Thursday, December 6, 2012

Ten peppers — oil on panel completed painting by Paul Baldassini

“Careful...it is all very well for you to paint simply and the simpler the better. But do not start to think so damned simply. Know how complicated it is and then paint it simply.”    — Ernest Hemingway, The Garden of Eden

To secure this Baldassini original artwork  for your collection please call 860-638-0890 today.  Or visit my website baldassinifineart.com to view other works in the series.




Its been a while since I posted on this Blog.  Juggling paying work including photo restoration and a temporary full-time art instruction teaching position at a local private CT high school kept me away from the easel for a lot longer that than I would have preferred.  That teaching experience was the most rewarding full-time work I've done since I moved to CT over 7 years ago. I enjoyed it immensely and feel more than ever that I belong teaching art and/or digital graphics, be it part-time or full-time, in a learning institution. I know that the students enjoyed my short time there with them and learned and grew as artists.  I continue to have photo restoration work but the full-time teaching position is over for now with my status "full-time substitute".  A superb school with a generous, helpful and understanding staff and great students.  I get called in on occasion to substitute other classes but in the meantime I'm back to painting again.

Here are the last two in-progress stages of “Ten peppers”, along with the final work.

I spent 23 hours or so, from start to finish.

P.

Wednesday, August 8, 2012

Ten peppers — oil on panel in-progress by Paul Baldassini

“The longer you look at an object, the more abstract it becomes, and, ironically, the more real.”    — Lucian Freud

To secure this Baldassini original contemporary realist artwork  for your collection please call 860-638-0890 today.  Or visit my website baldassinifineart.com to view other works in the series.



Above are two stages of a new work in-progress (“Ten peppers”). This work is smaller than my usual 24-inch high panel at 21 3/4 x 15 1/2 inches.

Its an interesting composition, a riot of colored peppers some in various stages of turning from green to orange to red. I styled the composition outside in intensely bright early morning with raking shadows. The peppers are from local farmer's markets and/or the local Stop & Shop. The linens and bowl are from my home collection of kitchen stuff.

Once again my palette is unchanged (you can read about it in detail in other Blog posts or on my website Q&A page).  It is a predominantly warm palette, and I can mix every color I need with this palette.

About 10 hours to date.

P.

Monday, July 30, 2012

Hypnotic citrus — oil on panel by Paul Baldassini

 “An artist is not paid for his labor but for his vision.”   — James McNeill Whistler

To secure this Baldassini original contemporary realist artwork  for your collection please call 860-638-0890 today.  Or visit my website baldassinifineart.com to view other works in the series.



Above are the last stage and the completed painting (“Hypnotic citrus”).  Several days to bake in the sun, sign it, two coats of Mastic Varnish, another few days baking in the sun and its off to the framer, and then to my gallery (Maple & Main Gallery, Chester, CT) to hang in the next show.  If you live in the area, stop by to see it.  The 2nd Anniversary opening is Friday, August 31 from 5 to 8pm.

41 hours start to finish.  I’m already onto the next work in this new series.  Please visit often.

P.

Hypnotic citrus — oil on panel in-progress by Paul Baldassini

“Life obliges me to do something, so I paint.”   — Rene Magritte 

To secure this Baldassini original contemporary realist artwork  for your collection please call 860-638-0890 today.  Or visit my website baldassinifineart.com to view other works in the series.



Above are two more stages of a new work in-progress (“Hypnotic citrus”). My usual method is to work a section at a time, mixing colors and directly painting top left to bottom right.    Shadows are kept very thin allowing the magenta underpainting to subtly reveal itself.  As I move up in value the paint gets thicker.  I try and bring each section to completion in one session adding final highlights later with thicker paint after everything has dried.  As I progress each section is blended into the previous session’s work.

I am using my standard palette (you can read about it detail in other Blog posts or on my website Q&A page).  It is a predominantly warm palette, and I can mix every color I need with this palette.

About 18 hours to date.

P.

Saturday, July 7, 2012

Untitled oil on panel in-progress by Paul Baldassini

Please contact me via email:  paul@baldassinifineart.com

“The recipe for perpetual ignorance is: be satisfied with your opinions and content with your knowledge.”    — Elbert Hubbard

 To secure this Baldassini original contemporary realist artwork  for your collection please call 860-638-0890 today.  Or visit my website baldassinifineart.com to view other works in the series.




Here are two stages of a new work in-progress (untitled for now) — the underpainting only.  It is the first painting of a NEW series tentatively entitiled “Homework”.  This contemporary still life series will focus on bold design and composition, and like previous work, incorporate light effects, texture and surfaces.  Instead of tractors or figures at a cafĂ© it will feature props such as fabrics, bowls, plates, vessels and other kitchen and related items I’ve collected over the years, along with fruits, vegetables and flowers, some from my own garden.  This series picks up where the tractors left off, an “after the harvest” sort of a thing.

The arrangements are styled on a white tabletop in early morning or late afternoon light to take advantage of raking light and long cast shadows.  If there is no wind, this is done outside on a deck adjoining my kitchen otherwise I style inside with the tabletop moved right in front of two large glass sliding doors.  The shadow play is an important and integral part of the composition unifying and connecting the objects, while creating movement and visual interest throughout the composition.

Like all of my work, the overall design is chosen and cropped through a camera lens and elements are added and subtracted later using digtial image editing and compositing, as necessary to create a pleasing composition.

8 hours to date including panel prep, drawing and underpainting in Quinacridone Magenta.

P.

Sunday, June 17, 2012

Farmall C oil on panel completed by Paul Baldassini

Please contact me via email:  paul@baldassinifineart.com

“The more you know the more you suffer.”  — unknown author

To secure this Baldassini original contemporary realist artwork  for your collection please call 860-638-0890 today.  Or visit my website baldassinifineart.com to view other works in the series.


Here is the completed painting, Farmall C, 30 x 24 inches, oil on prepared panel.  Total of 51 hours to complete.  This will be my last painting of the “Working Land” series as I move into something very different, a new series entitled “Homegrown”.  I’m very excited about this new direction and have over a dozen works planned in the series already.

I’ll post work-in-progress here as I always have so please check in again soon.

Be happy.

P.

Farmall C in-progress oil on panel by Paul Baldassini

Please contact me via email:  paul@baldassinifineart.com

“Confound their politics, frustrate their knavish tricks...” 
 — lyrics from God Save the Queen

To secure this Baldassini original contemporary realist artwork  for your collection please call 860-638-0890 today.  Or visit my website baldassinifineart.com to view other works in the series.




Its been a while since my last post, over 4 months in fact.  In addition to painting sales, I continue to accept graphic art assignments as often as I can.  I had a huge burst of work during that time so I stopped painting to complete all of the work, make some money and pay some bills.  Until I can rely on income from painting sales alone, paying work will always come before painting.  Thats just how it is for me, as hard as that is to accept sometimes.

Although most of the work was graphic design assignments, there was also a lot of photo restoration work. AND, I made the first sale of one the paintings in my Working Land series.  A couple from NYC purchased “Yellow MMZ” from the Maple & Main Gallery that represents me in Chester, CT.  I wish to thank them very much and I hope they are enjoying the painting as much as I enjoyed creating it.


Here is the overpainting in-progress of a Farmall C.  Total of 44 hours to date.  Nearly complete, just the foreground and some minor editing.


P.

Friday, January 27, 2012

Farmall C in-progress oil on panel by Paul Baldassini

Please contact me via email:
paul@baldassinifineart.com

“Any sufficiently advanced technology is indistinguishable from magic”  — Arthur C. Clark


 Purchase or recommend this painting to a collector who makes a purchase and receive a plein air field study FREE!  
contact paul@baldassinifineart.com for details

Here is the overpainting in-progress of a Farmall C.  Total of 37 hours to date.

The time spent capturing vibrant light effect of the underpainting executed in Quinacridone Magenta has definitely paid off.  As I noted in a previous Blog posting, matching overpainting values to this underpainting has ensured the dynamic of the light in this composition.  With only half of the overpainting completed there is already a sense of bright early morning June light casting long shadows.  I find the early morning and late afternoon light to be the most compelling light for creating dynamic compositions.  The low angle of the sun creates great cast shadows and seems to magnify colors of the contrasting light and darks of the composition.

Lately I have been departing from the color information presented in my photographic reference image.  Many years experience as a professional graphic artist specializing in digital image editing have served me well.  I know how to manipulate the color, tone, and contrast of a photographic image to effectively overcome the common (and very tired) complaints of the undesirability and untrustworthiness of relying on photographic images to create paintings.  A point of view I totally disagree with, btw.

So, although I am confident in the veracity of my reference images and the overall hues are, for the most part, the same as in my reference images, I am experimenting and inventing (for myself) a new way of presenting those color relationships.  One example is a somewhat more prismatic handling of the paint, exaggerating colors and edge effects to describe the forms in the light, and in the shadows.  Another example is that I am finding it more interesting visually to describe forms with hue shifts rather than break the values within the form.  That means manipulating so called “cool” and “warm” colors to turn forms within value masses without breaking them up.  And, I am having a lot of fun with it all — making most of it up as I go and seeing each new painting dramatically improving.


P.

Monday, January 9, 2012

Farmall C in-progress oil on panel by Paul Baldassini

Please contact me via email:
paul@baldassinifineart.com

“Progress in art does not consist of extending one’s limitations but in knowing them better”  — Georges Braque


 Purchase or recommend this painting to a collector who makes a purchase and receive a plein air field study FREE!  
contact paul@baldassinifineart.com for details

Here is the completed underpainting in Quinacridone Magenta (Sennelier).  Total of 7 hours to date.

Even though this is only an underpainting there is already a strong sense of light in this work.  It comes in from top front and left of the composition and casts a shadow across the foreground plane. The top of the front tires, grill and seat receive the most light and direct the eye into the composition.  These are the lightest lights in the painting and the effect is magnified by placing and surrounding them in the darker background elements, which also happen to be the some of the darkest darks.  The various angles and planes of the mechanics with their light and shadow effects keep the composition visually interesting allowing the eye movement and rest.  Matching overpainting values to the underpainting will ensure the dynamic of the light in this composition.




P.

Thursday, January 5, 2012

Farmall C in-progress oil on panel by Paul Baldassini

Please contact me via email:
paul@baldassinifineart.com

“Isn’t it enough to see that a garden is beautiful without having to believe that there are fairies at the bottom of it too?”  — Douglas Adams



Purchase or recommend this painting to a collector who makes a purchase and receive a plein air field study FREE!  
contact paul@baldassinifineart.com for details

Underpainting using Quinacridone Magenta (Sennelier) in-progress.   3 hours to date.

P.