Welcome to M.E. BAILEY ART . . . .
As an art instructor, I don't wish to hide the fact that I crash and burn often. I will always be learning. So, it all gets shown here . . .good and bad. Every painting we do counts in the learning and experience process. The failures actually are much better teachers than successes. Every piece made is a teacher. That's the fun of it: the challenge to learn.
Join in and comment or email me, if you would like.
Friday, August 31, 2007
Thursday, August 30, 2007
Wednesday, August 29, 2007
Paintings will become available on Ebay beginning today. The first is under the following link.
Tuesday, August 28, 2007
There is something larger than me at work in this process and I am not getting in touch with it.
As they say in sports, "No Score!"
I have a few other choice words, but shant share them here, tho they can be heard echoing into my yard.
Right now, I am thinking to hell with it!
Surprised? Why? Ya think I am always positive? Fagedaboudit! I am just as subject to disappointment and failure as anyone else.
It had it's way with me today, but I am darned if I will give in to it. I just need to heal a bit.
Monday, August 27, 2007
Saturday, August 25, 2007
Friday, August 24, 2007
Wednesday, August 22, 2007
Monday, August 20, 2007
Last Thursay morning, I flew to Portland, Oregon with a friend to meet two other friends to play golf for four days. My stomach hurts from laughing so hard for so long. My throat is scratchy from yelling and laughing. My voice is deep and hoarse from over use.
Who can paint in that condition? Hmmmm???
I have to work today to catch up on the goings on there. So no painting today.
I want to, but I gotta clean up after myself!
Wednesday, August 15, 2007
Obviously, there are thousands of artists out there. I have just added 5 links of artists whose capabilities I admire greatly. Check them out. While you are there looking at their work, also click on their links. You might find some who set your pulse to a sudden jump.
Here they are: Mick McGinty, Paul Ziakin, Louis Boileau, WK Moore, Keewon Hong and Edward Gordon.
For you watercolor fans, Mr. Moore has an extremely unique view. It is worth seeing.
For those who enjoy abstract / non objective work, see Mr. Ziakin.
Mr. Hong's works are positively radiant. A true color master.
Edward Gordon's work is a study in shape and composition.
They are all different, but each is extraordinary!
These artists deserve your attention. Enjoy!
Tuesday, August 14, 2007
Today I got a late start. After attempting to paint this cobalt blue vase and all of the light going through it, it had gotten later than I planned. This li'l bugger was a challenge.
Am starting to have pangs about being outside now, so I better git busy and wip my plein air gear into shape. I haven't done any of that in oils for over a month.
There is a shade of blue violet that I just could not come up with. I figure that I needed the warm blue of ultramarine, but transparent. Of course, I don't have anything like that , so I improvised. Why the read block? Well? Doen't it fit nicely? After all, this is painting practice, isn't it? It must be, because I learn something every time I do it!
Monday, August 13, 2007
My stint at the edge sunflower field near the farmhouse where I stayed in France was no different. Also, the vision of the different shaped fields, all tilted and undulating into the distance, was something I just could not shake. At my desk at work, I found myself sketching as I was on the phone. Before I knew it, I had the elements of two or three interesting paintings . . . .each offering different challenges.
The challenge in this piece was to not allow myself to become tight and edgy. In watercolor, looseness can be fascinating, particularly when an image is represented well without actually stating it. I find that more of a feeling occurs when that is accomplished; Thus, the goal of avoiding a tight rendering. Also, green can become very tiresome in a painting, especially if it is large like this one. I had to resort to blues and violets to bring about the sense of greenery here. Those colors set off the yellows and occasional orange, obviously.
Gradations of intensity and textures play a large role in this piece to bring about the feeling of space.
As for the execution, big, really big, brushes were used to saturate the whole page with initial color while the vertical paper gave gravity permission to do the painting. Then, mark after mark with progressively smaller brushes, ‘things’ began to appear in the paint without painfully executed edges . . . .just suggestions. Gradually, over three to four days, the painting developed with a lot of time and consideration between applications of paint.
Sunday, August 12, 2007
Saturday, August 11, 2007
Friday, August 10, 2007
In teaching folks to paint, one of my most sacred lessons is about value structure and value sketching. Lights, Darks and Mediums . . . .putting them together in a desirable ratio . . .arranging contrasts and laying together an interesting abstraction of light and dark shapes. That's all there is to it. Riiiiiiight! This concept is, ofr some reason, extremely difficult for most people to grasp. The idea is to arrange the values, then essentially go and paint how ever the painter wishes . . . . . .because it usually is not the color that makes a painting work, but the value structure.
After a few days of wrestling with values, a challenge was brought forward to paint our very green landscape without using green. Of course, this turns most people's minds upside down, but it really does show the power of a strong value design.
Here is a little watercolor sketch done without greens in about 15 minutes to answer the challenge.
Today, now that my jet lag is settling down, I am going to the studio and opening up my oil paints again. After all, I have a goal to meet; 100 paintings by Sept 1. I have some 20 to go. Gotta git er done!
Thursday, August 9, 2007
Returning from a day's outing to a place called Bergerac . . . .yes, Bergerac of Cyrano fame . . . . . . . . . you know! Cyrano Bergerac, the muskateer who wrote the love letters for his pal . . . .we drove through beautiful rolling hills of fields of grapes, corn, sunflowers and, occasionally, potatoes. On this overcast day, as we wove among the vineyards, a distant hill planted with fields of sunflowers, lit up under a sudden sunbeam. It was an amazing sight! I couldn't help myself. The urge to paint that contrast just could not be resisted. So, out came the soft brushes. Several glazes later, this is what showed up. A texture of granulated cool color underlies the warmth. There is an undulating rhythm to the countryside there that is hopefully mentioned in the painting. Enjoy!
Wednesday, August 8, 2007
I had a small bottle of water for drinking . . .and it was a warm day . . .I would need it. Or, could I get away with using it? . . .. . . .Rather than fold up the works . . .or worse, leave it sit while I hike back to the house . . . . . .and risk being side tracked by wife or the group requests, I dug in and used teensy bits of water at a time. Someone eventually happened by and I sent them to my wife to send a messenger with more water. It worked.
It ALL worked that day. I love the way the painting came out too.
Late in the trip, we visited the countess and her stunningly beautiful chateau and winery. This location proved to be a favorite of all of us. It also happened to be the site of the first battle in the 100 years war.