The Homestead, Watercolor, with Progress Photos

The Homestead, Watercolor, 22 x 26, copyright 2009 Pat Aube Gray

I truly enjoyed painting this commissioned watercolor for one of my favorite collectors. (It was of particular interest because I was teaching a weekly class in linear perspective at the same time I was working on this.) This was her grandmother's antebellum home, located in Athens, GA, and my client has amazingly detailed memories of the house and playing there as a child. Sadly, the home burned to the ground in the recent past, but this painting will serve as a lasting reminder of family ancestors and a cherished childhood.

Cane Hollow Farm

Outbuildings, Oil, 9 x 12
Cane Hollow Farm, WC, app.15 x 30,

I don't know what it is about a particular image that draws you in, that ignites a spark of creativity, and beckons you to return to it repeatedly. I have a photo on my computer that I took some time ago of a particular group of farm buildings and each time I see it, I am drawn to paint it. First I painted it on a small 9 x 12 canvas in oil (Outbuildings, shown at top)as a demo in a workshop, using only a palette knife, and I stayed fairly true to the proportion and the scene as it appeared in the photo. I did, however, push the autumn colors beyond what appeared in the photo. The second time I used the image as source material, I altered the concept, changing the weather to a blustery winter day, with snow and stormy grey clouds, painting in oil again but this time on a 12 x 24 canvas. (That painting is almost complete and not pictured above.) Last week, during a watercolor workshop, I once again used the photo as inspiration, this time painting in watercolor on 300# rough paper (Cane Hollow Farm, bottom photo). I used a landscape format, larger than the one before it, using a 15 x 30 sheet. Again I painted a winter scene, but used a limited palette with what I felt was a pleasing mix of warm and cool colors. I added a typical white Georgia farmhouse to the scene as well as a dirt path or roadway, and kept the painting quite simple.

A funny aspect of this is that I could not remember where I was when I had taken the photograph and it was really frustrating me as I was working on the second painting. A couple of weeks ago I went to visit friends. Across the road from their house is a wonderful huge pasture, usually filled with cows and an inviting vista. With the trees bared once again in preparation of winter, I was able to see some barns in a clearing and thought, "Gee, that looks like that gambrel roofed barn in my paintings. Oh, and that other building looks like..." Yes, indeed, there was the image I had photographed, probably two years prior. And it held the same excitement for me then as it did when I first snapped that picture. I have no doubt I will paint these buildings again!

And Yet Another Huge Flower!

Iris, Standing Tall, 30 x 22, Watercolor, copyright Pat Aube Gray

I am not really sure what is driving my muse these days, but large flowers are uncharacteristic for me. I completed the painting of this huge iris this morning and you may recall that back on July 13, 2008 I posted Brooke's Texas Rose, another full sheet of watercolor paper occupied by a single oversized yellow rose. (It is simply coincidence that I named the painting for my daughter Brooke's love of Texas, the yellow rose tattoo on her leg, and the fact that it was her birthday!) When my other daughter, Kerry, died last year, I was overwhelmed by the beauty of the flowers we brought home, some of which I identified with her natural beauty. In particular, there was a huge, and I do mean huge, white rose, glorious in its fragrance, its size, and the singular beauty of it, and it became a symbol for me of my daughter's natural grace and simple elegance. I vowed then to someday paint that white rose, or one like it, in memory of Kerry. I have not yet done it as I am simply not ready to, I am afraid I could not do it justice, and I have not come across another rose that has the magnificence of that one. Perhaps these other flower paintings are baby steps leading me toward the white rose, or perhaps they are the result of a deeper appreciation for and connection to the simple, yet elegant beauty that we sometimes take for granted. It is interesting to me, too, that I have chosen to paint these flowers in watercolor instead of the oil I have used so much of late. But these subjects beckoned me to watercolor and the attempt to achieve the luminosity inherent in sunlit flower petals. Kerry's favorites were sunflowers, with roses a very close second. Do not be surprised to see more flower paintings...a giant sunflower, perhaps?

Brooke's Texas Rose

Brooke's Texas Rose, 22 x 30 watercolor on paper - copyright Pat Aube Gray

While working on oil portraits and waiting for paint to dry, I have been working on watercolors in my home studio. This subject is one I have wanted to paint for a long time. We lived in Texas for six years many years ago and have some very happy memories there. My daughter, Brooke, consistent with the contemporary practice of women getting tattoos, actually had the yellow rose of Texas etched on her leg. So in her honor, and in memory of our days in Texas, I named this painting Brooke's Texas Rose. This painting will be included in my upcoming exhibition at Chateau Elan Resort & Winery Gallery in Braselton, GA.

"First Painting After Surgery"

Golden Field, copyright Pat Aube Gray

I put the title of this post in quotation marks because that is the name employees gave this painting when I put it in for framing! And then they called the next one I completed, not surprisingly, "Second Painting After Surgery."

"Golden Field," the correct name of this first watercolor, was completed as a demonstration of a foreground treatment in a watercolor workshop in late October. I sprayed water and used salt for texture in this piece. It was painted out of my head (aren't they all?) but certainly based on the recent local landscape I get to see every day in these beautiful North Georgia mountains. It is approximately 14" wide x 21" high and is painted on Arches 140# cold pressed paper. The painting is SOLD.

"Scenic Highway in Autumn" was also begun in the above mentioned workshop as an exercise in contrasting very strong darks and intense lights to achieve drama and I completed it after the workshop was over. A spray bottle helped me keep the painting wet as I worked it and I employed spattering toward the finish. I used a photograph I had taken several years ago as a reference for this 21" x 14" watercolor also
on Arches 140# cold pressed paper. This painting has been beautifully framed and is available for sale at Carriage House Framing & Gallery in Blairsville.

Scenic Highway in Autumn copyright Pat Aube Gray

My shoulder is no longer hurting when I draw or paint on a table or in my lap. I have done two small oils, one also a demo in a class, and find that I still have difficulty holding my arm up while painting at the easel. But I am in physical therapy now and hope that it won't be long before I can paint with less pain and more agility.

Almost Deserted - Original Watercolor by Pat Aube Gray

This was something new for me - a watercolor on the recently issued watercolor canvas board! It was certainly different than painting watercolor on paper, which I usually do, but it offered its own benefits and shortcomings. It is more difficult to glaze on the board as the underlying passage easily lifts when glazing over it; alternatively, it is easy to lift color and therefore change or correct a passage you already painted with no unsightly residue of what was there before. It is difficult to get rich darks; I managed to get dark accents, but not in the richness I generally like to see them.
This 9 x 12 sunlit watercolor is varnished and can be framed without glass!

SOLD
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