Archive for the 'Art New England' Category

ANE extended stay – The Palette Project

still_lifeOver the 6 years of landscape painting, I’ve explored different limited palettes – but not lately. I wanted to see if I could make Venetian Red look like vermilion.  No such luck – give  me Cad scarlet any day! I set up the red still life ( it was rearranged again after the photo but before the painting to take advantage of available natural light on both the still life and my panels.) These are painted on 9×12 carton sheets from Judson’s. This project would have worked better – and been less time-consuming had I simplified the shapes more – dang that ribbon! The color I felt that I was missing the most when working with the earth colors was, to my surprise, Indian Yellow. So useful!

The different palettes are:

#1. Christopher Chippendale’s Ltd

Titanium White, Yellow Ochre, Cerulean Blue, Paynes Grey, Venetian Red

PalettesExercise#2. Earth Tones (via Kelley H)

English red,  Burnt Sienna, Raw Sienna, Naples Yellow, Yellow Ochre, Earth green, or  Verde Antico, Ultramarine blue, King’s Blue, Burnt Umber, Raw umber, Ivory Black, Titanium White

#3. Stanley Bielen

White (Stanley uses Flake white & PermAlba which is a titanium and zinc mix, I used titanium white), Cadmium yellow light, Cadmium yellow medium, Cadmium yellow deep, Yellow Ochre, Raw Sienna, Indian Yellow, Cadmium Red Light, Venetian Red, Burnt Sienna, Cerulean Blue, Ultramarine Blue, Cold Black, Ivory Black

#4. Kevin McPherson Ltd (via Harold)

Titanium White, Cadmium Light, Cadmium Red Medium, Alizarin Crimson, Phthalo green (I used Williamsburg Phthalo Green-Yellowish) Ultramarine Blue

#5. My usual – thanks to Catherine Kehoe, Emily Eveleth, George Nick and Claire Sherman

Titanium white, Cadmium Lemon, Cadmium Yellow Deep, Indian Yellow ,Cadmium Scarlet, Persian Rose, (occasionally quinacridone magenta, etc) Alizarin Crimson, Dioxazine Purple, Phthalo Green-yellowish (replaced Viridian, Prussian Green, or Sap Green,)  Cadmium Green Pale, Cobalt Teal, Cerulean Blue, Ultramarine Blue

Others. . .  and then I painted these with palette #3 (top) and #5 (bottom).

Art New England – my extended stay week

This year I stayed a second week at Bennington to work independently. I arrived both with an exercise or two to develop and an openness to the other possibilities of the week. I feel that all the fabulous teachers that I’ve encountered are still not playing nicely in my mind. I do want to work on integrating those influences.

Here’s the overview of the work that I showed on Friday evening:

PostcardsFromVermontI started the mornings with a quick 6×6 stretched linen “Postcard from Vermont” and 4 of the 5 were keepers, I consider that an excellent percentage.  This past week was mostly all about grey skies with a little drizzle except on Friday when I needed to find a bit of shade in the birches – ah, dappled sunshine on the grass!  These will be available at Art in the Park in September.


Have I mentioned how much I like my studio this week?

I’m spending the week painting independently here at Art New England – my studio space is about the size of a 2 car garage with an assortment of spiders to keep me company. Lots of rain today so having a bit of a Stanley moment. Starting small and easy to transport home.

2014-07-28 18.12.51

2014-07-28 18.13.07

Night music

Art New England shares the Bennington College campus with a chamber music conference. Tonight’s concert was wonderful.


Crit time

Fabulous prints were completed and the studio cleaned. The bottom image is a book I constructed from one of my old litho prints. End of my first week. Visited the Bennington Museum to see Alice Neel/Erastus Salisbury Fields paintings.




Thursday night’s work

Had some success this evening:



Quenching my thirst with Susan Rostow’s firehose of information on Dimensional Drypoint Monoprints with Akua Inks

Its been a long time since I did any print making. A very long time. 72 hours into a weeklong workshop and I’m struggling to get my footing in the print studio. I want an etching press cheat sheet. And a vocabulary list.

I miss the feeling of competence that accompanies my painting. Its good for me, growth. Two days to go but I suspect I won’t come home with brilliant prints, but I’ll have some terrific ideas to explore more fully. Here’s some of what I’ve done: monoprints with drypoint, grits, etc and monotypes – with a ghost print.

What’s on the nightstand?

The Tools by Phil Stutz and Barry Michels. Tao Te Ching translated by Stephen Mitchell
June 2018
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