![\"\"](\"http:\/\/www.hyattmoore.com\/egallery\/wp-content\/uploads\/2011\/03\/Chamber-Trio-11.jpg\" "\\"Chamber-Trio-1\\"")
<\/a><\/p>\nChamber Trio 1, Oil on Canvas, 36×48<\/a><\/h6>\nI’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.<\/p>\n
![\"\"](\"http:\/\/www.hyattmoore.com\/egallery\/wp-content\/uploads\/2011\/03\/Chamber-Trio-2-6501.jpg\" "\\"Chamber-Trio-2-650\\"")
<\/a><\/p>\nChamber Trio 2, Oil on Canvas, 16×20<\/a><\/h6>\nWhile 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.<\/p>\n
![\"\"](\"http:\/\/www.hyattmoore.com\/egallery\/wp-content\/uploads\/2011\/03\/Violinist-6501.jpg\" "\\"Violinist-650\\"")
<\/a><\/p>\nViolinist, Oil over Acrylic on Canvas, 43.5×24.5<\/a><\/h6>\nThis 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.<\/p>\n
![\"\"](\"http:\/\/www.hyattmoore.com\/egallery\/wp-content\/uploads\/2011\/03\/Julia-Sitting-650.jpg\" "\\"Julia-Sitting-650\\"")
<\/p>\n
Julia Sitting, Charcoal, 24×18<\/h6>\nDrawing Show at Esther Wells Gallery*<\/h2>\n
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).<\/p>\n
![\"\"](\"http:\/\/www.hyattmoore.com\/egallery\/wp-content\/uploads\/2011\/03\/Julia-Standing-650.jpg\" "\\"Julia-Standing-650\\"")
<\/p>\n
Julia Standing, Charcoal, 24×18<\/h6>\n
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.<\/p>\n
![\"\"](\"http:\/\/www.hyattmoore.com\/egallery\/wp-content\/uploads\/2011\/03\/Zovinak-Perched-650.jpg\" "\\"Zovinak-Perched-650\\"")
<\/p>\n
Zovinar Perched, pencil, 24×18<\/h6>\n
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.<\/p>\n
![\"\"](\"http:\/\/www.hyattmoore.com\/egallery\/wp-content\/uploads\/2011\/03\/Zovinak-in-Ink-650.jpg\" "\\"Zovinak-in-Ink-650\\"")
<\/p>\n
Zovinar in Ink, roughly 18×18<\/h6>\n
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\u00a0 horsehair. I sometimes use those in painting too. Very freeing.<\/p>\n
![\"\"](\"http:\/\/www.hyattmoore.com\/egallery\/wp-content\/uploads\/2011\/03\/Male-Face-in-Conte-650.jpg\" "\\"Male-Face-in-Conte-650\\"")
<\/p>\n
Male Face in Conte, roughly 16×16<\/h6>\n
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.<\/p>\n
![\"\"](\"http:\/\/www.hyattmoore.com\/egallery\/wp-content\/uploads\/2011\/03\/Model-in-Color.jpg\" "\\"Model-in-Color\\"")
<\/p>\n
Kerry in Color, Water Soluble Oil on paper, 24×18<\/h6>\n
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.”<\/p>\n
![\"\"](\"http:\/\/www.hyattmoore.com\/egallery\/wp-content\/uploads\/2011\/03\/Anne-at-Goldenwest-Show.jpg\" "\\"Anne-at-Goldenwest-Show\\"")
<\/p>\n
Anne at the opening explaining the magic of printmaking<\/h6>\nGolden West Printmaking Show*<\/h2>\n
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).<\/p>\n
.<\/p>\n
Ongoing and Upcoming Events<\/strong><\/span><\/h1>\n.<\/p>\n
*Dana Point Coastal Arts Concert Series<\/strong><\/h2>\n
<\/a><\/p>\nChamber Trio 2, Oil on Canvas, 16×20<\/a><\/h6>\nWhile 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.<\/p>\n
<\/a><\/p>\nViolinist, Oil over Acrylic on Canvas, 43.5×24.5<\/a><\/h6>\nThis 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.<\/p>\n
<\/p>\n
Julia Sitting, Charcoal, 24×18<\/h6>\nDrawing Show at Esther Wells Gallery*<\/h2>\n
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).<\/p>\n
<\/p>\n
Julia Standing, Charcoal, 24×18<\/h6>\n
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.<\/p>\n
<\/p>\n
Zovinar Perched, pencil, 24×18<\/h6>\n
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.<\/p>\n
<\/p>\n
Zovinar in Ink, roughly 18×18<\/h6>\n
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\u00a0 horsehair. I sometimes use those in painting too. Very freeing.<\/p>\n
<\/p>\n
Male Face in Conte, roughly 16×16<\/h6>\n
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.<\/p>\n
<\/p>\n
Kerry in Color, Water Soluble Oil on paper, 24×18<\/h6>\n
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.”<\/p>\n
<\/p>\n
Anne at the opening explaining the magic of printmaking<\/h6>\nGolden West Printmaking Show*<\/h2>\n
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).<\/p>\n
.<\/p>\n
Ongoing and Upcoming Events<\/strong><\/span><\/h1>\n.<\/p>\n
*Dana Point Coastal Arts Concert Series<\/strong><\/h2>\n
<\/a><\/p>\nViolinist, Oil over Acrylic on Canvas, 43.5×24.5<\/a><\/h6>\nThis 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.<\/p>\n
<\/p>\n
Julia Sitting, Charcoal, 24×18<\/h6>\nDrawing Show at Esther Wells Gallery*<\/h2>\n
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).<\/p>\n
<\/p>\n
Julia Standing, Charcoal, 24×18<\/h6>\n
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.<\/p>\n
<\/p>\n
Zovinar Perched, pencil, 24×18<\/h6>\n
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.<\/p>\n
<\/p>\n
Zovinar in Ink, roughly 18×18<\/h6>\n
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\u00a0 horsehair. I sometimes use those in painting too. Very freeing.<\/p>\n
<\/p>\n
Male Face in Conte, roughly 16×16<\/h6>\n
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.<\/p>\n
<\/p>\n
Kerry in Color, Water Soluble Oil on paper, 24×18<\/h6>\n
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.”<\/p>\n
<\/p>\n
Anne at the opening explaining the magic of printmaking<\/h6>\nGolden West Printmaking Show*<\/h2>\n
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).<\/p>\n
.<\/p>\n
Ongoing and Upcoming Events<\/strong><\/span><\/h1>\n.<\/p>\n
*Dana Point Coastal Arts Concert Series<\/strong><\/h2>\n
<\/p>\nDrawing Show at Esther Wells Gallery*<\/h2>\n
<\/p>\n<\/p>\n<\/p>\n<\/p>\n<\/p>\n<\/p>\nGolden West Printmaking Show*<\/h2>\n
.<\/p>\n