"Central Park Bethesda Fountain in Spring" (oil on linen; 8" x 8") sold

sold

Have you seen the Angel of the Waters on the Bethesda Fountain New York City's Central Park? It looks serene on an overcast spring day with magnolias in full bloom.

"Winter Central Park Nocturne" (oil on stretched canvas; 11" x 14") sold

sold

This is my favorite view of Manhattan: with the stone bridge of the Central Park in front. If it is a winter evening with snow on the ground, it is even more magical!

"Central Park Spring" (oil on stretched canvas; 12" x 9") sold

sold

On a sunny spring day, take a walk in the cherry tree tunnel at the Central Park in New York City.  Tread lightly as the pavement is covered with pink petals.

"Central Park in Fall Colors" (oil on linen; 9" x 12") sold

sold

I have often painted the famous Pond at the New York Central Park with a sliver of the Manhattan skyline.  It is such a picturesque scene.  It is always beautiful, but is most spectacular in fall colors!

"Central Park Snow Day" (oil on stretched canvas; 8" x 10")

click here to buy

A lot of people in the country are now sick of snow, ice, and bitterly cold weather.  Yet here I am, sharing another snow painting!  In my defense, this is my one and only snow painting of the season.  Besides, who can deny the beauty of snow?  Just a few inches.  After the night of a gentle snowfall, the sun shines on the Pond at the Central Park in New York City.  People are out and about, rejoicing in the pure blessing.  So please forgive me.

My September Paintings Collage

I painted 26 painted in September 2013!

Today is the last day of Leslie Saeta's 30 in 30 Challenge.  I didn't get to finish yesterday's painting, so there you go, no new painting to share today.  No matter.  I am still proud of myself because I created 26 beautiful paintings, one of which I had to drop for the above collage.  One painting a day really adds up!

Today is also the day of the September drawing.  I would like to thank 23 fans who have sent me photos of their pets and other things for the past seven weeks since I started painting from fans' photos.  It has been a great fun and learning experience.  In particular, my pet portrait painting ability grew tremendously, all thanks to your support and participation.

The lucky winner is Desiree Moeller.  Congratulations!

"Autumn Central Park" (oil on linen; 8" x 10") sold

sold

I love New York City.  It is big, noisy, and a little scary for a suburbanite such as myself.  But, for culture--both highbrow and the rest, there is no other place like New York in the United States. My pet peeve is that I don't get to visit it often.  I have only three or four paintable pictures of this exciting city from my few visits.

The photo I used for "Autumn Central Park" wasn't taken on an autumn day at all.  It was on an overcast day in May during my family's mini vacation that I took the shot.  No matter.  I Photoshopped the picture, intensifying hue/saturation.  You just can't believe what you see these days, ha!

If you send me your pictures to kimstenbergart@gmail.com, I may make paintings out of them.  How fun is that!  At the end of September, I will do a drawing and one lucky person wins a free painting.  You can buy the painting anytime, but there is no obligation.  Thanks!

Today is Day Sixteen of Leslie Saeta's 30 in 30 Challenge.  I am halfway through!

"Central Park in Snow" (oil on linen; 9" x 12") sold

sold

The Central Park in New York City has got to be the most romantic park in the world. Think of all the movies filmed there!  I have painted the famous stone bridge at the pond several times.  This painting captures it on a wintry day.  The snow on the ground glows in the late afternoon sun.  Lights have come on, adding more warmth to the otherwise cold painting.

"Autumn Central Park" (oil on linen; 8" x 12") sold

sold

Before

Reference photo

The other day, my teenage daughter opened a "wise" fortune cookie that said "a failure is an opportunity in disguise."  She asked me if it was deep enough for me.  Ha!  I don't put much stock in fortune cookies, unlike some people who go out to buy a lottery ticket on account of a particularly lucky fortune after a Chinese meal. 

Nevertheless, the incident got me thinking.  Hm.  I pulled out a "failed" painting to give it another shot.  It was sold on eBay last fall, but alas, the buyer failed to pay up.  So it wasn't my painting but the eBayer that failed.  All the same, I knew right away what to do. 

"Autumn Central Park" was based on a photo I took two years ago when my then college department took a bus-load of students on an educational tour to New York City.  It was mid-November, but we had an unbelievably mild, gorgeous weather!  We walked through Central Park, our destination being the Metropolitan Museum of Arts to see its world-famous Egyptian collection.

I am glad that I still had the painting in my possession so that I got another chance to work on it.  It had a good bone structure, so to speak, but my original execution somehow lacked conviction, especially in the foreground shadows.  The fortune cookie was right, don't you agree?  A failure, indeed, is an opportunity in disguise!

"Central Park Sunset" (oil on linen; 14" x 11") sold

"Central Park Sunset"
sold

"Central Park Reflections" (oil, 12" x 9")
sold

If you read my blog regularly, you may remember the above painting.  In the entry on "Central Park Reflections", I talked about how I changed the time of the day and mood from an overcast day to a mellow sunset.  Well, I thought I would give another shot at it in a slightly larger format.  It is still a sunset scene, but I used more paint and more saturated colors.  I love the new version! 

I have been re-reading my favorite art books and doing a lot of thinking lately.  I decided that I should use more paint, be braver, and paint with gusto.  I have come a long way from my watercolor days, in which I didn't show any brushstrokes.  My watercolor paintings were so still and meditative that I could fall asleep while looking at them.  Not that they were bad; they were beautiful and won many awards.  But most artists evolve; so have I.  Now I work in the tactile medium of oil, I should enjoy what the medium can do.  Right?

"Walk in Winter Woods" (oil on linen; 9" x 12") sold

"Walk in Winter Woods"
sold

"Winter Morning" (oil, 9" x 12")
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"Winter Afternoon" (oil, 12" x 9")
sold

"Fresh Snow" (oil, 9" x 12")
sold

"Snowfall" (oil, 8" x 10")
sold

"Central Park Snowed In" (oil, 10" x 12")
sold

I painted lots of snow scenes this winter, which required hard work.  It  was not because snowscapes were particularly difficult to paint.  It had everything to do with the snowless winter in northern Virginia!  I don't ski or snowboard, or didn't travel to snowy places to visit relatives this year. Alas, my plein-air painting friends and I waited for snowfalls in vain, with our new snow boots still in their boxes.  It is practically spring here.  I've spotted crocuses, snowdrops, lenten roses, daffodils, dwarf irises, cherry blossoms, and forsythia, so far.  Somebody told me that her tulips are blooming too!  We may still get a blizzard in March, but I doubt it.

Yesterday I reached the very bottom of my pile and completely exhausted the reference material for my favorite subject by painting "Walk in Winter Woods."  All the things I've learned by painting in a series went into it.  It is the grand finale, so to speak, and I am proud of it.

I've included in today's entry some of my favorite snowscapes for your enjoyment.  Until next winter, good bye, snow paintings.

"Central Park Snowed In" (oil on linen; 10" x 12") sold

"Central Park Snowed In"
sold

"Snow Trees" (oil, 8" x 12")
sold

"Snow Creek" (oil, 9" x 12")
sold

As you can see, I have a mini series going on here--snowscape with trees and creek/pond.  If I paint the same scene over and over again, I will die of boredom and atrophy.  But as I continue to explore the same theme with variations, I gain a deeper understanding of the theme.  In "Snow Creek," I learned how the smaller area of the sun-lit snow seems to glow next to the much larger one of the snow in shadow. 

In "Snow Trees," I grouped the sun-lit and shadowed areas and assigned them the two separate sections in the picture plane.  I played around by intensifying the blues of the creek, to contrast them with the warm colors of the trees.  But my main concern and fun was to figure out how to paint wet snow clinging to trees.

In the first painting of the new year, painted on the New Year's Day--"Central Park Snowed In--" I am back to the meandering stream and snow-coated trees.  I am also contrasting a small sun-lit area with the rest of the snow-covered pond at Central Park, which is in shadow.  I have become more ambitious, introducing the background, which is very different from the rest of the painting and works as the foil for it: the blurred skyline of Manhattan.  I was also trying to vary the tones in the foreground to indicate different states of moisture from snow to ice (darker) to water (darkest).

Painting these small "daily" paintings has been a great tool for self-education and growth for an amateur-turned professional artist, which is who I am.  Last year I retired from teaching history at a college, something I had been doing over twenty years, and began with much trepidation the adventure of a self-employed , starving artist.  One doesn't get younger.  It was now or never to do something I truly wanted.  Wish me luck!

"Kids at Sunset Beach" (oil on linen; 11" x 14") sold

"Kids at Sunset Beach"
sold

"Moonrise" (oil, 8" x 10")
sold

"Central Park Reflections" (oil, 12" x 9")
sold

I am fascinated by water's ability for reflecting things above and around it.  Especially when there is no strong breeze, water acts as a lovely mirror.  At sunrise and sunset, when the sky takes on those ineffable hues of pale yellows, oranges, pinks, mauves, subtle blues and violets, water becomes the enchanting bridesmaid who accompanies the beautiful bride--the sky.  Throw in some magnificent clouds to the mix, we are in heaven on earth!

"Springtime at Central Park" (oil on linen; 9" x 12") sold

sold

Reference photo

I love New York, NY.  I don't want to live there, but would drop everything to visit the city anytime.  So much energy and cultural diversity!  The above picture was taken a few years ago on a family mini-vacation.  It was a mild, overcast spring day.  We had walked for I don't know how many blocks from our hotel at Times Square, stopping at many landmarks.  Our destination was the Metropolitan Museum of Art for an afternoon of Ancient Egyptian history and culture.  (I would have spent the time looking at paintings, but my daughter would have none of that and wanted to visit the world-famous Egyptian collection.  Sigh.) 

Central Park was crowded as it was a weekend day.  I don't know how New Yorkers would manage without this green haven.  Thank goodness, we had Frederick Law Olmsted, who had the vision to design this beautiful park!  Do you recognize the famous bridge, which had been featured in countless movies?

I wanted to paint the scene for a long time.  But something held me back.  Do you know that made me hesitate?  It was the tyranny of the color green.  It's green in the foreground, middle ground, and background.  I might as well pour a bucket of diluted green on the canvas and call it quits!

I thought long and hard about the problem and decided to take an artistic license.  I made the foreground greens warm (with the various mixtures of cobalt blue, cadminum yellow medium, and some reds), while keeping the middle ground greens pale and cool (with cerulean blue, cadmium yellow light, some reds, and lots of titanium white).  The background greens just above and below the bridge are muted violets.  I edited out the tiny figures to enhance the serene mood I was going after.  What do you think of the result of my efforts?

"Central Park Reflections" (oil on linen; 12" x 9") sold

sold

Original reference photo

Hue/Saturation adjusted photo

Last Monday I took an interesting workshop with Bobbi Pratte at the Art League School in Alexandria, VA.  It was about how to use Photoshop to improve paintings.  I use Photoshop to crop, rotate, lighten/darken the photographic images.  The basic stuff.  I am not a techie; I dread the whole esoteric, mysterious universe of technology.  So it was with some reservation that I signed up for the workshop, mainly because a good friend of mine talked me into it and some other good friends were taking it.  Why not?

I must say that I did see some interesting "tricks" one could do with Photoshop Elements.  My head spinned at the end of the three-hour workshop.  Bobbi covered such an impressive amount of information in one afternoon that, in the evening, when I picked up my long-abandoned copy of Photoshop Elements 8 for Dummies, I could almost understand what the 600-page-long book was explaining--selections, tools, layers, opacity, etc., etc. 

OK, let's talk about "Central Park Reflections."  The original reference photo was taken on an overcast spring day a couple of years ago during a mini family vacation to New York City.  I loved the way the Manhattan skyline was reflected in the pond water at Central Park.  But I decided to change the time of the day to dusk to make the painting "romantic." 

On the morning of the workshop, I tried to paint with the original printout, which was green all over with a colorless sky.  It was hard.  During the workshop, it occurred to me that I should adjust hue/saturation of the photo, so that it would be easier to visualize the mood I was going after.  I did just that this morning and reworked the painting with the adjusted printout.  It was much easier as I hoped. 

I had known how to adjust Hue/Saturation all along, but have never manipulated a reference photo to suit my particular project, only relying on my power of visual imagination.  I honestly don't know which way is better for an artist.  But I suspect that I will be using Photoshop more often to make my life easier.