"Photo book of contemporary abstract paintings by Lynne Taetzsch. Thirty-six full color images as well as biographical information and artist's statement."
Grid patterns are great backgrounds for abstract art because they provide a structure to stabilize the composition while you play other forms against it. I left a lot of white showing in my latest grid pattern, which contrasted against the blues, greens and pale peach. Then I brushed or drew more free-form, circular shapes in darker blues. Finally, I added interest and a focus for the eye by filling in some of the grid's "boxes" and outlining some in dark blue.
Acrylic on paper, 24" x 18"
I began this new abstract painting on paper with black and ultramarine blue acrylic applied with a brush. Then I filled in some of the empty spaces with titanium white, blending with the blue and black. Next I used a wet brush to spread the blue lightly over any negative space.
Finally, I drew lines with cadmium orange, and then with black, cross-hatching some of the black lines for texture.
Acrylic on paper, 24" x 18"
At last I unwrapped one of my new 30" x 40" gallery-wrapped canvases from Signature Canvas and began to paint. I had some nervous anticipation before starting, since I've been spending the last few months either drawing or painting on paper. Where would my abstract paintings on canvas go next?
All I knew was that I wanted to start off with an aqua or turquoise blue, and that I did not want to do "background" first, which had been my method for years. Painting on paper has given me insight into the joy of starting right in with the main event, so that's what I did.
Before I knew it, I was lost in the process, first applying acrylic with a brush, and then moving to a palette knife for stronger, bolder marks. I ended by drawing lines with Mars Black, and then standing back to see what I had.
Not a bad beginning. I'll see what I can do with it tomorrow.
Canvas #80, 30" x 40"
After a long struggle over many painting sessions, I finally completed my newest blue painting and signed it:
At Home In The Heart, 48" x 48"
At this point, I felt it had enough spontaneity as well as control. Now I need to spend the next week getting ready for the Greater Ithaca Art Trail open studio weekends, which are October 10 and 11, and 17 and 18.
When I looked at Canvas #77, I felt it was getting way too controlled and static. It needed livening up. On impulse, I began drawing with yellow lines, and then added a light green wash to fill in those spaces. When I finished with the light green wash, I used a light blue wash to fill in a lot of the upper sections, and a pale gray wash to emphasize several shapes.
Canvas #77, 48" x 48"
Why do I have so much trouble making blue paintings? I just don't feel as comfortable with my color choices as I do using reds and oranges. Even green comes much more naturally to me. I will have to revisit this canvas again.
I continued work on Canvas #77, painting in more solid shapes in white, blues, and a bit of permanent light green. Then I drew lines with a Prussian Blue to emphasize shapes, and feathered the line with a brush:
Canvas #77, 48" x 48"
Not ready to sign it yet.
With the art trail coming up, I need to rearrange the abstract art on my studio wall, taking down old paintings, deciding on which new ones to highlight, etc. If you are in the neighborhood on October 10, 11, 17 or 18, stop on by!
I began my second 48" x 48" blue painting in a similar manner to the previous one. In my abstract art, I often do two canvases with similar colors and patterns, though it doesn't always turn out that way. I may begin with a particular color group, and end up somewhere else entirely. Here's Canvas #77 after a second painting stage:
Canvas #77, 48" x 48"
Here it was at the beginning stage:
In the next stage of this abstract blue painting, I drew lines in burnt umber to increase the action and sharpen the composition:
Canvas #73, 48" x 36"
Sometimes the second painting in a series is more difficult and not as spontaneous as the first one. Other times, the second one comes easier, which is the case in my second abstract blue painting. Here it is after the second session:
Canvas #73, 48" x 36"
Here it is in its "background" stage:
After spending the morning working on my latest blue painting, I think I am ready to sign it. I strengthened some of the blocks of colors, added "brilliant blue," and moved the focal point higher on the canvas. Next I added more burnt umber lines, brushing over them with a dry brush. Finally, I used a light wash of blue for the top half of the background, and a light tan for the bottom half. When I stood back and looked at it, the word "rain" came into my head.
Blue Rain, 48" x 36"
