Finally finished!

This has been a year of commissions, which is of course a wonderful thing. But it often means I'm not at liberty to post what I'm working on. Since I finally had a chance to get back to one of my own pieces,  I thought I'd take this opportunity to post it. The complete title is Walt Whitman: American Poet and Civil War Nurse. It includes two images of Whitman -- the small one is the last photo taken of him before his death -- and two hospital scenes: a field hospital and the interior of one of the many Civil War hospitals in Washington City, likely visited by Whitman during his time as a nurse. In addition to the original art, 11" x 14" limited edition prints are available for purchase.

Dusk at Devil's Den

I'm very pleased to announce that my watercolor and colored pencil landscape, Dusk at Devil's Den, was accepted into the CPSA (Colored Pencil Society of America)'s Explore This! 9 online exhibition. With this acceptance I earned my CPX Signature Status, and just received my certificate and pin in today's mail. You can view the exhibition at http://www.cpsa.org/view-explore-this-9.

Study of Walt Whitman, Step 2

This is going quickly, and I'm really enjoying it. Walt Whitman has such an interesting face!

Back to Work

This post title would seem to imply that I haven't been working, which certainly isn't the case! What I'm really getting at is that recently I've been posting previously completed works that relate to 1861, as 2011 is the 150th anniversary for that year. Now I think it's time to get back to my original primary intention for this blog: posting newly-completed works and work-in-progress.

In keeping with my Civil War 150 Project, and to have an image to submit to an upcoming exhibition at the Clara Barton National Historic Site entitled "The Art of Clara Burton", I completed the above image in colored pencil on Canson Mi Teintes paper (color: Sand), Study of Clara Barton. I'm still learning about Ms. Barton and I'm sure will do more works that feature her in the years to come, since she played such an enormous role in the Civil War. This piece was an effort to study her facial features and see what I might learn from them by working closely with two of her Civil War era portrait photographs. Ms. Barton's first involvement with Civil War nursing was the result of her witnessing the wounded and dying soldiers brought back to Washington (where she worked at the Patent Office) after the First Battle of Manassas, something which would have been occurring approximately 150 years ago.

And I Forgot to Mention...

My last post reminded me that I never mentioned that my colored pencil/mixed media painting featured previously on this blog, Departure, was accepted into Explore This! 7, an online exhibition of mixed media works which are 75% colored pencil, presented by the Colored Pencil Society of America through January 31, 2012. You may view the complete exhibition up until that date by visiting the CPSA website at http://www.cpsa.org/.

Step 12, Sarah Emma Edmonds II: Transformation/Liberation

Closing in on that middle woods section and the lower three "inserts". This is not the best photographic image I could have gotten; I took it as the sun was close to setting so I wouldn't have to use a flash, and the left portion is darker than it should be while the right is lighter than it should be. But I'll be exhibiting and selling my prints at the Marketplace of the Ladies and Gentlemen of the 1860's Conference in Harrisburg (actually Camp Hill), PA this weekend so I didn't think I'd have any other time to post. If you're in the area, stop in and say hello: we're at the Radisson in Camp Hill from noon - 7 on Friday, 8 - 5 on Saturday and 8 - 2 on Sunday.

Step 10, Sarah Emma Edmonds II: Transformation

Today's post is primarily a case of my wanting to add the image and see how it looked to me, presented in a different way. I guess I've been looking at it too long today. Since the theme of the piece is, after all, as its working title suggests - "Transformation" -- it's intentional on my part that the woods on the left looks quite different from the woods on the right. But while I like both sides individually, I'm still completely unclear as to how I want to make the needed transition in the middle of the composition. I guess it's a good thing that I won't be able to work on it again for at least a day or two! Maybe some time away will help me see it in a new light, just as seeing it in this posted, "mini" version might do.

Step Eight, Sarah Emma Edmonds II:Transformation

I've darkened the trees on the lefthand portion of the composition, adding more branches to appear like more of a barrier to the brightly-colored woods beyond. I've also added a first layer of color (Tuscan Red) to the trees on the righthand side. I decided I needed to work a little more overall, not spending so much time developing the left side. In the middle section I'm less clear on what direction I'm going; I eventually want a more secluded, "sheltering" type of appearance to the woods and don't know exactly what that means to me, in terms of color and value. So while I give that some thought, I added trees to the righthand side. As I study it, I'm not pleased with the tilt of some of the trees on the right -- they seem to be leaning a little to the left and I find that perspective unnerving, which is definitely not what I will want for that side of the composition.

Sarah Emma Edmonds II: Transformation, Step 7

My focus at the moment is on making the left third of the woods dark, threatening -- almost the sense of having been scorched by fire. To that end I've started adding some black to the trunks and limbs I want to have appear the darkest. This portion will be representative of Sarah Emma's childhood, dominated by a father who clearly resented the fact that she had been born female rather than male, and characterized by her constant frustration and bitterness at never being able to win his approval.

To view my complete series' of Civil War-themed colored pencil works, please visit http://www.CivilWarFineArt.com.

Sarah Emma Edmonds II: Transformation, Step 6

A few more changes have taken place; I've started adding more Tuscan Red and Indigo Blue to the upper left trees, and some color to the figure in the small inset on the lower left. I've also begun adding a border of wormwood to that inset. I'm starting to get in the "flow", now. Working on it was sometimes a struggle, up to now, but I've got a clearer idea of what I'm trying to do so now I'm getting more excited about working on it.

Sarah Emma Edmonds II: Transformation, Step 5

Not a lot new to show; I just want to get back in the habit of posting on a more regular basis. I have started laying in the center section trees. I also spent a lot of time studying the image and deciding what to insert in the box shape in the lower middle section, as well as what might go into a similar shape in the lower far right section. I'm hoping to have more time to work on this piece this afternoon.

Miniatures

Before I begin my posts of the stages of my latest piece in my Beyond the Battlefield series, I wanted to let you know about three miniatures that I have had accepted into an exhibition that will open this week. The show is the 26th Annual Miniature Art 2010 Exhibition at the Council for the Arts, 159 S. Main St., Chambersburg, PA. The opening reception will be held from 4 - 7 pm, Friday, November 5. The show will remain on display through January 8, and gallery hours are Tuesday through Saturday, 10 am - 2 pm. (They do recommend you call 717-264-6883 to confirm hours during the holidays.)

Miniatures are something I decided to challenge myself to do, given that most of my work is very large -- my "regular" minimum size is generally about 16" x 20" and most of my work is much larger. Working in miniature is a real change of pace: controlling the pencils strokes at that scale to create a smooth surface, getting details as needed, determining an effective composition. All three of these pieces are images of various locations on the Gettysburg battlefield, and they are approximately 2 1/2" x 4" in size. The first piece shown above is entitled "Pennsylvania Monument in November"; it's done on a vellum finish bristol board. The next two, "Seeking Shelter from the Sun" and "Trostle Farm in October", are both done on a surface I've been experimenting with -- PastelMat, this one a sienna color -- and have nearly fallen in love with! Unlike traditional, sanded pastel papers, it's not gritty; it has a smooth, almost suede-like feel. But it grabs the color in a way I've never experienced on regular papers, making excessive layering unnecessary. It also seems to erase quite well. I'm anxious to try this surface for larger works as well and have found that it is available in both small tablets and large single sheets from Dick Blick.

To see more of my miniatures and other categories of work, please visit http://www.civilwarfineart.com/.

New Print, Battle of Gettysburg Series

When I last posted, I had optimistically thought I would have time to post this the following day. That didn't happen, but at least not too many days went by before I had a chance to add this image. This scene, titled A Ransom for Gettysburg, depicts the events of June 26, 1863, when Jubal Early arrived in Gettysburg to make his demands on the borough council for cash and supplies. After attempting to meet with the Burgess (Mayor) of Gettysburg, Robert Martin, and learning that he had already left the area, Early makes his way south from the Diamond to the Baltimore St. home of Bourough Council President David Kendlehart. For a full description of this scene, please visit http://www.CivilWarFineArt.com/images/ransom.htm.

Final, Frederick Douglass

It's hard to believe that nearly a month has passed since I last posted. I guess there's been a lot going on: The Civil War Collectors Show in Mansfield, OH, then back-to-back Saturdays of teaching a class on colored pencil techniques for the Botanical Art and Illustration program at Phipps Conservatory in Pittsburgh, followed by a workshop on paper and other surfaces for use with colored pencil in North Canton, OH and finally a one-Saturday class for a drawing group in Sewickley, PA about using solvents with colored pencil. A lot of teaching can add up to not much time for creating! But the teaching has been a very enriching experience so I don't believe I'll stop teaching anytime soon.

I was pleased to learn that a colored pencil drawing from my Gettysburg Today series -- entitled Ever-Vigilant -- was accepted into the Adams County Arts Council's 7th Annual Juried Exhibition, which will be on display at Schmucker Art Gallery on the campus of Gettysburg College, June 18 - 27. (To view the drawing now, please visit www.CivilWarFineArt.com/GettysburgToday.htm. )

Next Friday, May 28, marks the opening of my seventh season in Gettysburg at my gallery, Civil War Fine Art, located at 333 Baltimore St. I'm anxious to get back into the gallery and hope to see you there!

Next month, from June 18 - 27, I'll be participating in the Gettysburg Fringe Festival with the Debut of my Civil War 150 Project (see sidebar for explanation). I'll also be involved with the Plein Air Paint Out during the Festival, along with many of my friends from the Daily Painters of Pennsylvania blog (www.dailypaintersofpennsylvania.blogspot.com). The Festival is a wonderful cultural event; I strongly encourage you to take a look at all it has to offer at www.gettysburgfestival.org.

As you can see above, I've finished my 24" x 24" colored pencil painting of Frederick Douglass. I am now working toward having limited edition reproductions made. I'm pleased with how this piece turned out; I like the looseness and energy of the strokes, the range of color, and the expression of the eyes. So now it looks like I'd better get back to considering the next edition of "Sarah".

Step 5, Frederick Douglass

This portrait is moving along pretty quickly, since I've been working on it almost exclusively, rather than shifting back and forth from one piece to another. Now I just want to be careful to give it the time it needs, and not rush it in my enthusiasm to finish it. Still working only with the Artstix, though I did use a bit of odorless Turpenoid to blend some of the colors in the hair. I really don't intend to use the finer point pencils on this portrait at all. The hair looks too solid to me, particularly from his right temple upward and extending over to his left cheekbone, so I'll need to address that. I do like the way he's filling the space and the larger-than-lifesize scale adds drama to the expression.

Step 3, Frederick Douglass

I'm using two entirely different "wet" techniques with the colored pencil for this painting. The background is done using the Derwent Inktense pencils, applied in a wash and allowed to run. The figure is done using a Tuscan Red Prismacolor Artstix, which contains wax, so even though the watercolor wash was applied in the background and allowed to drip, the area done with the wax-based pencils resists the wash, so it doesn't stick to the face. I've reddened the background somewhat with this wash layer. Also, the tones on the face and hair have been blended a bit using odorless Turpenoid, which has served to fill them in and intensify their color.

Frederick Douglass, Step 2

I've started to add more tonal areas now. The figure has been laid in so far with a Tuscan Red Artstix. The background is Derwent Inktense pencils, "liquefied" and applied with a two-inch brush, then allowed to run. At 24" x 24", he's a fairly imposing figure in my studio!

Sarah Emma Edmonds I: Departure, final (really!)

(A professional photograph makes a huge difference, in my opinion! Many thanks to my photographer, Emily Puls.) This colored pencil/mixed media (powdered graphite, Lasertran waterslide decal) painting on Gessobord measures 18" x 24". I will be displaying it for the first time in the "Palm Sunday through Resurrection" exhibition, March 26 - April 24 at Art & Soul Gallery, 900 Market St., Lemoyne, PA. How does this piece fit that theme? I have indicated in earlier posts that my goal is to have several layers of meaning in my work. When displayed in non-Civil War venues, this painting will simply carry the title, Departure. There are several biblical passages that come to mind for me with this piece, and the Resurrection would be one of them. Also, Sarah Emma's mother was a devout Christian and Emma embraced her faith wholeheartedly. Gallery owner/director Lyn O'Neal graciously invited me to participate, and I am excited to have this as my first opportunity to display this new painting.

Taking a break from Sarah

After many days of feeling that I was finished with my most recent piece, this morning I hit upon an addition I wanted to make -- and now it really does feel finished. So it's off to the photographer's, and once I get the professional digital image I'll post the actual, final version. (As a result, I renamed my last post "Stage Seven", rather than "Final".

For Sarah Emma Edmonds II, I will be working with the stage of her life where she creates and adopts her new, male identity. I have a visual image of a shady pine forest that I think will play a strong role as a setting for this piece, since Sarah Emma travelled by night and hid in the woods by day, until she had grown accustomed to her new identity. Beyond that, I have some research and brainstorming to do. So in the meantime, I've begun a large -- 24" x 24" -- close-up portrait of Frederick Douglass. I've already completed portraits of Harriet Beecher Stowe and John Brown, two key players in the anti-slavery movement; they may be viewed on my website at http://www.civilwarfineart.com/. But as passionate as they were for the abolitionist cause, their experiences would have been very different from those of a man who had been born into slavery and managed to escape its bonds to become a dynamic and eloquent abolitionist speaker.

There are many photographic images of Frederick Douglass, and I am nearly finished with a small piece depicting him in his later years. But for my large portrait I wanted to focus on a much earlier image, taken in the 1850's, at about the same time he would have met with John Brown in Chambersburg, PA, to discuss Brown's plan of an attack on the federal arsenal at Harpers Ferry. This image shows a much more intense, almost fiery expression in Douglass' eyes, and it is the eyes that I believe will be key to the success of this portrait.

I am working on Gessobord again, and began by doing an underpainting of watercolor pencil sprayed with water and allowed to drip. The basic drawing has been laid over top using a Tuscan Red Prismacolor Artstix.

Stage Five, Sarah Emma Edmonds: Departure

With the help of my computer scanner and printer and a product called Lazertran (waterslide decal paper), I made and applied a custom "decal" of an open book to the composition. In Stage Four, I had tried to represent an open book through drawing, but I quickly saw that it wasn't having the graphic impact I wanted. On the other hand, as it currently appears, I'm much happier with the book image but I truly believe it's too strong at the moment. I will study it some more but currently plan to use drawing techniques to tone it down, make it flow into the rest of the composition a little more. It is definitely too much of a focal point at this stage.