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18.11.14 - Poets and Painters

 Picasso and the Poets

Picasso met his first Parisian friend, journalist and poet Max Jacob, who helped Picasso learn the language and its literature. Soon they shared an apartment; Max slept at night while Picasso slept during the day and worked at night. These were times of severe poverty, cold, and desperation. Much of his work was burned to keep the small room warm. Poet Guillaume Apollinaire, and writer Alfred Jarry who were close to Picasso while living in the Montmartre quarters were also key in Picasso’s transformative work. The connection of painter and poets have had a long history as they both work in conceptual forms of word or paint.

Katherine Ferrier’s work

Picasso For me being a painter and having a friend like Katherine a poet, I see the connection of conceptual forms of work or paint. Katherine’s work,

How we share the sky is an exploration of continuousness, commitment and connection. Each day she writes of the sky in her poetic form, leaving the reader in a new space. Katherine reminds me of the local talent of ee cummings, in her unassuming brilliance with words.
I work in similar ways in that I try to leave the viewer with a new language through painting with unseen energy, such as in the Blinking series. There is a special bond between painter and poet, as developing a new language in any form is a formidable yet rewarding challenge.
More of Katherine can be found at
She also posts daily on her Facebook page.

Below Klementovich and Ferrier

photo (1)

04.11.14 - Teacher, Student and Painting

Teacher, Student and Painting

Here is a kind quote from one of my students.

“Rebecca Klementovich is super intelligent and is the finest instructor I have ever had .  She customizes her curriculum organically to each of her students so that they can  follow their own specific  and unique pathway to personal growth .  Rebecca is one of those rare beings ;  a combination of a highly gifted artist who is also an extremely skilled and articulate teacher .   Her paintings and her teaching have inspired me to push myself to try to attain the highest  possible levels in my own personal development as an artist ” . John LeCour

Hans Hofmann

What John doesn’t know is that my teacher was Hans Hofmann. John LeCour saw my work in a show and it affected him so much. He began taking classes shortly after. John now shows in New England, and is on his second series of work.


01.11.14 - Birds supporting freedom?

Bird watching in the 18oo Century

Bird watching in the 18oo Century was one of the ways for woman to be able to leave the house unaccompanied. The study of birds, their environment and  anatomy was best known by Cordelia Stanwood in the 1870′s. She was undervalued of her remarkable ideas of photographing and understanding birds which I learned from reading Cynthia Melendy’s dissertation on the subject of woman and birds. During these years woman were advocates of the protection of birds, an example is the essay “When Women Were Women, Men Were Men, and Birds were Hats.” Due to the work of Cordelia and books such as the one mentioned the Plumage laws were enacted in 1913-1920. This dissertation by Cynthia has some facts that the general public is not privy to with the relationship between birds and woman. If you would like to read Cynthia’s work you can find her on Facebook.glittering whiteness

Uncharted Territories

My friendship with Cynthia is defined like the that of Spock and Kirk’s on the Enterprise,- unknown destination of uncharted  arena’s. Between our exploring art, birds, galleries, and social context we are expanding the never ending viewpoint woman and art.



29.10.14 - The Golden Art Epoch of 2015

As the golden epoch of 2015 starts to unfold we are now facing an age of art that is fresh. The art market corrects itself, as the exuberance of female art undergoes and expands. Within this correction a large scale repercussion of wonderful alterations of art happening are underway as the female art scene expands to become more prominent. This positive correction  in the current art market is evident as female work populates art sales and museum solo shows. As more and more investors buy female art we see a trend of balancing the male dominated art market. A shift in awareness of the social structure in the art market is taking hold as more collectors and museums back up woman’s art.

At the Moma 2015 looks like this.

“MoMA’s 4th and 5th floors of chronologically organized modern and contemporary works will be completely changed out to highlight the Museum’s collection of women artists, which represents about 13% of their painting and sculpture departments. “Finding a way to tell the history of art through only women artists is a formidable exercise,” Temkin remarked.

What will the art world become now that the other half of humanity is being represented in its entirety?

The Brooklyn Museum

Another institute is changing its view as the Brooklyn Museum has Judy Chicago as a permanent exhibition at the Brooklyn Museum, which has its own wing dedicated to the Art by Woman.


18.10.14 - Of all the arts

“Of all the arts,”

said Wassily Kandinsky, “abstract painting is the most difficult. It demands that you know how to draw well, that you have a heightened sensitivity for composition and for color, and that you be a true poet. This last is essential.” In other words, the painting must have the fundamental components of good design.

David Hockneyximages

“All painting, no matter what you are painting, is abstract in that it’s got to be organized,” said David Hockney. Balance, vibration, weighting, form and eye control, mastery of colour, areas of visual excitement and areas of paucity, grey to rest the eye and gradations: These design elements, when intuitively understood, can create a stand-alone magic.

These quotes are amazing because expressing the essence of abstract painting is hard because it is so abstract! Yet these men did a fine job of providing an explanation.

13.10.14 - Illegal visit to Hans Hofmann’s drawing school

x1Illegal visit to Hans Hofman’s drawing school

Hans Hofmann is considered by many critics to have been the greatest and most influential teacher of art in America in this century. Hans taught his Push and Pull theory in Providence, Mass at the Hawthorne school. Hofmann’s influence as an abstract teacher touched all artist who were part of the New York Expressionism movement.

The barn

In 1979 the barn was listed on the National Register of Historic Places and is on Miller Hill Road, has an impressive view of town.The location of this relic  you didn’t hear from me, but is worth the visit. The property is now privately owned.

29.09.14 - Brilliance of Foliage

Foliage and paintings

How does a painter make sense of the cadmium season? The unusual vision perception of an artist makes it overwhelming. They see millions of green in one leaf where an untrained eye might see one green color. The brilliance of foliage painting is the ability to design the foliage palette, and get those foliage colors to behave!






brookhill Inn abstract 5x7

06.09.14 - Ripe

In The Name Of Something WonderfulThe finest Abstract paintings come from when a painter is natural. These natural tendencies enhance unexpected brush strokes which produce rare abstract paintings. It is my belief that many abstract painters will produce a major painting within a ratio of ten average paintings to one masterpiece. These masterpiece paintings are so rare due to the naturalness and explosive brush stroke that is uncontrolled. De Kooning’s work has this quality of unexpected energy and brush stroke that is so rare in many of his pieces. It could be stated that major abstract work happens when the painter is ripe enough to allow the abstract magic to come through the brush.

In the opposite spectrum, realism is wonderful in a different way to which a realistic painting shows the craftsmanship and dedication to detail to develop an advanced realistic painting.

26.08.14 - Kandinsky and Klementovich

xxHe is all pine I am apple orchard-frostKandinsky’s paintings did not feature any human figures; an exception is Sunday, Old Russia (1904), in which Kandinsky recreates a highly colourful (and fanciful) view of peasants and nobles in front of the walls of a town. Riding Couple (1907) depicts a man on horseback, holding a woman with tenderness and care as they ride past a Russian town with luminous walls across a river. The horse is muted while the leaves in the trees, the town, and the reflections in the river glisten with spots of colour and brightness. This work demonstrates the influence of pointillism in the way the depth of field is collapsed into a flat, luminescent surface. Fauvism is also apparent in these early works. Colours are used to express Kandinsky’s experience of subject matter, not to describe objective nature.

Saatchi picked one of my paintings for an online group showing of Kandinsky’s work. This collection was picked by Rebecca Wilson who is the Chief Curator and Director at the Saatchi Gallery, London, where she was the main person for the gallery’s online presence.

I’m very pleased to let you know that I have chosen your work to be featured in the Inspired by Kandinsky Collection on Saatchi Art’s homepage. You can see the collection here I’m very pleased to let you know that I have chosen your work to be featured in the Inspired by Kandinsky Collection on Saatchi Art’s homepage. You can see the collection here: My painting that was selected is entitled, He is all Pine I am apple orchard.

14.07.14 - Janis Pryor and her color truths

I am lucky enough to be having a private show with my good friend and color maverick,  Janis Pryor. It is true we both live in God’s country, among the small remote towns that speckle the foothills of the mountains. We both strangely have this love of the obscure French painter, De Stael.As strange circumstances always make the best partners in the art. Janis and I have Jim Blue joined forces to show our Abstracts together this July  26th from 4-6 at M and D playhouse,in North Conway, NH.
th from Color is the subject of my work, primarily (but not exclusively) articulated by mediums not traditionally associated with abstract work, soft pastels and oil pastels.
The truth is artists are problem solvers to one degree or another. Questions drive my work. What constitutes the boundaries of beauty? At what point can you introduce an element of dissonance that:
  • doesn’t compromise the integrity of the medium;
  • doesn’t jeopardize the success of the work without having it succumb to the sentimentality of prettiness or become unintentionally decorative?
  • How can you manifest emotion, and stir the viewer through color, without melodrama taking over?
  • Can color become a form of visual poetry and transcend the theories that define it?
Over the years, my work has been influenced by the paintings of Mark Rothko, Jules Olitski, Helen Frankenthaler, Nicolas deStael, Morris Louis, Claude Monet, Edgar Degas, the drawings of Rodin, Michelangelo, DaVinci, Gustav Klimt, and the architecture of LeCorbusier, Zaha Hadid, Frank Gehry, Robert A.M. Stern, Hugh Newell Jacobsen, and Sarah Susanka.
I’ve been making art since I was five. My formal studies began at the age of thirteen. I was accepted to the High School of Music & Art in New York City, and became an art major focusing on painting and architecture at Bennington College in Bennington, Vermont. I spent roughly thirty years helping “change the world” through professional employment in politics and media. Three years ago I returned to my first loves, the visual arts and writing. I teach “Drawing From Within” at Living From Within, the holistic health center located in Conway.
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