Last month Anne and I were in Seattle visiting family and welcoming in grandchild number 14. While there, we helped with exterior painting projects as well as my painting something for their newly remodeled kitchen. I also made a second painting, but we’re featuring just one here. It was a busy week (just how I like it).

Deciding on the approach

That’s daughter Cambria, the new mother (now of three) two weeks after giving birth, at a rare moment of sitting long enough to make some decisions. The bits of color about to get on her bathrobe are freshly made swatches that match colors in her kitchen. (Permission to share bathrobe pictures not received :-)

The thumbnails

Her idea was to do something that would reflect their Northwest area. After deciding on a six-ft. tall piece of Mount Ranier for their stairwell, she opted for tulip fields for the kitchen. The pencil sketch shows two graphic options; the tiny oil paintings, color options. She chose the one with white flowers.

The intended space

The house has been almost a year in remodeling with just a few things to finish up. Here’s the nitch intended for a painting. It was a pretty big space for a fairly narrow passage. That’s why I suggested a polyptych, to break it up a bit. The tape was to give us an idea of final placement.

My provisional studio

A polyptych is one painting on multiple panels. While I’ve made a number of triptychs (one painting on three panels), this was my first quadiptych (another term that works). I set up in a spare room, with an easel roughly constructed of scrap 2x4s and c-clamps, my reference sketches on the wall, and a picture of a bloom on a bag of tulip bulbs.

Getting the initial shapes up

Note also the one-inch strips of wood placed between each of the canvases. It’s because the space itself is part of the composition. The edges of the canvas would eventually be painted as well for visual continuity. Note also that, while the chosen option was for white tulips, I started with red just so I could see them.

The essence is established

The idea was to capture the look of the expansive tulip fields that glorify the landscape in certain areas at certain times of year. A few in the foreground would indicate the mass in the background, with a row of red ones just before the distant hills . . . just for pizazz.

The painting at mid-stage

The way I paint (and teach) is to create a painting in stages. That is, as much as possible I’m working at the same degree of detail (or non-detail) over the whole painting. Conceivably the painting could be considered finished at any stage. The challenge then is to stop before it’s overworked.

The white begins

Remember, they were to be white tulips. As it happened, using red first really didn’t serve me. Oil paint is slow in drying and as I applied the white it would turn pink. But with a bit of scraping and applying a thick layers of paint, it began to conform to what I was after.

Nearing final stage

Here we are about mid-week. The tulip painting was happening between periods of helping son-in-law Shon with the eve-painting project outside. Oh well, it’s all painting. Note the idea here of including a swath of yellow tulips. It could have worked, but they didn’t last.

The final painting, before hanging

Here it is, finished, with just enough detail and not too much. I hadn’t painted the edges yet. All the red is gone. Even the hint of distant red tulips went to orange, a decision that was made when provisionally placed in the kitchen to check colors. Each of these panels is 20×24 and could conceivably be a complete painting in itself.

Cambria’s Tulips, polyptych, oil on canvas, 41×49

By the time we left at the end of the week the paint was far to wet to touch. But they’ve since hung it and sent this picture. Happily Cambria loves it. It brings great focus to the area, and beauty. I’m grateful.

Four generations of Hyatts

Here’s an extra, just because.  The occasion was the 95th birthday of my dad, Hyatt Moore the second, and the recent birth of Hyatt Moore the fifth. The photo was taken on the porch of the house where I grew up and where my parents still live (Mom will be 94 next month). That’s Hyatt iii (me) on the left, with son Hyatt iv down from PhD studies at Stanford . . . with wife and their two daughters somewhere outside the picture.  I just had to share it because these are rare moments, and may not come again.  Treasure yours.

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Ongoing and Upcoming Events

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Studio Show and Sale

Our semi-annual Open House Studio Show is coming up November 12 and 13. We’ll have lots of new work to share.

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 Wednesday 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

33 Comments

Once again Anne’s work was deemed worthy to be included at the prestigious Festival of Arts in Laguna Beach. This is her fourth year and, as always, she’s put a lot into it and is spending many hours on the grounds. Besides representing her booth, she’s also a docent this year, as well as one of the demonstrators in the craft of printmaking.

Beauty begets beauty.
(Sorry, couldn’t resist that caption.)

Here’s Anne on opening night, at a rare moment when the crowds had cleared. Though the Laguna Festival features art of all media, there’s a higher percentage than most shows given to printmaking. It seems this is a fertile area for it, with lots of good teaching (including Anne’s own classes). Still, every person’s work is completely unique.

Set on Pilgrimage, monotype on paper, 10×10

If there’s a message in these pieces, it’ll be of the viewer’s making. The calligraphy, when it’s included, is for the beauty of the handwriting alone. More and more a passing art, here’s one way to preserve it for it’s own sake.

Exploring Grace, monotype on paper, 17×18

The juxtaposition of block shapes with sinuous curves, strong colors and subtle, foreground dominance and background “history,” and the inclusion of printing from found objects and suggested typography, all go into the collective elegance of Anne’s work.

Agreeing to Differ, monotype on paper, 16×19

You might say art is all the stuff found in nature but arranged in a certain way by a person. At least that’s what I see when I look at all these pieces. Nature, by itself, is merely beauty. Art is something added, and very often also beautiful. (Like in all these examples here.)

Internal Dialogue, monotype on paper, 17.5×12.5

The making of art is half intention and half discovery, and knowing when to apply which. It’s an never-ending process and an ever-expanding horizon of what can be done.

Reaching for the Highest, monotype on paper, 20×10
Collection of Mercedes and John Stifter, San Clemente, California

The result of all these elements in the hands of a sensitive spirit can afford hours and years of enjoyment in the perception. That’s what the Stifters thought when they purchased this piece on opening night at the festival. Other works are still available, for viewing, for having, and for enjoying for a long time to come.
Do visit the festival if you can. Or, shop Anne’s website for the wide array of her pieces.

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Ongoing and Upcoming Events

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Laguna Festival of Arts

650 Laguna Canyon Road, Laguna Beach, CA 92651 www.foapom.com
Featuring Anne Moore and many other fine artists in various media, now through August 30.

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 Saturdays
Now also instruction in drawing
in the Hyatt Moore Studio, Dana Point
Call  949-240-4642

Printmaking Classes

In the Anne Moore studio, Dana Point
For info: www.annesprints.com
or 949-240-4642

11 Comments

“When are you going to paint your grandchildren?” That’s the question I often get from my father. I usually just say, “When I get good enough.” It does’t impress him much. He’s 94, living with my 92-year-old mother, and he’d try painting all his grands and great-grands himself if he had the energy. But this month, the time came, and I painted ours.

The three Cutsforth children, in from Minneapolis.
Click for larger view.

The occasion was a family reunion, a gathering of Anne’s and my five grown and married children and their children at a big rented house at Lake Tahoe, California. It was a wild and wonderful week, with plenty of noise, field trips, family reports, and enough space to get away when there was need.

The Bergin children, in from Chicago.

Every afternoon I got away for a few hours to surreptitiously paint these little 8×10 “portraits” off my i-phone, on which I’d taken photos of the children the first day. The photos themselves were hard enough to get, as the subjects would be moving constantly, or maybe transfixed, playing some video game.

The Moore children, in from Palo Alto, CA…another due in August.

There were 24 of us gathered, half of whom were children. All cousins, always a special relationship, particularly when gathered together so infrequently. Anne and I get around to see them, and they visit us, but it’s rare to be all together. By this summer two more will be with us, as two of the mothers are great with child.

The Schmidt children, in from Seattle…another due in July.

The family units shown here are in the order of our children, youngest to oldest. It’s not necessarily the order in which I painted them, having to do more with when a given family would be leaving or mode of transport. I was using oil with a drying-time-enhancer. I’d be slowed down when one wouldn’t come out and I’d have to do it again.

The Adams family, in from England, the oldest and youngest of the group.

I signed them all, even though the children don’t know me as “Hyatt.”  To them I’m “Baba” (and Anne, “Tata”). And I dated them, something don’t don’t usually do, but this time the year would be significant. The ’11 could look like 111, and I am the third. Our son is the fourth, we’ve just been told Hyatt the fifth is coming!

Moore family reunion, June, 2011, Lake Tahoe, California. (As with all, click for larger view.)

Okay, here we are on a still-chilly mountain morning. Left to right it’s the Moores, Bergins, Moores senior, Cutsforths, Adams (standing) and Schmidts (seated). By now they’re all scattered back to their places, now enriched with small portraits to remember the stage. Anne and I, of course, are enriched just by being part of this growing group.

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Ongoing and Upcoming Events

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Via Affirmativa

In two weeks we’ll be in Glen Ere, Colorado speaking and painting (Anne will be printing) at the Via Affirmativa seminar. For info click here.
Adjacent to that I will also be conducting a “Loosen Up” Workshop at the Hunter-Wolff Gallery in Colorado Springs, June 23-24. For reservations, call: 719-520-9494.

Laguna Festival of Arts

Again this year Anne will be among those showing at this famous event. It’ll run from July 4 till August 30.

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 now also on Saturdays
in the Hyatt Moore Studio, Dana Point
Call  949-240-4642

Printmaking Classes

In the Anne Moore studio, Dana Point
Call for info: 949-240-4642

34 Comments

Once again we’re hosting our semi-annual Studio and Sale this weekend. The house/studio/gallery is brimming with new work. Some of it will be heading for galleries after the show, or in Anne’s case, the Laguna Festival of Art. If you’re anywhere near, come; you’ll love it. And so will we, seeing you.
Saturday, May 7, 4:00-9:00 pm
Sunday, May 8, 1:00-5:00 pm
33752 Big Sur, Dana Point, California
Sunday’s Mother’s Day. Bring her too, she’ll love it.
Here’s the invitation.

Boat Rower, Oil on Canvas, 36×48

Here’s a piece indicative of another recent exploration into the abstract. It’s layers of color and textures that you don’t find in nature. I take that back; actually you do. They’re in the reflections of things, the bouncing of light from place to place, the sparkling beauty that no painting can match. But the attempt can be beautiful too. This and others like it will be in the show this weekend.

Waiting, Monotype Print, 14×15

Anne’s work is almost always along the abstract and has been for some years. Once again, she comes up with colors and texture that you don’t see anywhere else…at least not in such combination. It’s what makes art art, it’s something completely unique, un-repeatable, and yet with a design that doesn’t “just happen.” There’s an order, a design, something pleasing in and of itself. This is another that will be in the show this weekend, and others just as beautiful.

Also coming up:
“Loosen Up” Workshops for Painters

It’s time to sign up for the popular and inspiring two-day workshop with Hyatt Moore. Once again San Clemente Art Supply in California will be hosting it over a two-day weekend, May 21-22. Reservations are being taken now at 949-369-6603. For more details click here.
Also this year the Hunter-Wolff Gallery in Colorado Springs will be hosting one June 23-24. For reservations call: 719-520-9494.

One more thing

Anne opens tonight as the featured artist at the Sandstone Gallery in north Laguna Beach. She’ll be at the art walk with her work featured in the widow all month. Check it out if you can.

She’ll also be doing a demo next week (May 13) at the Carlsbad/Oceanside Art League. I’ll miss that one as I’ll be in Louisville, Kentucky doing one of my 6 ft. by 8 ft. mega-portraits in front of a live audience. Both should be fun.

And don’t forget this weekend. Come if you can, or at least write and say Hi.

1 Comment

This month Golden West College in Huntington Beach is hosting a show of five figurative artists. It’s the very gallery that last month featured Anne’s work. They wanted large pieces if possible. Below are the five pieces of mine that will be on display.

Beauty and Shoe, oil on panel, 47×35.5

Beauty and Shoe is a recent piece and represents yet another nuance of direction. A painting like this is as much about design as anything. It’s on a big piece of bamboo panel, the tooth of which took the paint in a most joyful way.

Flamenco Nimble 2, oil on canvas, 48×36

Here is another version of a painting I did (and sold) earlier. But it’s different in proportion and in approach to background with its random (not really) colors and shapes. Included are occasional gobs of thick paint and flying wisps of red for the sake of the motion of it all.

Fiesta Interlude, oil over acrylic on canvas, 60×48

As with Flamenco Nimble, the above image was captured first on my pocket camera. Anne and I were at the Orange County Fair and came across a whole group of Latinas dressed all folklorico, waiting their turn on stage. People ask me how long it takes me to make a painting; this one took me about a year. I’d thought it was finished; it even hung in a gallery. A year later I saw what it still needed. All the ribbons brought it to life.

Rwanda Woman, oil over acrylic on canvas, 60×36

This was from a photo I didn’t take. I’ve been to Africa a number of times but never to Rwanda. My original title was Rwanda Widow, which had more pathos, and more truth. I didn’t want her to seem too forlorn, but here I am telling it anyway. Remember when Rwanda suffered the scourge of ethnic cleansing? Though that’s stopped, the memories don’t go away quickly. Who knows what’s in the mind of this otherwise stately woman, sitting on church steps?

Portrait Gallery 2, acrylic on canvas, 68.5×51.5

Speaking of what goes on in a mind, who knows about this one either? It’s a viewer looking at a painting which looks back at her . . . all in the London Portrait Gallery. For more background of this and others from that experience, see e-gallery back issues here, and here.

Alcantara Trio in concert, with page turner (also a concert pianist)

Remember last month I talked about some of my art accompanying a chamber music concert? For review of that, see here. More, I wanted to share just a one-minute clip of their music. I think you’ll agree that those few instruments, in the right hands, put out a great deal of powerful sound. For that, click below.

Ruby Cheng and artist with her painting

As it happened, the painting, which I’d done without having seen the trio, was a very close rendition. On seeing the painting, pianist and trio leader Ruby Cheng was most blest (is that a word?). In the end, it had to be hers. So here it is, changing hands.

Hands, that’s what it’s all about, for making music and for making art . . . that and minds (not shown), and hearts (also not shown).

Until next time, bless yours.

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Ongoing and Upcoming Events

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Figurative Painters Show at Golden West College Fine Arts Gallery, featuring Hyatt Moore and others

Opening Reception, April 7, 7–9 pm
Continuing through April 28, Monday–Friday, 10 am–2 pm, Wednesday evening, 6–8 pm
15744 Goldenwest Street, Huntington Beach, CA 92647

Lecture/Demonstrations by Hyatt Moore

Tustin Art League
April 14, 2011, 7–9 pm
For info: 714-544-7715

Huntington Beach Art League
May 4, 2011, 7–9 pm

Lecture/Demonstration by Anne Moore

Orange County Fine Arts
April 28, 7–9 pm

Oceanside/Carlsbad Art League
May 13, 2011, 1:30-3:30 pm

Studio Show and Sale

Semi-Annual Spring Show at the House
May 7–8
33752 Big Sur, Dana Point, California 949-240-4642

Loosen Up Workshops for Painters

San Clemente, California, May 21–22
949-369-6603

Glen Eyre, Colorado, June 23–24
719-520-9494

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 now also on Saturdays
in the Hyatt Moore Studio, Dana Point
Call  949-240-4642

Printmaking Classes

In the Anne Moore studio, Dana Point
Call for info: 949-240-4642

6 Comments

Today we’re sharing with you announcements of two separate shows, one for just one afternoon and the other for another week and a half. The first really is a concert, with the art an extra, just for the ambiance. Stands to reason: how many art shows have we been to where the music was background? The event will feature the Alcantara Piano Trio and will be held at the spectacular St. Edwards Catholic Church in Dana Point, just a block from where we live. That’s especially handy as a reception follows, at our house. For anyone interested in the concert, the full info is below.*

Chamber Trio 1, Oil on Canvas, 36×48

I’ll be showing a number of paintings, large pieces that can be seen across the room. Besides showing what I already have, I got inspired to do a few new ones for the occasion. The piece above could be the Alcantara Trio. Not that I’ve ever seen them, but it is the correct mix and done with a “soft-edged” style so no one can really know anyway. We’ll see if they recognize themselves.

Chamber Trio 2, Oil on Canvas, 16×20

While the first painting is large (3 ft. x 4 ft.) this second one is small. I wanted to do another of the same subject with a yet looser style and with one of the figures very much in the foreground. I just noticed that I didn’t paint in the cellist’s bow. Maybe I yet will, or maybe I’ll just leave it implied.

Violinist, Oil over Acrylic on Canvas, 43.5×24.5

This third one, done first, is not from that same trio. I just found a photo that I couldn’t resist painting. It’s mostly in acrylic with just a bit of oil paint applied to the face. Both mediums look virtually the same when dry so it doesn’t matter, but they go down differently so sometimes I prefer one, sometimes the other.

Julia Sitting, Charcoal, 24×18

Drawing Show at Esther Wells Gallery*

Once a year the Esther Wells Gallery in Laguna Beach exhibits miscellaneous drawings done by the gallery’s artists. Just a handful of these participate, being normally occupied with painting only, or sculpting. But as I do draw and had some samples done from models over the years, I submitted ten, of which we’re showing six here (the clothed ones).

Julia Standing, Charcoal, 24×18

If I get the name, I write it down, and maybe the date, and sometime how long I spent on it. The above two are of one Julia done back in 2004. They are not long studies, sometimes in fact very quick, just enough to get the essence.

Zovinar Perched, pencil, 24×18

Generally my drawing is for the sake of practice, not to sell. Though I have sold some lately, even to fellow artists who were drawing with me. (A nice compliment.) Form is everything on these, as is gesture, proportion and, of course, style. Sometimes I think my paintings should look more like my drawings, but brush and pencil are different and handle differently, and so are, then, the results.

Zovinar in Ink, roughly 18×18

These poses can be very brief, sometimes only a few minutes during the warm ups. And sometimes I experiment with different media, different kinds of pencils, charcoals, ballpoint, pastel, or paint. For this one it was ink, applied with a big fat Chinese calligraphy brush made of  horsehair. I sometimes use those in painting too. Very freeing.

Male Face in Conte, roughly 16×16

My sketchbooks are full of faces, or should I say “heads.” I’m fascinated with the face most of all, but as I’m usually drawing surreptitiously, without the person knowing, I rarely get the face straight on. And then they move anyway. Here it was a model, holding his pose as long as necessary. I can’t remember how long, as it was several years ago. The medium is brown Conte “crayon” with a bit of white chalk for the highlights.

Kerry in Color, Water Soluble Oil on paper, 24×18

This is a recent one, done in studio with other artists (as with all of these). My intention was to draw, but I had my paints with me and soon enough I had them out. I was experimenting with a different kind of oil paint that’s water soluble and thus, if used thin, drips. That’s something I like, and use often in my paintings (normally with acrylic which will also drip). To me it reveals something of the spontaneity of it all, the energy and the life that’s required to make a painting and what the painting should, when finished, still have. In the end, everything is about life. And life is rarely “neat.”

Anne at the opening explaining the magic of printmaking

Golden West Printmaking Show*

As mentioned last time, Anne is presently part of a printmaking show at Golden West College. It’s a spacious venue and a handsome display, with some notable artists included. Here is Anne on the opening night responding to the request of another printmatking instructor on the process of how she makes these pieces. The show continues through this Thursday only (see below for details, and other events coming up).

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Ongoing and Upcoming Events

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*Dana Point Coastal Arts Concert Series

Featuring Alcantara Piano Trio and Hyatt Moore, painter
St. Edwards Church, Dana Point, March 27, 2 pm, $12
Reception following at the Moores’ home/studio/gallery
For full info click here.

*Drawings Show at Esther Wells Gallery, featuring Hyatt Moore and others

Now through April 1, daily 11-5
1390 South Coast Highway, Laguna Beach, California, 949-494-2497

*Printmaking Show at Golden West College Fine Arts Gallery, featuring Anne Moore and others

Continuing through March 24, Monday–Friday, 10 am–2 pm, Wednesday evening, 6–8 pm
15744 Goldenwest Street, Huntington Beach, CA 92647

Figurative Painters Show at Golden West College Fine Arts Gallery, featuring Hyatt Moore and others

same info as above
Opening Reception, April 7, 7–9 pm

Lecture/Demonstrations by Hyatt Moore

Seal Beach Art League
March 24, 2011, 7–9 pm
562-431-2301, 714-504-1472

Tustin Art League
April 14, 2011, 7–9 pm

Huntington Beach Art League
May 4, 2011, 7–9 pm

Lecture/Demonstration by Anne Moore

Orange County Fine Arts
April 28, 7–9 pm

Oceanside/Carlsbad Art League
May 13, 2011, 1:30-3:30 pm

Studio Show and Sale

Semi-Annual Spring Show at the House
May 7–8
33752 Big Sur, Dana Point, California 949-240-4642

Loosen Up Workshops for Painters

San Clemente, California, May 21–22
949-369-6603

Glen Eyre, Colorado, June 23–24
719-520-9494

Semi-Private Coaching for Painters

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

Printmaking Classes

In the Anne Moore studio, Dana Point
Call for info: 949-240-4642

8 Comments

The three new monotypes we’re presenting here are just a portion of the work Anne has been producing of late. Besides ongoing presentation in her Sandstone Gallery, she’s preparing new work for her presence again this summer at the Laguna Art Festival. And then we’ll be hosting a spring Show at the House in May (see below for details).

Angle of Repose, 16.5×17.5, monotype

With all these works, they really need to be viewed in person to get a sense of their texture, layers, and nuances. It’s not for nothing that Anne was honored as being among the top 25 artists at the Laguna Festival last summer.

Poetic Possibilities, 20×10, monotype

Of course you can look as close as you want at a piece like Poetic Possibilities here and never know what the writing says. Calligraphy can also be art for its own sake. Same goes for the Chinese script up in the corner. The risk is, that likely really does say something.

Reaching for the Heights i, 20×10, monotype

Besides the shapes, the colors that this process delivers can be so arresting. Some are arrived at by the semi-transparent overlapping as one inked plate is passed through the press on top of another color already printed. As a painter, and sharing the same studio with Anne, I’m often intrigued with how she arrives at such sensitive hues.  These pieces and more can be seen, and purchased, at the various shows mentioned, or on her website: www.annesprints.com.

Cornerstone Institute, Newlands, Cape Town, South Africa

Last November we reported on my live-painting experience in South Africa (see Paintings at the Lausanne Congress, linked at right). Not mentioned then was an overlapping experience with the Cornerstone Institute, a Christian university. As it happened, they had just moved into new quarters (above) and in designing their lobby, used one of my “monumental” face paintings (for that, and the others, see the “Archives,” Grand Faces at Crystal Cathedral).

The reception in October

Celebrating the move to the new location they held a grand reception inviting hundreds of people. Though there was much to feature, and the speakers inspiring, and the dinner elaborate, it was meaningful for me to have my painting so honored and commented on, centrally placed as it is in the school’s main entry.

Eyes on the Cross, Cameroon, oil on canvas, 77×95

It was internationally-awarded designer Dorothy Van’t Riet of South Africa that recognized the painting’s potential, purchased it and donated it to the school, and then designed all the furniture and colors around it. It’s pretty special, if I do say so, and they all say so, too. I’m grateful.

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Ongoing and Upcoming Events

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Printmaking Show at Golden West College Fine Arts Gallery, featuring Anne Moore and 9 others

March 3–March 24, Monday–Friday, 10 am–2 pm, Wednesday evening, 6–8 pm
15744 Goldenwest Street, Huntington Beach, CA 92647
Opening Reception, March 3 (today!), 7–9 pm

Figurative Painters Show at Golden West College Fine Arts Gallery, featuring Hyatt Moore and 3 others

same info as above
Opening Reception, April 7, 7–9 pm

Lecture/Demonstrations by Hyatt Moore

Seal Beach Art League
March 24, 2011, 7–9 pm

Tustin Art League
April 14, 2011, 7–9 pm

Huntington Beach Art League
May 4, 2011, 7–9 pm

Lecture/Demonstration by Anne Moore

Orange County Fine Arts
April 28, 7–9 pm

Oceanside/Carlsbad Art League
May 13, 2011, 1:30-3:30 pm

Dana Point Coastal Arts Concert Series

Featuring Alcantara Piano Trio and Hyatt Moore, painter
St. Edwards Church, Dana Point, March 27, 2 pm
Reception following at Moore’s home/studio/gallery

Show at the House

Semi-Annual Spring Show and Sale, featuring new works and vintage
May 7–8
Saturday, 4:00-9:00
Sunday, 1:00-5:00
33752 Big Sur, Dana Point, California (949)240-4642

Loosen Up Workshops for Painters

San Clemente, California, May 21–22
also
Glen Ere, Colorado, June 23–24

Semi-Private Coaching for Painters

Offering 2-hour sessions on Mondays, and now also on Saturdays
Call  949.240.4642

Printmaking Classes

In Anne Moore studio
Call for info: 949.240.4642

8 Comments

Greetings of the new year to you. It’s always a time of hope and new ideas. I’ve decided to go with my name as a one-word resolution: “more.” That works for more heart, more laughter, more prayers, more energy, more life. One thing that’s already happening is more galleries. This month we’re announcing three new galleries to carry my work, one nearby and two across the world. Specifically, that’s Laguna Beach, South Africa, and India.

The Esther Wells Collection is Laguna’s oldest commercial fine arts gallery site . . . now with a new display in the window.

The following paragraphs are from a press release that went out this week:

Hyatt Moore – New Addition to The Esther Wells Collection Stable
Painting Demonstration 1/6/11,  6 – 9 p.m.

“The Esther Wells Collection presents the figurative works of Hyatt Moore during the January First Thursdays Art Walk. Moore will be on hand to talk about his work with Art Walkers and will demonstrate his unique style; a combination of abstract and representation using acrylic and oil paints.

Five of the 14 pieces on display.

“The looseness and abstract quality of his backgrounds, created using bold strokes and colour, give a rhythm and energy for the figures he then paints in representational style, emphasizing face, hands, arms and shoulders; the parts used to express movement, emotion and mood.

Interestingly, each of these dancers was begun as a workshop demonstration. Click on the photos for details.

“Moore, with a solid arts background built on education, time spent in commercial arts and his extensive world travels to the likes of Bolivia, Cape Verde, Cameroon, Asia, Europe, Indonesia and the U.S., brings an international feel to his work. This is further apparent from the bold and changing colour palette he works with and some of the subjects of his work.

It’s the figure in motion that most challenges, and for me, most rewards.

“Moore’s works are found in corporate and private collections across the U.S. and around the world.”

I don’t know who authored all the above, but it’s accurate enough, though leaving out a dozen countries or so.

The figure, motionless, is also very arresting.

It was the gallery director who chose these particular pieces . . . all representative of a certain style, moving toward the abstract in my realistic/abstract continuum. For the rest of my pieces now in The Esther Wells Collection, go here: Esther Wells.

The Lanzerac, in Stellenbosch, is listed amongst the most prestigious luxury hotels in the world.

New Gallery in South Africa

Here’s s a photo I took last October of the of one of the main buildings at the Lanzerac Hotel and Spa in the spectacular South African wine country. Getting introduced to the directors of the gallery housed here and then invited to participate was one of the additional (more) happenings of our going to Cape Town last October. I had a number of paintings with me and all seemed to feel they’d be a perfect fit. For a view of these pieces go here: Lanzerac Manor Gallery

Conversation, 21×26, Oil on canvas.
For the others of my pieces shown there go to Contemplations Gallery.

New Gallery in India

The Contemplations Fine Art Gallery in New Delhi is more than a gallery; it’s also a workshop center and place of influence for gathering artists and the wider public. Again, my involvement came from (more) relationships formed in South Africa. My contribution is a set of five pieces, typical scenes of more rural India. You’ll note they’re of quite a different style than those shown above in the Esther Wells Collection. It’s kind of a problem: I have too many favorite styles. And who knows what MORE will come on in the next year? Oh well, blessed be abundance.

And that’ll be my New Year’s wish for you.

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Ongoing and Upcoming Events

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Laguna Art Walk

Thursday, January 6, 6-9 p.m.
Anne at Sandstone Gallery
384 North Coast Highway
Hyatt at the Esther Wells Collection
1390 South Coast Highway

Lecture/Demonstration by Hyatt Moore

Carlsbad-Oceanside Art League
January 14, 2011, 1:30 p.m.
Calavera Recreation Center
2997 Glascow Drive, Carlsbad

Southwest Arts Festival

Again we’ll be showing and selling art at the Empire Polo Club in Indio, California
January 28-30, all day, each day

Semi-Private Coaching for Painters

Offering 2-hour sessions on Mondays, and now also on Saturdays
Call  949.240.4642

Printmaking Classes

In Anne Moore studio
Call for info: 949.240.4642

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Here’s a quick greeting to all our friends at the close of another great year. A year of life and art, of selling and buying, of receiving and sharing. It’s a back and forth process, like breathing. And we can be grateful for another year of that, too.

The Announcing Angel, oil on canvas, 8.5×6.5, For best view, click, and click again.

The image here is an assemblage of a number that came together this season with spirited wisps and rich, thick paint. I call them “The Announcing Angel.” It was the first Christmas greeting, and it wasn’t “Happy Holidays.” In fact, we have the quote, roughly  “I bring you good news of great joy that will be for all people . . . Today your savior is born, Christ the Lord.” Believing that changed those shepherds’ lives, as it has everyone who has taken that seriously since. It’s another thing we’re grateful for. Not just life, but life in its fullness.

And we’re grateful for our friends.  Until next year . . . keep breathing.  Keep believing.

Hyatt and Anne Moore

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Last month we talked about going to South Africa. We did. The occasion was the Lausanne Congress, a major gathering from many nations that happens about every 15 years. Mine was a very small part of a very large event, but it’s the part we’re covering here.

The best way to see these photos is to click for an enlargement. The week-long event was in the Cape Town Convention Center, with some 4200 participants and another thousand staff. Participants were leaders or workers in Christian organizations. I was the only painter.

Though we’d sent materials ahead, including canvas with already painted background, it all got hung up in customs. The day before it started we bought a Cape Town art store out of all their canvas and started again. The sling is from rotator cuff surgery mid-summer. I wore it as precaution some of the time.

Per plan, on the opening afternoon Anne and I scouted for any who might be wearing traditional dress, for the sake of possible paintings. Happily (or lamentably for some) we got more photos than we needed, like this lovely woman from India, or the Pakistani in the background, far right.

By that evening, here’s what the screen on my laptop looked like, 12 standing figures, ready to be enlarged, one at a time, as reference for a marathon of painting.

Ours was an area outside the main meeting hall where we displayed artwork we’d brought along, where we talked to people, I painted, and provided a bit of interest for pocket-camera photographers.

My goal was to produce 12 paintings in six days. They were three-quarter life size, on canvas (taped to board), in fast-drying acrylic. It wasn’t really as frenzied as it seems. I had plenty of time to stop and talk, or help Anne (though mainly she helped me).

The only way paint that much that fast is to get over perfectionism. I didn’t do any of these subjects the justice they deserved, but they were generally close enough.

In some cases, the  participant wore the same outfit again at the end. The paintings were given to the persons featured (removed from the boards and rolled up) as a gift to be displayed in their organizational offices–for many to enjoy. This one went back to Nepal.

And this one went to Mongolia. But not the hat. In appreciation, this Mongolian pastor and leader made me a gift of his hat. Of course it looked better on him.

We were pretty much cleaning up by the time this picture was taken. My “studio” area had been cleared out, and Anne was in the process of putting things away. The dozen witnesses looked on.

Here they all are just before the recipients started coming around to receive them. Each, of course, was grateful, and it was a nice way to finish our time. But it wasn’t over yet . . .

In the auditorium at the final evening, the spirit was lively and the room full of song . . . with full orchestra and full choir, and all our 5000 voices. The words spoken were a crescendo of the week. Then came gracefully draped dancers up the aisle in slow procession, leading up to a communion service being offered at stations around the giant room. Then, up on the center screen . . .

one of my paintings, hugely oversize, illuminated in back-lit glory, looking better than it ever did on canvas. I’d known they were going to do something, but I didn’t know what.

I don’t know what the subjects of the paintings were thinking, but it seemed more than fitting to see these beautiful faces from around the world, watching over our unifying service of bread and cup.

It was the Archbishop of Uganda presiding, with the assistance of a few others, and the painting of Grace Matthews of India, one of the convention planners, looking over.

Then another portrait would come up, this a church leader from Myanmar, another of the many places represented where it is not easy at all to take a stand for faith.

Then a third, this time again our friend from Mongolia . . . here wearing my hat.

Then there were six. All this went on for about 20 minutes, with the total atmosphere filled with music and movement and meaning.

In end all 12 pieces were there, looking back as us, spirits high, arms raised, God praised. It was a climax to an already lofty week.

And back home, as a memory, is my treasured Mongolian hat, a little golden crown, or is that a steeple? Whatever, it’ll be a nice memory of a great experience, where Anne and I were glad to to be a part.

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Ongoing and Upcoming Events

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Show at the House

Annual Thanksgiving Show and Sale, featuring new works and vintage
FOR THE INVITATION, GO HERE:  House Show 11’10-web
Or just note the following:
November 20-21
Saturday, 4:00-9:00
Sunday, 1:00-5:00
33752 Big Sur, Dana Point, California (949)240-4642

Lecture: How to Start a Painting

November 19, 2010, 6:00-7:30
San Clemente Art Supply
Call 949-369-6603 for reservation

Art Fair, Del Mar Fairgrounds

November 26-28
A great place for an outing. We’ll be setting up in a booth along with many other artists and craftspeople

Loosen Up Workshop

A very positive stimulus for mid-level painters
FOR DETAILS GO HERE: Loosen Up web
December 11-12 in San Clemente, California
Call: 949.369.6603

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