fall somewhere in between.


Once the subjects were categorized into either morning, evening or intermediate types, they underwent three tests designed to measure creative thinking.


During the first activity, test subjects were asked to draw and title a picture based on an image shown by the researchers. For the second activity, called "incomplete shapes," test subjects added lines to create pictures out of straight and curved lines. They then were asked to title the pictures.

The final test was similar, only this time the individuals were presented with 30 pairs of vertical lines.


Scientists scored each completed activity on originality, elaboration, fluidity and flexibility factors. Evening types aced each test based on these criteria, while morning and intermediate type people struggled to get scores over 50.


The researchers also discovered that age didn’t curtail creativity.


"Our study supports the notion that creative characteristics persist in aged people," the scientists wrote.


Hans Van Dongen, associate research professor at the Sleep and Performance Research Center at Washington State University, helped to discover the biological explanation behind morning and evening types.


He and his colleagues found that a small group of brain cells, called suprachiasmatic nuclei, emit signals to the body that synchronize the time of day. This "biological clock" runs two hours ahead in morning types and two hours later in evening types.

Morning and evening-oriented people may follow other schedules, due to work, school and other demands, but their preferred schedule is more in sync with this internal clock, which may be partly determined by genetics.


Van Dongen told Discovery News that the finding about creativity and evening types is "certainly novel, and one I would not have expected on biological grounds."




He suggested that the observed differences in creativity might have to do with the fact that evening people also tend to be more extroverted than morning and intermediate types.


"One could reasonably envision a link between the personality trait of extraversion and the finding of creativity," Van Dongen said.






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Tuesday, December 05, 2006

Two Sunflowers an Expressionist-Impressionist view

I often call myself an Expressionist-Impressionist because of the bold colors and brush work that I use.


How Van Gogh Inspired the Expressionists

Dec. 11, 2006 issue - When Vincent van Gogh painted "Poppies in the Field" in 1889, neither the artist nor his subject had much relevance in the world. He was a troubled Dutch painter without much of a following, and his brash red flowers, while striking, announced nothing more profound than the coming of spring. Thirty years later, much had changed on both counts. The poppies came to symbolize the blood spilled by young soldiers on the battlefields of World War I, and the artist's fame had grown significantly since his death in 1890. That was due in part to the way his work affected German and Austrian expressionists in the early part of the 20th century. "His bombast is alien to me," Swiss-German artist Paul Klee wrote in his diary. "But he is without doubt a genius."

The extent of van Gogh's impact on the expressionists is the subject of a dazzling new show at the artist's eponymous museum in Amsterdam. "Vincent van Gogh and Expressionism" (through March 4) compiles almost 100 paintings and sketches by such artists as Klee, Wassily Kandinsky, Egon Schiele and Gustav Klimt. Viewed separately, these works are not obviously influenced by the Dutch master. But when they are hung beside his on subtly painted walls of yellow, blue and gray, van Gogh's colorful brushstrokes are readily apparent in the expressionists' flowing hues. "Van Gogh's influence on the expressionists was absolutely crucial," says exhibition curator Jill Lloyd. "Of course they drew their inspiration from other artists like Gauguin and Cézanne, but the spirit, the attitude to nature and the life force of van Gogh really spoke to them."

Expressionism blossomed in Germany and Austria when artists, influenced by the writings of Nietzsche, began to paint subjective feelings of scenes, leaning on personal experience and beliefs. This desire to present rather than represent led artists like Ernst Ludwig Kirchner and Max Pechstein naturally toward van Gogh, whose vivid depictions of such subjects as sunflowers evoked a certain spirituality. Kirchner and Erich Heckel—two of the men who formed the art group Die Brücke while studying architecture in Dresden—went "wild" after seeing an exhibition of 54 van Gogh paintings in 1905, according to one of their professors, Fritz Schumacher. If any member of the Brücke group had a tragic similarity to van Gogh, it was Kirchner, who suffered a breakdown while serving in the German Army. His "Schlemihl Tries to Seize the Shadow, in Vain" (1915) and a copy of van Gogh's "The Painter on the Road to Tarascon" (1888)—the original was destroyed by a fire during World War II—are strikingly similar when viewed next to each other. There is a turbulent feel to Kirchner's blue man, mocked by a black, foreboding shadow; van Gogh's painter also has a shadow following him—perhaps his conscience, or an unremitting sense of loneliness.

The Munich expressionists, known as Der Blaue Reiter, were especially awed by van Gogh's subtle and complex views of nature. The use of striking colors in August Macke's "Vegetable Fields" (1911) is not unlike van Gogh's "The Sower" (1888). Both artists create a sweeping motion in the perspective, as if the action is about to be sprung upon the viewer. Macke's fields have a purplish-blue tone akin to a Provençal lavender field; van Gogh used a similar blue to represent strong flowing water. The Russian émigré painter Alexej von Jawlensky was also a fan; after purchasing "The House of Père Pillon" in installments from van Gogh's sister-in-law Johanna, he wrote to thank her: "Van Gogh was to me both a mentor and example, to possess something by his hand was my deepest wish for many years."

Some of the expressionist works even seem to breathe new life into the van Goghs they hang beside. The bold colors in van Gogh's "Vineyards at Auvers" (1890) are enhanced by hanging next to two of Klimt's huge and dynamic landscapes, "Pond of Schloss Kammer on the Attersee" and "Orchard," with their strident greens and glistening touches of gold. The same holds true for van Gogh's "Sunflowers" (1889), set alongside Schiele's "Autumn Sun" (1914). Though the two depict the same type of flower, their impact is completely different. Painted on the eve of Europe's Great War, Schiele's dying flowers can be seen as an omen of the coming apocalypse. Van Gogh's still hearken back to a bright and simpler time.

© 2006 Newsweek, Inc.
URL: http://www.msnbc.msn.com/id/16009306/site/newsweek/?rf=nwnewsletter