Pink Roses from Amy

Pink Roses From Amy #1, 8 1/2"x6" watercolor 2010

Pink Roses From Amy#2, watercolor 9" x 6 1/2" 2010

I just arrived at my new house in Rhode Island. I am leaving the countryside of Western New York as my son wants a more walkable neighborhood and friends on his street rather than our somewhat isolated country road. We will also be closer to friends and family and fellow artists for me. We are leaving behind good friends, however, whom I wish could come with us. Last year my friend, Carin, who gave me the first bouquet of pink roses (they inspired the series of oil paintings) is one of them. My friend, Amy, is another. Amy brought be a dozen pink roses at our coffee "goodbye", knowing how much I liked the first roses. You know, being given a dozen roses by a friend rather than a boyfriend is different. If they had been red roses, given the cultural significance, it would have been a little strange. These flowers were both complete surprises and conveyed the warmth of the friendships. I am very fortunate to have such friends and I think the spirit of the paintings reflect this. The oil paintings as well as these watercolors are celebratory and intensely alive. I think we feel more alive when someone steps out of their box to express their love. I'm not an overly sentimental person but occasionally I'll get a bit teary when witnessing such moments in others. It is funny but when I heard of the passing of health care vote through the Senate I had such a feeling. It was particular to the way Senator Robert C. Byrd of West Virginia, a Democrat who typically wouldn't have voted for the bill, said "This is for my friend, Ted Kennedy --Aye!" It is an amazing thing when relationships can be so strong and close to one's heart.

I hope you have a Happy New Year filled with such warmth. Back to the boxes...

Don't Be Afraid to Be Vibrant

oil on panel
20" x 16"

Vibrancy in this case, to me, means to be full of life. The painting is about being unafraid to be one's best; to be one's best self without worrying about how one measures up to someone else, nor to worry about outshining anyone. It is about existing outside of someones shadow. Sometimes being one's best means standing out, not conforming. Geoffrey Canada, director of the Harlem Children's Zone, said in an interview with Terry Gross (Fresh Air) that part of a students' success depends on cultural attitudes changing: for academic success to be seen as cool, not as joining the establishment.

The artist Ben Shahn said that conformity was a failure of hope, belief, and rebellion.

To be one's best for one's self-fulfillment, to really live and pursue what makes one truly happy is a calling. The journey and answers are different for each of us. The flowers are together in one vase, in one situation, but there are a variety, needing different amounts of space to flourish.

After painting this, the Unitarian Church I go to had a similar theme for the day. We were encouraged to strive and celebrate life, to do what I just described without being distracted by glitz or the many forms of escapism available. If we all have the courage, the hope needed to pursue our best selves, to encourage others in this pursuit, we will all be lifted up. Sunflowers filled the altar and at the end of the service we were all invited to pick one up, return to our seats and hold them up together.

Pink Roses VII and VIII

20" x 16"

16" x 20"

oil on panel

The obsession continues...here are two more from memory. Whistler always fascinates me for his sense of scale. Take the way he paints the figure in Nocturne in Gold: Old Battersea Bridge (click here for a close-up). It is not how you think a person might be painted, but in this context it completely works. That is how a lot of abstraction is; it seems wrong at first, but when well done, it can be right on the nose.

I decided to zoom out in number seven. I had tried doing it in number four, but I couldn't let go of the huge blossoms yet. I think I must have painted this little bouquet about fifty times over before arriving at the way it looks now, almost singular like one flower. It looks figurative to me, like a parachuting person. Someone thought it looked like flowers on an altar, with that gray rectangle behind it.

Number eight is very fluid, rhythmically winding the eye through the bouquet, stopping to note the particular change in light/color of each rose. Of course it is its own thing. Might remind you of Cy Twombly, mid-career Guston, or Terry Winters.

What next? Stay tuned...

Pink Roses From Carin

Pink Roses From Carin I - VI and Biscuit Smelling Roses (not sure my snapshot qualifies as art, but it is on topic)
oil on panel, 20" x 20" for the first and the rest are 16" x 20" or 20" x 16"

These almost didn't get painted. There are so many pictures of roses that it is hard to escape cliches. In addition, as soon as a painter picks up a brush, she has all of art history on her back. The problem of roses on top of that made it seem something I should side step. They came from my friend, Carin, in celebration of the first jazz aerobics class I taught (artists end up doing all kinds of things, although I don't think Cezanne did aerobics). I probably looked at them more than she thought I might, squeezing six paintings out of the bunch. My beagle, Biscuit, also took time to smell them. I got a little obsessed. Don't get all spoiled now, seeing six paintings up at once. I usually post one at a time so they can be looked at a little longer, but I think these are interesting to compare as a sequence.

From image to image the roses become less fragmented in their color, the pink is seen more as a whole, singular color experience (number V has some variation). The last two are done from memory; the roses wilted and gone, but still occupying my mind's eye. They range from sticky, cotton candy pink to gauzy.

The first painting is the only one showing the flowers from the side. It is the least romantic with some of Philip Guston's bluntness. The second is very intense, almost claustrophobic, pressing. The third is like O'Keefe in its composition and sensuality (she says she was just painting flowers, but everyone knows that was just her conscious intention), and the flowers are more a whole entity. The fourth is the only to include the vase. There is the basic problem of pink roses, green stems, vase, and the air around them all (background color, which is always more than a static background). Manet painted all the bouquets he received from friends while on his death bed. I saw a show of them and read the wonderful book by Andrew Forge. They are something, as he was so involved with life as he painted them, knowing he was going to have to let it all go. The fifth painting reminds me a bit of Soutine (he did several paintings of the same subject such as gladioli)with how the edges are handled, as well as the intensity and winding way the eye travels through it. The last painting is rather fresh. I have painted writing in pictures before, and this text comes from the song by Seal, Amazing. Friendships are wonderful for the companionship in celebrating each other's accomplishments as well as supporting each other through difficult times and gray areas when we don't always feel amazing.

Although I can reference other artists when I look at my work, I didn't set out to paint in anyone's style. Like jazz musicians playing off of each other, creating and creating, I kept wanting to do it again, but differently. I think I am in each one and whatever a "Maynard" is, maybe the word "intense" and "eclectic" could be attached.