Wedding Painting Updates

I've completed the wedding painting for Julianna and Andrew.  Julianna was probably the most excited client I've ever had.  During the reception, as I was busily getting the painting blocked in, several of her friends told me, independently of each other, that Julianna had been telling people "I'm getting married!" followed very quickly by "and I'm having a live wedding painter at the ceremony!"  She really wanted a good artwork of her wedding.  And she chose me.  Wow, no pressure there, huh?

Julianna and Andrew were married at the Vineyard Estate at the New Kent Winery, a bit east of Richmond, Virginia.  It's a really beautiful venue for an outdoor ceremony.  The couple decided that they wanted the painting to focus on their return walk down the aisle as a brand-new married couple.  So I coordinated with the photographers (Turtle & Hare Photography, a husband-wife team, very good, very professional) and took a ton of my own reference photos alongside them.  Then I loaded my photos into my laptop and got to work in the reception hall.

But getting a painting up to my standards of finish takes a lot more than just the couple of hours that the reception provides.  No, it takes two to four weeks.  And with a client like Julianna, for whom the painting is a Really Big Thing, it would probably be a four-weeker.  Which it was.

But I finished it last week, she approved it, and the painting is off to its new home.  And here's how it turned out (you can click on it for a larger image):

I'm working on another wedding painting right now and believe it'll be wrapped up in a few days.  Once it's approved, I'll post it here.

Road Trip

I just got back from a road trip for combined personal and business matters.  I enjoy being on the road, but it's also good to be home again.

Janis and I went up to northern Baltimore first to visit family.  I have a 97-year-old aunt up there, along with a cousin, her son, and his family.  We hadn't all been together in quite a few years, so it was good to see everybody again.

The big reason we went at this time was my aunt.  She's still in good physical condition and living in an assisted living facility.  She gets around really well with a walker, which she thinks she doesn't need.  She's definitely not bed-ridden.  And she can carry on a conversation with you all day long.  It may not always be fact-based, but she's a full participant.  For example, she told us about how the man in the apartment below hers didn't like it when she walked around in her room.  The problem is that she lives in a one-story building.  But if you just go with the flow, she's right there with you.  Kinda/sorta.  We took her out to lunch one day and dinner another and she had a great time. 

Catching up with the cousin and other family members was really good, too.  Spent lots of time talking, getting to know the two small kids, checking out modifications to the house, that sort of thing.  Janis and my cousin went to Nordstrom's one day, a treat for J since there aren't any within a couple hundred miles of home.

I went over to the Baltimore Museum of Art one day to get my art fix.  Spent all my time looking at their collection of paintings from old masters like Titian, Raphael, Rembrandt, and van Dyck, to Matisse and Picasso.  There's a painting by Rembrandt of his son that I really enjoyed.  It was in a room full of formal portraits that were all perfectly finished, so perfectly that there wasn't a whole lot of life in them.  Rembrandt's portrait of his son was very casual.  He was sitting in an awkward position with his head tilted and a slight smile on his face.  You could see where Rembrandt tried three different positions for his thumb, but never really resolved it.  As I was looking at the face, something was a bit off.  When heads are tilted, artists have a natural inclination to try to straighten things out.  I certainly do.  So when looking at a tilted head, we'll draw the head at an angle, but the eyes will be level with the canvas or paper.  Same the nose, only over a little bit.  The mouth, too: level with the canvas/paper, not with the tilt of the head.  I do it all the time and it drives me nuts when I realize what I'm doing.  So I'm looking at Rembrandt's painting, and see that he painted the nose straight up and down, not tilted like the head.  What a revelation: the greatest portrait painter of all time can screw up just like I do!  And here's the painting to show what I'm talking about.  Click on the image to see it larger.

At the end of our visit, Janis flew back to Asheville and I headed south.  I spent the night with old friends in Annapolis.  The next day, I drove down to Richmond, Virginia, to get ready to do a painting at a wedding.  That afternoon, I visited the Gaines Mill Battlefield Park.  One of my great-great-grandfathers fought there in the Civil War and I was able to find the area in which his unit operated.  He was a brave (and lucky) man to have gotten through that battle unscathed.  On Saturday morning, I visited the Petersburg National Battlefield.  A different great-great-grandfather participated in the defense of the city during the Union siege.  Nobody has a very clear understanding of where his unit was stationed, since they moved around a good bit, so I wasn't able to say "he fought here".  But I did get a much better understanding of what he endured.  It was hell.

The wedding went really well.  The bride was SUPER excited about having me create her wedding painting.  I had at least a dozen people tell me variations of "she told me she's getting married and she's having a wedding painter at the reception!"  Wow, no pressure there, huh?  But all went well.

So I'm back home and getting back in the swing of things.  Got the Alfa out of the garage again and it was happy.  Got the wedding painting going in the studio.  Got a lot of catch-up paperwork to do.  Life is good!