Is there more than one Monet?

A Monet is a Monet is a Monet – or is it? If we only think of Claude Monet as an impressionist painter then there are paintings in his life’s work that one might be reluctant to claim as a good representation of Monet’s work. In this sense, I am going to propose that there is more than one Monet when considering his work and also that he has offered us more than he is usually given credit.

The tight small dabs of sometimes pure colour associated with the “impressionist years” and his large lily paintings come from different approaches and the latter from a mature use of all that he knew. I come to this understanding following my visit to “Claude Monet’s Secret Garden” exhibition at the Vancouver Art Gallery which has a dozen or so works from his impressionist period and then goes on to focus on his late years of painting when he was troubled by cataracts and a legitimate fear of having surgery at the time.

The impressionist paintings are of medium size, easily portable and distinctive in their approach using small short brushstrokes and dabs of colour to capture the effects of light on a landscape. Here are a couple of my favourites from the exhibition.

Snow Effect, Sunset by Claude Monet 1875

Field of Yellow Irises at Giverny by Claude Monet 1887

Later Monet lived on his garden property for 40 years. This is where he started to study light in its deeper complexities. This is where he observes light changing every seven minutes and lamented that if he didn’t finish a work one day the next could not be counted on to give him the same conditions to continue the work. To compensate, he worked on up to 20 prepared canvases at one time changing them out as the light shifted or if the day was different.

The Seine at Port-Villez, Rose Effect by Claude Monet 1894

The Seine at Port-Villez, Eventing Effect by Claude Monet 1894

The “Claude Monet Secret Garden” exhibition has many large canvases which Monet was able to work on in his 70 and 80s because he was working from home in his garden and the paintings could be moved in and out of the studio as needed.

Life can either knock the stuffing out of us at times or allow us to reach something we may not have been able to do otherwise. Sometimes it does both. During the First World War Monet could hear the fighting from his home studio as he worked. Around this time he was also grieving from the death of second wife and one of his sons. Grief and not being able to see clearly from his cataracts are both possible causes for a change in work during this period.

These rich deep hues are so different from his earlier works, yet there are clues that these are indeed by his brush. These renderings are completed with large expressive brush-marks with the colours blended right on the canvas! Clearly these paintings are something different from his early impressionist paintings and definitely leading us towards what was to come next in post-impressionism and expressionism.

Water Lilies by Claude Monet 1916-1919

“I only know that I do what I can to convey what I experience before nature and that most often, in order to succeed in conveying what I feel, I totally forget the most elementary rules of painting, if they existed that is.” – Claude Monet, 1912

What he couldn’t see he could still feel, hear and touch. Monet had been painting for so long that he had a well established habit of placing his paints in the same place on the palette. He did not need to see well to continue to paint with excellence!

Monet painted the oval lily paintings and the wisteria paintings (which were suppose to go above the lily paintings) while he had cataracts. In 1923 Monet had cataract surgery. By this time he had suffered with them for 11 years.  He destroyed some of the paintings from that time and reworked others once he could see clearly again. And yet, other paintings feel like they were left as they were – though the date of completion on this one suggests otherwise.

The Japanese Bridge by Claude Monet 1918-1924

The information card tells me that Monet completed twenty paintings of this bridge and the body of work is among his most abstract. These later works often show bare canvas in places along with these free loose and large brushstrokes. Would Monet consider the paintings finished? I believe so simply by looking at the continuation of his work during this period of his life. However, these works were in his own personal collection. They were never sold. So it does beg the question of whether he was unsatisfied with them and so didn’t put them up for sale or if he made a decision to keep them for his own appreciation.

The exhibition shows two gorgeous wisteria paintings having some 5- 15 layers of paint and still feeling like each brushstroke has been applied distinctively, accurately – alla prima! In the end, there was no room for showing these wisteria paintings with the lily pond paintings as originally planned. To honour Monet’s original intention for the wisteria paintings, the Vancouver Art Gallery did a curved display wall.

The paintings shared in these images (for personal study use only) are some of the 38 paintings out of 94 that were in Monet’s private collection at the time of his death. These paintings will be showing until October 1, 2017 at the Vancouver Art Gallery in British Columbia. The paintings are on loan from the  Musée Marmottan Monet in Paris. I feel extremely fortunate that I was able to take a half day to be with these works so close to home. If you get a chance, do go and do take the tour after spending sometime getting to know the paintings being shown. Then go through and look again with your new understanding of why these particular works were selected.

If someone was to ask if there was more than one YOU worth knowing what would you say?

© 2017 Terrill Welch, All rights reserved.

Liberal usage granted with written permission. See “About” for details.

Creative Potager – Visit with painter and photographer Terrill Welch

From Mayne Island, British Columbia, Canada

For gallery and purchase information about Terrill’s photographs and paintings go to http://terrillwelchartist.com

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Beginning at the End with Monet

When we walked into the Vancouver Art Gallery to join the line up, it was five minutes after opening. As we entered the visitors were jammed up at the beginning of the “Claude Monet’s Secret Garden” exhibition showing 38 out of 94 of his paintings that had been in his personal private collection. So we walked through the middle of the show and went to end and this is where I am going to start today. Monet’s last painting followed his cataract surgery and he was extremely excited to be able to see clearly again. The painting is listed as “Les Roses” in the exhibition but it is also known as “The Rose Bush” elsewhere online. It is huge at maybe 5 x 9 feet or 6 x 9 feet. I am not exactly sure because I couldn’t find any reference to its size either with the exhibition materials or online. But here it is.

“Les Roses” or “The Rose Bush” by Claude Monet 1925-26.

Please note: all images of Monet’s work have been shared for personal study. No image can be used for any other purpose.

Let’s take a moment and explore what we notice about this work. What stands out to you? How is this work maybe different than what you thought you knew about Monet’s paintings? How is it familiar with what you already know?

I personally had no knowledge about this painting and was so surprised to see it. My first thought was – this isn’t in my extensive reference books on Monet! But then I doubted myself until I could get home and check. However, I was right. This painting is in neither of my complete (or rather incomplete) volumes of Monet’s life’s work.

I was mesmerized and absolutely fascinated with this painting. He would have been 85 to 86 years old when he did this work during the last year of his life. What a way to finish his many years of painting!

It took four years to negotiate the exhibition between the Vancouver Art Gallery and the private Musée Marmottan Monet in Paris France.  The Vancouver exhibition is showing 38 out of 94 paintings in the collection. In 1966 Monet’s son, Michel Monet, left the Musée Marmottan Monet his own collection of his father’s work, thus creating the world’s largest collection of Monet paintings. My only complaint is that there is no catalogue sharing some of the stories I am going to retell to you here based on my notes of the guided tour for the exhibition which, if you get the chance I highly recommend you partake. First walk through and become familiar with all 38 paintings. Don’t waste time reading the chronology and notes on the wall because this can be found online and in other books later. Next do the tour. Then go through the exhibit one more time to integrate what you have learned. If you live in the Vancouver area and can go more than once – do! It is much more economical than a trip to France.

Often, we hear timing is everything. In Monet’s case there are a couple of events around his time in history worth noting.

In 1839 photograph was developed, one year before Monet born. Before this time it had been up to painters to record the realism of events and paint portraits of famous and not so famous people. Paintings were a visual record of events. Photography was expected to change all this and there was speculation that  this would be the end of painting. I mean why labour over a painting when you can have a photo-realistic image in a flash!? By the time Monet was attending art school he would have been in the thick of this debate. Now, particularly for those of us that are both photographers and painters, we better understand the limitations of photographic realism which is limited and has difficulty capturing our lived experiences due to camera distortion and limitations in rendering natural light. But photographs were all new and filled our imagined possibilities at the time. To this day, there are splits in painting approaches between high-realism, full-sensory painting impressions and expressionism abstraction. Personally, I find these splits more theoretical than directly applied to painting practice by painters (and the older I get the more I notice this) but it is worth noting these divisions just the same.

In 1841 tubes of paint were invented by American artist John Rand, one year after Monet born. Up until this time a painter had to mix the pigments with oils, grinding them together to the right consistency every day or at the very least every few days. The painter, or their assistants, had to a difficult task to accomplish before they could ever begin painting a chosen subject. Hence, most painting was done within the studio or indoors. Tube paints changed all this. They stayed usable for long periods of time and were easy to transport out of doors – hence painting en plein air became possible and popular in the years following. The invention of tube paints was a game changer for painters and painting practice – even in the studio.

But let’s go back to “Les Roses” and take in those fragrant blooming brambles one more time. Notice how the paint is mixed right on the canvas, blended and swept together in large gestural movements. Look at the painting close and then step back from your screen and see how the roses themselves disappear into the swirls of colour. Take note of how Monet leaves parts of the canvas bare near the edges. This is not because he wasn’t finished but rather because of an aesthetic of allowing the painter’s process to be visible or letting paint be paint.

In next week’s post we will speculate about how he came to this place in the last large painting rendered at the end of his long and productive life.

What impressions come to mind as you view “Les Roses” by Claude Monet?

© 2017 Terrill Welch, All rights reserved.

Liberal usage granted with written permission. See “About” for details.

Creative Potager – Visit with painter and photographer Terrill Welch

From Mayne Island, British Columbia, Canada

For gallery and purchase information about Terrill’s photographs and paintings go to http://terrillwelchartist.com

Life during Hazy Days in British Columbia

British Columbia is burning. The wildfires have devoured a land mass larger than the province of Prince Edward Island. The fire season is not over yet. There might be a little rain on Sunday but it won’t be enough. Air quality warnings are frequent but unnecessary. I only need to breathe in next to the open window to know how many particles there are in each square inch of smoke-filled air. The sunsets are as eerie as they are beautiful.

No long hikes for me. A casual stroll to sit by the water is all that this week can offer.

I did manage to get out to do a small plein air painting though.

Hazy Morning Active Pass 5 x 7 acrylic plein air sketch

The painting sketch is now off on an adventure of its own – the eighth painting to do so this past five weeks.

But the Terrill Welch Gallery! Now it has enjoyed the soft light from outside through the feature window.

I will be there again on Friday at 10:30 to do a live recording on my Art of Terrill Welch Facebook Page for the first Friday Art Stop feature. If you have a moment, drop on in. I did an introductory video, a sort of sample,  for this new project that you may enjoy in the meantime.

 

I suppose today’s post is my best efforts to find my way forward during uncertain times.

 

How do you process things that you cannot change? Like wildfires? Like threats of nuclear war?  

 

© 2017 Terrill Welch, All rights reserved.

Liberal usage granted with written permission. See “About” for details.

Creative Potager – Visit with painter and photographer Terrill Welch

From Mayne Island, British Columbia, Canada

For gallery and purchase information about Terrill’s photographs and paintings go to http://terrillwelchartist.com

Two Arbutus Trees Rendered One for New Gallery One Sold

I am still paintings as we are rounding the last corner into the home stretch for the Terrill Welch Gallery to open Friday August 4th. This is my new normal as I learn the rhythm of both/and between studio and gallery.

Yesterday, saw the eight painting sketches arrive at the gallery for the first show.

The lights are now up and I am thrilled with the quality of luminescence I will have to work with for photographs.

Last Thursday, Friday and Sunday were painting days. The first is a plein air over two mornings of an arbutus tree caught between the sea and the road.

Morning along the Island Road Mayne Island BC 20 x 16 inch oil on canvas plein air

Details and purchase information HERE.

The second is a small study of a favourite arbutus tree from reference images.

Arbutus Tree with a View 8 x 10 inch acrylic study on gessobord

This one is sold already. Other new works are released in the online gallery HERE.

On Friday morning with a bit of luck we will have a live video of the opening of the gallery on the Art of Terrill Welch Facebook Page. If you want to be there in our virtual world head drop by the page at 10:00 am Friday August 4th. A few people who helped with the raising of the gallery and collectors will be there and the gallery will open to the public at 11:00 am.

 

How do you stay in the flow when adding something big to your life?

 

© 2017 Terrill Welch, All rights reserved.

Liberal usage granted with written permission. See “About” for details.

Creative Potager – Visit with painter and photographer Terrill Welch

From Mayne Island, British Columbia, Canada

For gallery and purchase information about Terrill’s photographs and paintings go to http://terrillwelchartist.com

Summer Paintings of Farmers Fields

The weather is fine and a tractor was making the rounds in the field below us yesterday. It was likely the last day for a while because we have entered extreme fire hazard. All day equipment ban in effect Wed. July 26. No spark producing tools. However, I am still inspired to share a few of my summer paintings of farmers’ fields with you, just for fun as we wait for the Terrill Welch Gallery to open on August 4, 2017. No heavy equipment or spark producing tools were used in the making of these paintings or in posting them for your viewing today.

Haying – 14 x 18 inch oil on canvas

Haying time signifies summer and this impressionist style painting holds the desire for coolness in the deep shade of the big tree. This is one of the Deacon Vale Farm fields on Mayne Island in B.C. where I was doing a photo shoot of the harvest and later completed this work in the studio.

Purchase information available HERE.

August Fields – 12 x 16 inch oil on canvas

An ever-changing view with eagles and turkey vultures often at eye level as they glide by – fields and hills changing with the season and the passing of each hour. This is the Meadowmist Farm field below us on Mayne Island and it was painted plein air from our outside deck.

Purchase information available HERE.

Road to the World – 12 x 16 inch oil on canvas

This painting was completed in two plein air painting sessions on my parents’ farm outside of Vanderhoof  B.C.

Purchase information available HERE.

I have painted other summer fields but these are three of my favourites.

 

Do you have a favourite farmer’s field near you?

 

© 2017 Terrill Welch, All rights reserved.

Liberal usage granted with written permission. See “About” for details.

Creative Potager – Visit with painter and photographer Terrill Welch

From Mayne Island, British Columbia, Canada

For gallery and purchase information about Terrill’s photographs and paintings go to http://terrillwelchartist.com

New Art Gallery Has Me on My Knees

There are times when I deliberately choose the long way around. I would say it is for the pure pleasure of physical engagement but that wouldn’t be entirely true and my left shoulder would agree. Mostly, I suppose, it is about getting to know a place that has me on my knees – with knee-pads, screwdriver, old palette knife, steel wool, a couple of rags and the most important ingredient – paste wax.

It all began when I was taking off some old duct tape glue left behind on the 1925 fir flooring. Can guess what happened? Well, that spot looked so nice, I started in the far corner and started working my way across the room. This morning I am about three-quarters of the way finished and hope to be done by noon. We shall see what my shoulder and wrists have to say about the timeline, may take until Friday. But it does feel good! As I work I draft things in my head like a page on the website for the new Terrill Welch Gallery. I think about how the hanging gear is going to go up. I muse about all the people who have shared this little piece of land in the past… it is a long list and mostly unrecorded. I watch how the light moves around the room and know I am not the first and hopefully won’t be the last to enjoy it. I make mental notes on the other artists whose work I would to see having a conversation with mine in the months to come. These are good enough reasons to rub the wax on and rub the excess wax off the floor, by hand.

Oh, I still wonder off for our walks most days. Dinners still need to be cooked and clean laundry is hung out to dry. Plein air painting still happens and the bills get paid. Yet, part of me feels like this arbutus tree who has out grown its bark and the underside is green and fresh. I am still the same tree but a new skin is surfacing.

 

If you were to outgrow your current skin, what would be underneath?

 

© 2017 Terrill Welch, All rights reserved.

Liberal usage granted with written permission. See “About” for details.

Creative Potager – Visit with painter and photographer Terrill Welch

From Mayne Island, British Columbia, Canada

For gallery and purchase information about Terrill’s photographs and paintings go to http://terrillwelchartist.com

Red Poppy Serenity Oil Painting

The red poppy oil painting “Serenity by the Sea”

is from a specific day at the end of May in the year 2017 on the island of Galiano off the Southwest coast of British Columbia, Canada.

The mist turns to a light drizzle as I sit on a low chair looking out past the cedars to yet other islands across the sea. What can possibly cut through these west coast greys? Then I remembered.

Earlier in the day I had seen large red poppies growing in the garden near the water.

“I wonder!?” I said to myself.

Slipping on a raincoat and garden clogs I stuffed my way-too-large iphone in my hip pocket and my big camera with its rain cover over my shoulder. It is about 5:00 am and the sun is still high enough in the west to push its way through the low clouds, providing a noticeable filtered light. But it is not enough to keep the warm greys using the big camera. Those gorgeous greys were running into the blues. But the iPhone 7 plus seems to get the idea. I gather several references images with both devices and find one that I particularly like.

Six days later, I am back in the studio and have mulled the idea over long enough to pull out a canvas and get started. The method is straightforward.

Start with a ground that will pull on those muted tones and make a few modest marks to guide the composition.

Establish the relationship between the sky and the light reflecting off the water.

Drop the darks unceremoniously into place.

Leave the red ones for last and keep the brushstrokes simple, clean and decisive.

Work in the highlights, stems and texture of the lower foliage, using a painting knife as needed. Then stand back, one last time, and ensure there is a humming kind harmony of emotion and aliveness to the work.

Yes, I think we are there!

Serenity by the Sea “resting” 18 x 14 oil on canvas

As usual, the painting needs to rest and dry before it is considered finished. I intended this work to be a composition study for a larger painting. However, I may have said all I need to say in this one. Painting the subject larger won’t make for a better painting. It will just be bigger. Yet, I am not completely sure if I want to give up on splashing large amounts of red around on huge surface though. I shall think about it for a while and see. In the mean time…

What bright spots have cut through your grey moments of late?

© 2017 Terrill Welch, All rights reserved.

Liberal usage granted with written permission. See “About” for details.

Creative Potager – Visit with painter and photographer Terrill Welch

From Mayne Island, British Columbia, Canada

For gallery and purchase information about Terrill’s photographs and paintings go to http://terrillwelchartist.com

Work Life In Progress

A great big sign at the entrance of the driveway may accurately read: PROCEED WITH CAUTION WORK LIFE IN PROGRESS. Not that this is a bad thing. The alternative is much less appealing.

It is just means that the question usually asked about how are things going will be answered by –  “Oh, round and round!”

Or – “Busier than a painter with three brushes in her hand.”

Neither of which tell us much at all.

So a better question might be – “Terrill can you tell us one thing that pleases you today?”

Yes I can. I have a new painting roughed in on the easel that I am going to muse about while I drink my morning coffee. Let me show you….

The canvas is 12 x 24 inches and started with a yellow ground and a few marks to guide the scale of the composition.

The spring morning sky brightens all in its path including the green firs on the hill across the way. Song birds sing, grass grows and an eagle cries somewhere in the distance across Active Pass.

First leaves are soft and translucent in the warm light as the blues of sea catch my breath and swing it skyward and back again. How many mornings has the Springwater Lodge, the oldest continuously operating hotel in British Columbia, seen like this one?

There is the scent of fresh coffee filling the loft with a hint of linseed oil underneath. I decide to leave the studio lamps off for just a little longer. But I will sort out the angles of lines, the relationships between objects and the spaces in between later today – one brushstroke at a time.

Update: Now as the end of the day nears and the work has come to “resting” all shiny and wet on the canvas…

Early Spring Morning at Miners Bay “resting” 12 x 24 inch oil on canvas

How about you? Can you tell us one thing that pleases you today?

Note: “The Beauty of Oils Class of 2017 Art Show” was a wonderful success. All the pieces are falling into place for the Art! Vancouver Fair at the end of May and the background material for advertising has been sent in for the six week solo show opening June 30th 3-5 pm in the afternoon. Next will be a focus on getting the last of the edges painted on the selected work for the solo show.

© 2017 Terrill Welch, All rights reserved.

Liberal usage granted with written permission. See “About” for details.

Creative Potager – Visit with painter and photographer Terrill Welch

From Mayne Island, British Columbia, Canada

For gallery and purchase information about Terrill’s photographs and paintings go to http://terrillwelchartist.com

The Beauty of Oils Class of 2017 Art Show

I have a surprise for us today but first, a little context is helpful.

In my experience most people think they have a pretty good idea what it takes to paint an oil painting of a subject from life. Most may even feel that if they had the time and desire they could dash off a Monet without too much trouble. I mean really! Look at what can be done during paint and drink night at the neighbourhood pub! However, if people have tried to paint, and found it harder than they thought, then they wrongly assume it is because they have no talent. Yes, some talent is useful but it is only about 20% of the equation to render a pleasing result. Few people consider that to become a skilled painter it takes hours and years of practice. You, my dear readers, are a small portion of art viewers who are well-informed on at least my painting process from your years of following Creative Potager. You are a knowledgeable exception to the average citizen. Most individuals have little idea about the range of skills development and study required beyond putting paint on a brush and applying it to a canvas. If they did, I would never be asked – how long did it take you to paint that? Well, none of this can be said about the four students that have completed the twelve session studio intensive oil painting class at the beginning of February. They know intimately what it takes to render an oil painting of a subject from life.

Some of these artists held their first brush in my three session pilot oil painting class a year earlier and then went on to take the eight session fall skills development oil painting class. Another artist started in the fall with previous drawing and basic painting skills in acrylic paints. Yet another painted in water colours and wanted to learn how to use oils. All painters still have painted less than 20 oil paintings in their life. All have been learning my long-hand process of solving painting problems on their own with instructional support from the very beginning of choosing their own composition, sketching and taking photographs of their ideas, making notes about their subject, observing different natural light condition, learning how to mix the colours they wanted, preparing a ground or underpainting, and painting wet-in-wet. They have painted from their own reference photograph and painting sketches in the studio classroom. They have braved the elements and painted en plein air. They have learned a method that will allow them to tackle painting any variety of subjects from everyday life. Then they went on to prepare their work to be “show ready” with painted edges or frames, titles, inventory numbers and so on. Now it is time to show the results! Each artist has six beautiful works to hang for viewing on Saturday, May 13th at the Mayne Island Community Centre between 3:00 – 7:00 pm.

Let’s briefly allow each painter to introduce themselves and share a sampling of their work so you can see what I am all excited about.

Glenda King – Living on Mayne Island allows me to have many possible beautiful compositions, whether it be a seascape, landscape or wildlife & birds. I have left my focus open until I find what my passion is….right now I am enjoying all that I have done & hope that you enjoy it also. The paintings I have done have come from my own photography or plein air, the latter being the preferred way to paint for this style.

Serenity 8 x 10 inch oil on canvas plein air – SOLD

Miners Bay Lookout 18 x 14 inch oil on canvas – AVAILABLE

Elspeth Westby – My focus has been to learn how to use the oils (I chose to use walnut oils by M. Graham and Co.), the different brushes and tools and become comfortable with an easel with the hope of doing “en plein air” painting. I really enjoy spending time observing my environment and long to paint it. To my surprise and delight, I love the oils and seem to be managing landscapes!

Springwater on Active Pass 11 x 14 inch walnut oil on canvas panel plein air – AVAILABLE

Plum Blossoms (Japanese Garden) 14 x 11 walnut oil on canvas panel – NFS

Katherine Cox Stevenson – I paint to more deeply align my soul with nature. From a young age, I craved living life from my heart. Instead due to life circumstances I lived my life from my head – I even have a PhD to prove it. I live on Mayne Island for two main reasons: the abundance of exquisite nature and sense of community. I am now becoming part of the arts communities, a rich and enlightening experience. Being able to stand in awe of the nature scene in front of me and with color, brushes, and strokes I can interpret it for the canvas. My hope for the viewers of my paintings is that they can pause and experience a moment of deep inner peace and perhaps a magical moment of connecting nature with their souls.

An Afternoon by the Sea Shore 12 x 16 inch oil on canvas – AVAILABLE

Time to Reflect 14 x 18 inch oil on canvas – AVAILABLE

Jody Waldie – After two years as a full time resident of Mayne Island I am still in awe of its natural beauty. Through my learning process as a new painter I strive to experiment and discover how to represent this beauty of nature through the use of colour and light with oil paint media. I purposefully chose to focus on colour and light to allow myself to step away from the contrived images that excess attention to detail was bringing to my painting. I am drawn to the rawness of nature and strive to capture this through my painting.

Spring at the Gardens oil on canvas 12 x 16 inch oil on canvas plein air – AVAILABLE

Pause and Gaze on Harmon Hill oil on canvas 20 x 16 inch oil on canvas  – AVAILABLE

As you can see, each artist even at these early stages of learning a new process and medium has a distinctive unique painting fingerprint. Now how exciting is that!? Hopefully over the next couple of years we can bring them back for further cameo appearances and you can see where their discipline and skill development has taken them. If you see a work you would like to purchase or if you would like to know more about a specific painter just send me an email at tawelch@shaw.ca and I will be happy to connect you up with the artist.

For now I ask all four painters to take a bow as we shout, whistle, cheer and applaud their accomplishments.

Note: If you would like to learn oil painting or the process of painting wet-in-wet both using studio reference materials or en plein air you can send me a note at this same email shared above and I will add you to my contact list for future offerings. These classes may also include three-day weekend plein air workshops over the summer in both acrylic and oil – if there is enough interest and I can find the time.

What are you spending hours and years learning to master?

© 2017 Terrill Welch, All rights reserved.

Liberal usage granted with written permission. See “About” for details.

Creative Potager – Visit with painter and photographer Terrill Welch

From Mayne Island, British Columbia, Canada

For gallery and purchase information about Terrill’s photographs and paintings go to http://terrillwelchartist.com

High Desert Dawn revisited

Pungent sage brush rustles with a family of wild turkeys as the heavy clouds lift up from the horizon. It is morning, early morning. Low hills glisten with the dampness of departing rains. Why not revisit? After all, it has been five years has it not?

I pick up my brush and begin reworking the canvas. After an hour or so of stepping back and forth, it seems to be coming along.

The morning light sliced through the heavy storm clouds over the high desert in Orville Washington.

High Desert Dawn – 30 x 40 inch oil on canvas

I am happier with it now I think. Those variations of blues make the photo editing program cross-eyed. You will just have to believe me when I say it is much nicer in person.  Details and purchase information is available in the on online gallery HERE.

Mostly, this week has been a time of catching up and preparing for the next show which is Art!Vancouver Fair, May 25 – 28, 2017 at the Vancouver Conference Centre, East 999 Canada Place. I am showing my paintings with three other Canadian artists in 30 feet of booth space sponsored by Artists in Canada. I would love to see you there and your friends too for that matter 😉 The details regarding advance tickets and such are on the website HERE.

Other than that it has been long walks sometimes in sun and sometimes in rain.Spring is here. Taxes were done on time. Life is good.

What are you enjoying most about your week so far?

© 2017 Terrill Welch, All rights reserved.

Liberal usage granted with written permission. See “About” for details.

Creative Potager – Visit with painter and photographer Terrill Welch

From Mayne Island, British Columbia, Canada

For gallery and purchase information about Terrill’s photographs and paintings go to http://terrillwelchartist.com