One never knows when a creative spurt will come and where it will take one. I woke up one morning and thought I’d do some abstracts. Before long I was adding a third dimension, which brought me into a whole new category: Mixed Media!

Able to Dialogue, mixed media, 30×40

As I sometimes do when I’m looking for ideas, I wander over to Anne’s side of the studio. As a master artist, but often too busy to get to it, she has a plethora of “unfinished” work. Often as not that’s my pile for abstract inspiration. She doesn’t mind (and as I always say, if I sell it, I’ll give her half!). The idea to add torn pieces of corrugated and crumpled-up newspaper came as just another idea for uniqueness.

Those parts go down first, with a thought to design, and held in place by gooey acrylic medium. Then the paint is applied, all in acrylic. In the case of this one, Able to Dialogue, I painted it as a vertical, as shown at left. But afterward I liked it turned. Such is often the case with abstracts; they can be hung either way.

Continued Concepts, mixed media, 24×24

Continued Concepts (I think I stole the titles from Anne as well) is fitting as I did all these in the same week’s creative burst. As with all of these, click on the picture for pricing, and again on that picture for a larger view.

Continued Concepts with Red, mixed media, 24×24.

I created the two above at the same time, something I sometimes do when the theme is so unified. Someone can then get them both and hang them together, or nearby, or the set can be broken up and each still holds its own. These two are now at Marso Home Collections in San Diego.

Near the Pond, mixed media, 24×24.

Sometimes, during the painting, something presents itself that wasn’t originally intended. Such was the case with the figure that, Eve-like, just “appeared.”

Near the Wind, mixed media, 24×24.

Once I discovered the figure in the first, I looked for another in the second, and sure enough; there were just enough hints to bring her out . . . a little way, but not too much. The hints at “cement texture” come from another of the wide variety of acrylic mediums.

These two pieces are now hanging in Kevin Barry Fine Art in San Francisco. 

Next Trip

The Labor Day weekend on the first of September will have us in Toledo, Oregon. We’ll be part of the city-wide art walk. It’s their 20th annual. Here’s the info.

(Anne will also be giving a printmaking workshop in Napa on the return trip.)

New Gallery

As of a couple of months back, my work is featured at Kevin Barry Fine Art in the Design District in San Francisco. For location and the pieces included, click here. 

Prints now available for all paintings

Giclee prints on canvas or watercolor paper are now available for order on virtually the full array of my paintings. See “Store” above, or click here.

Semi-Private Coaching for Painters

In the Hyatt Moore studio
Mondays and Saturdays in Dana Point
Call for information, 949-290-8643
For more info click:
Art-Coaching-Flyer

Printmaking Classes

In Anne Moore’s studio
Call for info, 949-240-4642

11 Comments

Following on with what has become a life style for us, this spring’s art-making hiatus had us in the outskirts of Tucson at a beautiful time of year.

Palo Verde, acrylic on canvas, 32×43

We’ll start off with a series of landscapes inspired by the area. Though the weather had not yet turned hot, I painted indoors, from photos taken on twice-daily walks around the area.

Evening Light, acrylic on canvas, 24×60

We were situated toward the south east of Tucson in an area called Star Pass. From this painting’s perspective, the city itself is situated beyond the near hills and below those Catalina Mountains.

Brookside Shade, acrylic on canvas, 37×45.5

Our walks took us through many areas like this. Normally I’d paint in oils, but due to needing to pack everything up and bring it home in just a week, the fast-drying acrylic was the only way. And there are other benefits, like texture.

View back toward the house. (Click for larger view.)

The house we were using was situated in a resort area, just adjacent to an expansive golf course. The whole area was lush with plants native to the majestic Sonora Desert.

The patio.

Though we painted inside, this was where we spent our reading time, relished our meals, or just took in the beauty (eyes open or closed).

The great room, which became our working space.

There was plenty of room to work, with just a little rearranging. That huge couch looks inviting as I look at it now, but I confess I never sat in it. By the way, those two Hyatt Moore paintings in the corner are among a handfull earlier purchased by out hosts. It was nice to see them again.

Anne at her press.

Anne found that the kitchen counter was a perfect height for her press, her ink, plates, and all the materials needed to work. (There was still plenty of room for cooking when that was called for . . . another of her fine talents.)

 Posing as Possible, monotype print, 9×11

Here’s one of 20-some pieces Anne was able to complete to her satisfaction. That text (who knows what is says?) is a page from books of such we picked up in Japan some years back. It adds to the design and intrigue, no?

Looking for Symmetry. This first version no longer exists, but ironically is shown numerously on Pinterest.

Incredibly, when we arrived in Tucson Anne realized she’d not brought her printmaking paper. That would have prevented any progress except that she did bring a good quantity of pieces she’d started earlier. She has a plethora of such, pieces she plans to get back to but then new ideas take over. The piece above is one such (the finished version shown below).

Looking for Symmetry ii, monotype print, 11.5×20

Here is the same piece, as she completed it that week. Note the additions of collage material, strips added from other “failed” prints, and the new addition of “typography” and design detail, printed on with linoleum blocks she’s cut.

Anne with the week’s work. (Click for larger view.)

On the last day we cleaned up our areas and photographed the work accomplished during the week. Remember, all these had been begun earlier; but it was still a laudable accomplishment to complete these 27 pieces in one week. At home, with so much else that needs doing, it’s more like three pieces in as many months. The five small pieces in front are encaustics, works in wax, a new venture for her.

Cactus Colors, acrylic on canvas, 23.5×32.5

Here’s a painting that started out as a “literal” rendition of the lovely purple cactus that abounds in the area. But I never liked it, so, using the same colors, turned it into an abstract instead. Now I like it fine.

Regal Greens and Daytime Dreams, both 32×24.

Though I did mostly landscapes and abstracts, a visit to the Arizona State Museum inspired a couple of stylized versions of Native Americans. I must say I could keep on doing these with great pleasure if I could find a place that wants them.

The working space on “my” side of the room, complete with my famous ironing board.

The big abstract is a rendition after one of Anne’s . . . because her wonderful designs could also look great BIG. Of course it changes in the process. I tell her if it sells I’ll split it with her! Again, those other two paintings of mine were previously purchased by our hosts.

The week’s worth of paintings.

Actually there were a couple more, but the others not fit to show. Note the tape holding the art to the wall. It’s because most were painted on unstretched canvas. I brought a bolt of canvas over and rolled the paintings back on it to bring them home. Makes for easy transport and flexibility of painting size. They’ve all been stretched since.

A quiet space. (Click for larger view.)

Here’s another view from the back patio, with just a sliver of the golf course to be seen in the distance. It was all very impressive, both God’s work, and man’s rearranging. (That’s what art is.)

John and Pam

Here’s a little gift I left for our hosts, from a photo I found on their desk. John and Pam Ritter weren’t there that week, but graciously lent their place to us. A beautiful couple, in all ways. We’re grateful.

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Other Resources

Video on Website

NEW: The Hyatt Moore Painter website “Contents Bar” now features a section for “Videos.” Currently there are three:
a brief background of my most widely distributed painting, The Last Supper,
a One-minute time-lapse portrait I painted in an hour,
and a “new to You Tube” half hour feature called Damascus Roads.
It’s a creatively done account of my discovery of God and later, painting.
To see these, scroll to the top here, click on “Videos,” and select.
And let me know what you think.

Blank Slate, the “literary” blog

The writing blog, Blank Slate, is viewable on this same website (top right). The most recent post featured the Damascus Roads video just mentioned, with a few lines of background from the a surf photography book. Check it out. To subscribe, click here.

NEW: Prints Available for all paintings

Giclee prints on canvas or watercolor paper are now available for order on virtually the full array of Hyatt Moore paintings. See “Store” above, or click here.

Semi-Private Coaching for Painters

in Hyatt Moore studio
Mondays and Saturdays in Dana Point
Call for information, 949-290-8643
For more info click:
Art-Coaching-Flyer

Printmaking Classes

in Anne Moore studio
Call for info, 949-240-4642

12 Comments

A couple of months back I received a call from someone who has since become a friend. Sandra Even and her husband Perry had an idea for a painting that was so ambitious she wondered if it was “crazy.” As I listened, I tended to agree but thought we should keep talking. It was basically to include ten family members, in period dress, in action, in front of their Spanish style house.

The house and patio as I photographed it on my first visit.

The house, a majestic piece of architecture in the Santa Ana hills, was to figure prominently with the people, positioned candidly and naturally out in front. The first challenge with that, however, was  the pool . . . which was right where everyone would need to be.

The planned placement.

Assuming we’d figure a way to make it happen, we determined the size and the shape of the painting by architectural factors and furniture already in the home. As they’d been dreaming of this idea for some time, the place for the painting had been long reserved. It was to be the jewel in a very beautiful ring.

A quasi-sepia tone version of the final photo.

I figured if we could get a photo, I could make the painting. So they set a date, brought family members in from distant places, located and borrowed early-California garb, and with the help of photographer friends, we arranged the shoot. The idea was for each to be in natural pose, acting in a way that indicated their particular talents or activities. That’s Perry and Sandra bringing in the wine and the bread. Their parents are at a game of cards, a normal activity for them. Via photoshop magic, the group has been pulled out from the house and the pool is gone. For the photo, one dog represented two (again, photoshop).

Laying in the background.

Here’s the first and easiest step in the painting process . . . getting rid of all that white canvas (in this case, linen).

The cartoon.

After the photo, the drawing is the most important step. This one’s in charcoal. Cartoon is the actual word for this stage, though it’s exacting work and there’s nothing “funny” about it.

The first stage of painting.

This, and the following, show stages of oil paint being applied. At first it took on a sepia look, reminiscent of early photography. But the idea was for full color, if somewhat muted, with the “period” clothing.

Faces and limbs established.

The whites of the garb began to add punch as well as a sense of unifying design across the width of painting. Why faces first? Because they are the most challenging and, in a portrait, most important.

 All clothed.

Here the figures are all complete, but for some finishing touches. The red dog has been painted in thanks to a photo supplied later, as well as the still life on the table, the card game, etc.

The house painted.

Once a stranger who learned I was a painter asked if I paint houses. “Yes,” I said, “though with a very small brush.” Above is one example of such.

The final version. Click on picture for larger view.

By the time I was done, the earth had become brown, the sky bluer, the clouds brighter, the foliage fuller, the windows more reflective, a wall-display of crosses added in, and Sandra’s hair more flowing.

The painting’s new home within a home.

Here’s the painting on its day of delivery. Someday it may receive a frame; meantime, it is a piece of lasting pleasure, a “crazy” idea that worked.

Here’s a quote from Sandra Even following delivery: “We continue to spend time each evening gazing at our painting. It is profound and very meaningful to us. Those who have seen it are complimentary yet almost without words.”

I’m grateful, and happy that they’re happy.

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Current and Upcoming Events

Next: Tucson

Thanks to the loan of a desert hideaway, we’re off to Tucson for a week of art-making. Will doubtless be reporting on results of that in an upcoming post.

NEW: Prints Available for all paintings

Giclee prints on canvas or watercolor paper are now available for order on virtually the full array of Hyatt Moore paintings. See “Store” above, or click here.

Blank Slate, the “literary” blog

The writing blog, Blank Slate, is viewable on this same website (top right). One recent post featured a painting my dad made, with historical meaning. Check it out. To subscribe, click here.

Semi-Private Coaching for Painters

in Hyatt Moore studio
Mondays and Saturdays in Dana Point
Call for information, 949-290-8643
For more info click:
Art-Coaching-Flyer

Printmaking Classes

in Anne Moore studio
Call for info, 949-240-4642

31 Comments

A friend of mine in Barrington, Illinois, near Chicago, called last month inviting me to participate in a “Stations of the Cross” commemoration. She’d been inviting various artists, each to do a “station.” And each was to depict “hands only.” For example, the Roman governor Pilate, at the trial, would be washing his hands of the whole thing. Mine was to be the final piece, with the doubtful disciple Thomas invited to put his finger in Jesus’ wounds.

Stage 1: Covering the canvas with paint. (Click any photo for larger view.)

It was my friend’s request that I make it large, her having seen some of my big paintings before. The piece of canvas I cut was 73″x 100.” Adhering it to my studio wall and applying a background color (getting rid of all the white) was a first step. The small broom makes a perfect brush for such purposes.

Stage 2: Wiping out with a wet sponge.

I used acrylic paint, water-based and good for its fast drying properties. Actually it was drying a little too fast for me as I went back over portions with a wet sponge to get some of the white back for highlights. With a canvas this big, one has to work very fast at the early stages.

Stage 3: Applying contrast color.

To set off the foreground from the background, I added some blue, a complimentary color to the orange-brown of the hands. I find an old housepainter’s brush works best here. If the paint drips, so be it; it just adds more interest. And everything can be gone over again.

Stage 4: Wiping out. Note: a regular artist’s brush has not yet been used.

Putting in and taking out; it’s all part of the painting process. Sometimes I find a roll of paper towels just right for thinning out some of the just-applied paint and restore some transparency. It’s also useful for softening edges that can get too crisp and lose naturalness.

Stage 5a: Applying paint to bubble wrap.

Sharing a studio with a printmaker (wife Anne) has obviously influenced me. One way is using something of an “offset” approach to painting . . . applying paint to something (a “plate”) and then pressing that onto the art. As I often teach, a painter isn’t a painter because he uses a brush; he’s a painter because he uses paint! The paint can go on in any number of ways.

Stage 5b: Pressing in the painted bubble wrap.

This approach is only useful on a large painting and one that allows for a bit of “non-control.” The effect, however, can be impressionistic, pointillistic, luminescent, and slightly mysterious.

Stage 6: Establishing a few lines.

It’s toward the end of the painting, as opposed to the beginning, that a few defining lines are introduced . . . here, finally, with a small artist’s brush. The fine-tuning at this stage goes painfully slower, but valuable, the end of a matter being always better than its beginning.

Stage 7: The wounds colored in and, “It is finished!”

What I didn’t mention is that the whole thing started (after the initial idea) with a photograph. A friend took the picture, another posed for the Jesus hands; that’s my own hand in the middle, representing Thomas. It’s symbolically fitting, my representing Thomas, as Thomas represents me . . . needing a bit of proof, but after that thoroughly convinced.

Giclee prints, on canvas and paper.

For any would would like a prints of this painting for home or church they are available here.

14 Comments

As we did last year, once again we spent our anniversary month in a studio apartment in Toledo, Oregon. (Those that didn’t see our anniversary blog, with the picture of us in our 20’s, click on Those Three Little Words.)

How it looked on on the first morning, having just moved in.

When I call it a “studio apartment,” in truth it is a real studio. It’s a restored and converted “Justice of the Peace” headquarters in this small Oregon town with living quarters downstairs and, upstairs, working space for two artists. (Click on each picture for a larger view.)

How it looked on the last day.

During our three weeks we worked six days out of seven (or was it six and a half?). The place was a laboratory of experimentation and production. Don’t let the neatness of the room deceive; we only cleaned it up for these photos.

Even the cabinet becomes storage or display space.

That’s Anne’s press there at the left, a necessary piece of equipment we brought along, as well as inks and plates and paper and even the back-saving waist-high table. As she’d work a piece to completion, up it would go with tape for drying and viewing.

Four 44″x32″ canvas, along with more of Anne’s monotypes.

For this and and following photos, we’re moving around the room to the left. Gradually the print making area becomes the painting area, filling every bit of wall space with new art.

Note the laptop at left, good for photo reference, books on disk, and music.

As for me, I had no idea what I would paint. I brought along a few stretched canvases and a 9-yard bolt of canvas to cut up into custom sizes. I began a series of standing figures, loosely abstracted, which became my theme (with exceptions) for the whole time.

The sink area got lots of use, as did all the drawers.

Once again, this is the “cleaned up version” of the room, with the large easel moved back from its center place in the room. Often I would study Anne’s work for ideas, particularly for color. Why not? When you live with a genius, you might as well take advantage of it.

The four on right are on canvas, the four on left, on paper.

Virtually all of my work was done in acrylic, thus transporting still-wet (and pungent) oil paintings back home in the van wasn’t an issue. Once I used up all the canvas, I began on paper . . . the same heavy, 100-percent rag printmaking material Anne uses. It takes paint as well as ink.

All these, except the large one, are on paper.

When we ran out of wall space, we left. We’d been there 17 days. Anne produced a record 30 pieces, most of which she’d call finished. My production was half again that (counting the small pieces). It was a very productive time, delightfully focused . . . though not without daily walks (rain or shine), field trips to neighboring Newport, frequent meals out, a bit of reading, some writing, plenty of conversation, reflection, and generally an evening video. It was a true working vacation, the best kind.

If you’re interested in views of the same place, but with the clutter of work in progress, see last year’s experience at Holy Toledo.

NOTE: None of the pieces shown here are yet on our websites, but inquiries are welcome.

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Current and Upcoming Events

Baja to Toledo Show

Mark your calendar!
It’s a studio show (at the house) featuring work created at our art-making venture in Baja, California last October and the recent one in Toledo, Oregon . . . and between.
33752 Big Sur, Dana Point, CA
The weekend of April 27 and 28

Painting Lecture-Demo at San Clemente Art Association

This coming Sunday!
An encore at this venue. These are popular, fun, and instructive events.
All are welcome.
100 North Calle Seville (corner of Del Mar)
March 10, 2013, 3:00–5:00 p.m.

Lecture-Demo at Huntington Beach Art League

Rodgers Senior Center, another encore
17th and Orange Streets
May 1, 2013, 7:00 p.m.

Blank Slate

The literary blog, Blank Slate is viewable on this same website (top right). Recent posts were sent from Oregon, with art-making reflections. To subscribe, click here.

Semi-Private Coaching for Painters

in Hyatt Moore studio
Mondays and Saturdays in Dana Point
Call for information, 949-290-8643

Printmaking Classes

in Anne Moore studio
Call for info, 949-240-4642

The Oregon Studio

Anyone interested in renting the Justice of the Peace studio discussed above can contact artist Michael Gibbons. Click here.

14 Comments

It’s always good at this time of year, in January, named after the Roman god Janus with the two faces, one looking back and the other looking forward, to both reflect and plan. Our plans for the future are really more of same, more art making, more friends and family relating, more travels, more writing, more reflecting, more living as much to the full as the year allows. As for looking back, a quick look at a partial assembly of work sold in 2012 is useful.

As I say, the assemblage above is partial. Some of these were sold through galleries, some directly, one was a trade (for service to my older model Jaguar). Not shown are a number of commissions for portraits or families. Also not shown is all the work produced in this last year . . . which is probably three or four times as much as represented here. That’s how it is.

Above is a partial of Anne’s work that now graces the walls of discerning buyers. As with mine, some of these were produced as well as sold last year, others were made earlier. While Anne’s production is plenty to provide a broad offering, she doesn’t get as much time to do it as her husband. Thus, the concentrated time during trips away, specifically for art making, really helps. Next month another such trip is planned, again to Oregon and the same artists’ studio where we spent such good time last year. We’ll be reporting on that in due course.

Meantime, this quick look back is useful, at least to us, and perhaps for you, our friends. And as friends, we wish you grace and good progress for your own goals and plans for the year ahead.

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Current and Upcoming Events

Lecture-Demo at San Clemente Art Association

An encore at this venue. These are popular, fun, and instructive events.
All are welcome.
100 North Calle Seville (corner of Del Mar)
March 10, 2013, 3:00 p.m.

Lecture-Demo at Huntington Beach Art League

Rodgers Senior Center, 17th and Orange Streets
May 1, 2013, 7:00 p.m.

Blank Slate

The literary blog, Blank Slate is viewable on this same website. Subscribers are finding it a lively discussion. To subscribe, click here.

Semi-Private Coaching for Painters

in Hyatt Moore studio
Mondays and Saturdays in Dana Point
Call for information, 949-290-8643

Printmaking Classes

in Anne Moore studio
Call for info, 949-240-4642

8 Comments

Rather liking this idea of going away somewhere to just “be” and to do art, we began seeking something close but not too close to home. What we found was “Casa Hamaca,” a vacation retreat in Baja California, built and owned by our friends Bob and Tanya Lloyd, about five hours south of the Mexican border. (Click on each of the pictures for a larger view.)

The Baja California peninsula didn’t have paved road even this far until this generation.

Casa Hamaca is one of about 50 such American homes, most only intermittently occupied, on the beach outside the town of Vincente Guerrero. It was warm, sometimes windy, sometimes foggy, and very quiet, but for the continual roar of the surf. Maybe because of the time of year, we saw almost no one the entire week.

A quick picture of the setting just as we pulled in.

The Casa is a two-bedroom place that has seen a lot of guests over the years, mostly for rest and recreation. That week it was just for Anne and me, and not to rest but to work. (Well, sort of.)

Living room (left) and kitchen (right).

We took a few pictures immediately so we’d remember how to put all the furniture back after we turned the place into a working studio.

The inner patio.

When I show these pictures people say, “It looks like your house.” Maybe so. We certainly felt right at home.

Our respective workspaces.

Besides reading and walks on the beach, art-making is what occupied almost all of our hours. I brought my easel, canvas and basic supplies; Anne brought her smaller press, a table and all her printmaking gear. It was so quiet, without even music. No Internet, no news, only our own sometimes conversation and the continual sound of the surf.

A few early pieces drying in the sun, all of which were destroyed or painted over.

Though it all seems idyllic, and it really was wonderful, for about the first three days I couldn’t get anything to work. I was experimenting with new things and getting nowhere. For the back story on that, see the Blank Slate post, “A Prayer and a Response.”

The artist, her tools, and the week’s work of her hands.

In the afternoon of our last day we put up a “show” for ourselves to display all the work accomplished. Anne had completed 20 pieces! She explains that she’d brought some of them along unfinished and finished them there. It was a highly productive time, particularly as her work requires a momentum and a long set-up and take-down time.

My ten “keepers.”

And here’s my productivity after finally getting beyond the first three days’ malaise. For the most part, I did renditions of small ones I’d done before, photos of which I had on my camera phone.

One more view of the whole wall of the “show” we put up for ourselves.

For views of each of the pieces done on this trip, you can click on the links to the respective website pages. For Anne’s, that will be here. For Hyatt’s, go here. The Baja pieces are marked “NEW.” Click on those thumbnails for larger views, and again for yet larger.

The Creator’s art.

A glorious sunset, as we saw it over dinner most evenings . . . and a perfect way to end this “slide show.”

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Ongoing and Upcoming Events

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Come to the Moore Open House and Studio Show–
the weekend before Thanksgiving

Lots of new work, all for sale, or just to view and visit friends.
33752 Big Sur, Dana Point, California 92629
Saturday, November 17, 1:00-9:00
Sunday, November 18, 1:00-5:00
For complete invitation, click here:  House Show 11’12

Moore & Moore Art Gallery in Dana Point

Open by Appointment
949-240-4642

Semi-Private Coaching for Painters

Offering 2-hour sessions on Mondays and Saturday mornings
In the Hyatt Moore Studio, Dana Point
Call  949-240-4642

Printmaking Classes

In the Anne Moore studio, Dana Point
For a look at the kind of work that can be made see: www.annesprints.com
Call 949-240-4642

11 Comments

Painting in the Hyatt Moore studio continues to be an exploration of themes and approaches. It’s in composing this monthly blog that gives the appearance of continuity. The pieces here have all been produced this year, are all available, and can be seen on the Standing Portraits page of the website.

Black Dress, 43×24,
White Skirt, 46×28,
Blue Smock, 47×28

All of the seven shown are of approximately the same size. The arrangement here is only to provide some organization of thought. Black Dress (left) started as a demo and long after finished in studio. By then I’d become used to the understated look and left it pretty much that way. White Skirt incorporated a (new for me) drawing technique with oil bar. Click on the picture(s) for a better view of detail.

Museum Girl,
47×28,
Blue Muse on Red, 47×28

The two shown here and the two to follow are all from photos on my camera. In the above instances, it’s the particular gesture that caught my attention. The paintings are a combination of imagined color and, in all four cases, lots of line work, even charcoal, introduced and left in.

Red Shawl,
47×29,
Red Handbag, 47×28

The photos are from travels, Red Shawl shot in South Africa (though she was from India) and Red Handbag photographed on the streets of Kyoto, Japan. In style, these are part drawing, part painting. But then, painting is always based on drawing, just not usually so apparent. It reveals something of the process of the art making, and gives a pleasing element, don’t you think?

Austerity Pleasures, 13×20

Austerity Pleasures is one of a number of recent pieces of Anne’s on display at Laguna’s Sandstone Gallery where she is the featured artist this month. The show opens today, during the popular First Thursday Art Walk. How she comes up with these titles is one of her many mysteries, along with the slightly comprehensible script within the piece itself. As with all of these, they should be seen in person to fully appreciate. Come if you can.

And plan to come to our open house and show, next month. Details are below. It would be great to see you, and I know you’d love it all, too.

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Ongoing and Upcoming Events

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Sandstone Gallery: Featuring Anne Moore

Opening tonight, October 4, 6:00-9:00 pm.
384-A North Coast Highway
Laguna Beach, California 92651
October 4–29, 12:00-5:00 (closed Tuesdays)

Studio Show and Sale

Mark your calendars for the only Moore open house and studio show this year.
33752 Big Sur, Dana Point, California 92629
Saturday, November 17, 4:00-9:00
Sunday, November 18, 1:00-5:00

Moore & Moore Art Gallery in Dana Point

Open by Appointment
949-240-4642

Semi-Private Coaching for Painters

Offering 2-hour sessions on Mondays and Saturday mornings
in the Hyatt Moore Studio, Dana Point
Call  949-240-4642

Printmaking Classes

In the Anne Moore studio, Dana Point
For a look at the kind of work that can be made see: www.annesprints.com
Call 949-240-4642

7 Comments

There’s something about the paintings in this post that just shouts of summer. Why seven? No reason; it just came out that way and gives a little rhyme to the title. The first four are on acrylic on paper, the final three are oil on canvas. All are “vague of face,” providing an intended anonymity. The fact is, I know all the persons painted here, and took all the photos they were painted from.

Mother Son, acrylic on paper, 11.25 x 12

The mother featured here is our daughter Acacia, sitting with her two-year-old Micah earlier this summer. What doesn’t show here is that she is also with child. As of next week she’s due to deliver her fourth, another boy.

Mother Daughter, acrylic on paper, 11.25 x 12

Here’s Acacia again, with four-year-old Avery. As it happens, Anne is in Chicago right now to be of help around birthing time. Why Chicago? That’s where they moved some three years ago, from Seattle, to start a church, downtown. They love it, and are loved.

Beach Walk, Left Hand, acrylic on paper, 15 x 11.5

The beautiful model for this one is daughter-in-law Nicole. Originally of Canada, she lives with Hyatt IV in Palo Alto where he’s finishing his PhD and, with her, raising three . . . including here, little Kaiya.

Beach Walk, Right Hand, acrylic on paper, 15 x 11.5

Again, the non-descript nature of these paintings is intentional. They’re made for a broader audience, suggesting a moment, a mood, a situation that could apply to many.

Sharon at Bougainvillea, oil on canvas, 30 x 24

The above and the following are not of a family member, but a friend. Sharon is a landscape architect, who also works as an artists model. I’ve made a number of paintings of her from life, then took a couple of hundred of digital photos for future paintings.

Sharon at Glass Table, oil on canvas, 18 x 24

Of the five paintings I’ve made of Sharon so far this is the only one where the setting is part of the “story.” It’s in our patio. I didn’t bother with the apple she was munching, but now I wonder, should I have?

Sharon in Contrasts, oil on canvas,
18 x 24

It was the extreme contrast of the sunlight against the foliage behind that made the background so dark. It certainly influenced the painting. Maybe I should rename it, “Summer Night.”

These are just some of the paintings that have come into being during these summer months, with more to come while the season runs.

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Current Shows and Events

Lecture-Demo at San Clemente Art Association

An encore at this venue. These are popular, fun, and instructive events.
All are welcome.
100 North Calle Seville (corner of Del Mar)
September 9, 2012, 3:00 p.m.

Semi-Private Coaching for Painters

in Hyatt Moore studio
Mondays and Saturdays in Dana Point
Call for information, 949-290-8643

Printmaking Classes

in Anne Moore studio
Call for info, 949-240-4642

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Next month I’ll be holding my first-ever plein air painting workshop, so it seems fitting to feature a few landscapes here. Plein air is basically painting outdoors, which most typically means landscapes. The fact is, however, I painted none of these outdoors, except the last one. Either way, the inspiration comes from nature, and nature is enough to inspire even the dullest mind.

California Hillscape 3, oil, 36×48. All paintings shown are available, except the last one.

I don’t know the origin of California’s moniker as “The Golden State.” Likely it’s from the gold rush which was originally responsible for its population boom. But when I drive through her, I often think she deserves the title just from the marvelous grasses growing on sun-drenched hills.

California Hillscape 1, oil, 20×20

Those hills take on different colors in different seasons, times of day, and various places. This painting is something of an abstraction, or simplification, giving a quick “drive-by” impression, created with a lot of knife work and scumble brush.

River Runs Through It, oil, 34×40

The abstraction gets more intense on this one. Part of the interest and originality comes from it being painted over another painting. I don’t even remember what the other one was, but it was sacrificed for the cause and enhances it as flecks of the original colors are still coming through in the final painting.

Telega Course, oil, 30×40

Here the place featured is the Telega Golf Course in San Clemente, California. In the clubhouse they likely refer to this as “The Greens.” But in this brilliant sunlight, we might rather refer to them as “The Yellows” or “The Chartrueses!”

White House, oil, 20×20

Now we’re getting really abstract, conveying emotion, or at least motion, instead of representing a specific place. Paintings can do that. It’s art, and art can go in any direction that pleases.

Round House, oil, 11×14. Courtesy of Mike and Hilda Evans.

Here’s a delightful little painting I really did do outdoors, “en plein air.” I painted it some years ago, at the Tree of Life Nursery, the same place we’re holding the workshop next month. That’ll be the first Friday and Saturday of August. Besides the two days of painting and instruction and fun and sun, at the close we’ll be hosting a show of the work accomplished over the two days. That will be open to friends, for a small admission to cover costs. Besides food and showing our work, we’ll also feature a lively lecture on the many directions of landscape painting. To sign up for either of these, as a painter (for the workshop) or just an appreciator (for the lecture/show), click on the link below.

Either way, love landscapes. Stay inspired.

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Current Shows and Events

“Paint Like Crazy,” Plein Air Workshop and Show

with Hyatt Moore
Sponsored by Tree of Life Nursery
in the wilds of Ortega Highway outside of San Juan Capistrano, California
Friday and Saturday, August 3 & 4
CLICK HERE FOR MORE DETAILS AND REGISTRATION.

Semi-Private Coaching for Painters

in Hyatt Moore studio
Mondays and Saturdays in Dana Point
Call for information, 949-290-8643

Printmaking Classes

in Anne Moore studio
Call for info, 949-240-4642

10 Comments