![\"\"](\"http:\/\/www.hyattmoore.com\/egallery\/wp-content\/uploads\/2012\/04\/Cellist-Soulful-Progress.jpg\" "\\"Cellist-Soulful-Progress\\"")
<\/a><\/p>\nFour stages of Cellist Soulful<\/em><\/h6>\nI myself wonder how a painting is going to go. I’d recently sold an abstract painting of a cellist through a gallery and thought I’d replace it. But this one took another direction style-wise. So rather than fight it, I just followed it.<\/p>\n
![\"\"](\"http:\/\/www.hyattmoore.com\/egallery\/wp-content\/uploads\/2012\/04\/Cellist-Soulful-650.jpg\" "\\"Cellist-Soulful-650\\"")
<\/a><\/p>\nCellist Soulful, oil on canvas, 28×20<\/a><\/h6>\nHere’s how it finished. One of my favorite parts of this painting is the cello itself, the bottom portion where it’s just a mess of light strokes without much definition. But, in context, it fits. Sometimes a painting is a verb, not a noun. Also, the cellist’s face, which I once had more detailed, is smooshed out to look like the rest. It’s an adjective, not a noun (“soulful”).<\/p>\n
![\"\"](\"http:\/\/www.hyattmoore.com\/egallery\/wp-content\/uploads\/2012\/04\/Ensemble-Beginnings-1-650x202.jpg\" "\\"Ensemble-Beginnings-1\\"")
<\/a><\/p>\nThe first stage of a four-painting set. (Click on these to view larger.)<\/strong><\/em><\/h6>\nSometimes a painting begins as a complete abstract. In this case, I had a remnant of unstretched canvas which I taped to the studio wall. I wanted four paintings so I masked it accordingly. After that it was random. I could have stopped at this point.<\/p>\n
![\"\"](\"http:\/\/www.hyattmoore.com\/egallery\/wp-content\/uploads\/2012\/04\/Ensemble-Beginnings-2-650x202.jpg\" "\\"Ensemble-Beginnings-2\\"")
<\/a><\/p>\nStage Two.<\/h6>\n
I put in a few “heads” as I thought I wanted figures. It was one of my students who said she saw “musicians.” \u00a0So that’s the direction it took.<\/p>\n
![\"\"](\"http:\/\/www.hyattmoore.com\/egallery\/wp-content\/uploads\/2012\/04\/Ensemble-Beginnings-3-650x206.jpg\" "\\"Ensemble-Beginnings-3\\"")
<\/a><\/p>\nStage Three.<\/h6>\n
I had no reference but what the various shapes suggested. Some of those were sacrificed, others augmented. Lines were introduced for guidance.\u00a0Working thoughtfully, not sure where it was going, here it is a few days in.<\/p>\n
![\"\"](\"http:\/\/www.hyattmoore.com\/egallery\/wp-content\/uploads\/2012\/04\/Ensemble-1.jpg\" "\\"Ensemble-1\\"")
<\/a><\/p>\nEnsemble 1<\/em>, oil on canvas, 20×16<\/a><\/h6>\nIn the end I removed the masking tape and mounted the canvas as four separate pieces, each ensembles of musicians.<\/p>\n
![\"\"](\"http:\/\/www.hyattmoore.com\/egallery\/wp-content\/uploads\/2012\/04\/Ensemble-2.jpg\" "\\"Ensemble-2\\"")
<\/a><\/p>\nEnsemble 2<\/em>, oil on canvas, 20×16<\/a><\/h6>\nSome of the serendipity of random strokes and shapes and colors is still there, others have become building blocks of\u00a0recognizable\u00a0form.<\/p>\n
![\"\"](\"http:\/\/www.hyattmoore.com\/egallery\/wp-content\/uploads\/2012\/04\/Ensemble-3.jpg\" "\\"Ensemble-3\\"")
<\/a><\/p>\nEnsemble 3<\/em>, oil on canvas, 20×16<\/a><\/h6>\nIt’s the creative process. As in Genesis, we take a bunch of raw material, apply whatever wisdom we can muster, then breathe life into it. What comes out is “finished,” but still looks like a work in process . . . just like every one of us.<\/p>\n
![\"\"](\"http:\/\/www.hyattmoore.com\/egallery\/wp-content\/uploads\/2012\/04\/Ensemble-4.jpg\" "\\"Ensemble-4\\"")
<\/a><\/p>\nEnsemble 4<\/em>, oil on canvas, 20×16<\/a><\/h6>\nThe four painting set could be purchased and displayed together or broken up in any combination. That’s one advantage of painting this way . . . a number all at once. Here it’s\u00a0quadruplets. Magical.<\/p>\n
![\"\"](\"http:\/\/www.hyattmoore.com\/egallery\/wp-content\/uploads\/2012\/04\/Traces-of-Yesterday.jpg\" "\\"Traces-of-Yesterday\\"")
<\/a><\/p>\nTraces of Yesterday<\/em>, monotype, 9.75×9<\/a><\/h6>\nHere’s a sampling of a recent creative spurt by Anne resulting in much new work. Though she doesn’t photograph her work as she’s making it, the process is much the same as above. She starts with a blank sheet, some raw materials, and a general idea. (That’s not mentioning her profound, yet understated,\u00a0aesthetic\u00a0sense.)<\/p>\n
![\"\"](\"http:\/\/www.hyattmoore.com\/egallery\/wp-content\/uploads\/2012\/04\/Fragments.jpg\" "\\"Fragments\\"")
<\/a><\/p>\nFragments<\/em>, monotype, 11.75×9<\/a><\/h6>\nFragments<\/em> seems a good title for this piece. Aren’t we all just a bunch of such, sometimes coming together in some sort of organized grouping? And, like this, it can make good sense.<\/p>\n![\"\"](\"http:\/\/www.hyattmoore.com\/egallery\/wp-content\/uploads\/2012\/04\/Traces-for-Tomorrow.jpg\" "\\"Traces-for-Tomorrow\\"")
<\/a><\/p>\nTraces for Tomorrow<\/em>,<\/a>
\nmonotype, 9×9<\/a><\/h6>\nSubtle touches and muted colors, found bits, scratches in still-wet ink, all building layer after layer under the pressure of the hand press, each contributes to the finished art. At what point it is finished is something only the maker knows. Each one beautiful and unique. Just like every one of us.<\/p>\n
![\"\"](\"http:\/\/www.hyattmoore.com\/egallery\/wp-content\/uploads\/2012\/04\/Consolation.jpg\" "\\"Consolation\\"")
<\/a><\/p>\nConsolation<\/em>, monotype, 8×6<\/a><\/h6>\nOf course, the digital files you’re looking at here don’t do justice to the art, which is actually\u00a0dimensional\u00a0in texture and has many\u00a0subtleties\u00a0in the layering of color. Her work has recently been delightfully “discovered” by a number of designers. It’s time, says me.<\/p>\n
<\/p>\n
<\/p>\n
_________________________<\/p>\n
New Work<\/h2>\n
Many new pieces are scattered throughout our respective websites.
\nClick here for paintings.<\/a>
\nClick here for Anne’s originals.\u00a0<\/a><\/p>\nBlank Slate<\/h2>\n
The new literary blog,\u00a0Blank Slate<\/em>\u00a0is currently featuring insights and personal applications from the Biblical book of Ecclesiastes<\/em>. Subscribers are finding it a lively discussion. Back issues are viewable on this website, above right. Or better yet: To subscribe, click here.<\/a><\/p>\nMoore & Moore Art Gallery in Dana Point<\/h2>\n
Open by Appointment
\n33752 Big Sur, Dana Point, California 92629
\n949-240-4642<\/p>\n
Semi-Private Coaching for Painters<\/h2>\n
Offering 2-hour sessions on Monday and Wednesday and Saturday mornings
\nin the Hyatt Moore Studio, Dana Point.
\nFor more info click\u00a0Art Coaching Flyer<\/a>.
\nOr call\u00a0 949-240-4642<\/p>\nPrintmaking Classes<\/h2>\n
<\/a><\/p>\nCellist Soulful, oil on canvas, 28×20<\/a><\/h6>\nHere’s how it finished. One of my favorite parts of this painting is the cello itself, the bottom portion where it’s just a mess of light strokes without much definition. But, in context, it fits. Sometimes a painting is a verb, not a noun. Also, the cellist’s face, which I once had more detailed, is smooshed out to look like the rest. It’s an adjective, not a noun (“soulful”).<\/p>\n
<\/a><\/p>\nThe first stage of a four-painting set. (Click on these to view larger.)<\/strong><\/em><\/h6>\nSometimes a painting begins as a complete abstract. In this case, I had a remnant of unstretched canvas which I taped to the studio wall. I wanted four paintings so I masked it accordingly. After that it was random. I could have stopped at this point.<\/p>\n
<\/a><\/p>\nStage Two.<\/h6>\n
I put in a few “heads” as I thought I wanted figures. It was one of my students who said she saw “musicians.” \u00a0So that’s the direction it took.<\/p>\n
<\/a><\/p>\nStage Three.<\/h6>\n
I had no reference but what the various shapes suggested. Some of those were sacrificed, others augmented. Lines were introduced for guidance.\u00a0Working thoughtfully, not sure where it was going, here it is a few days in.<\/p>\n
<\/a><\/p>\nEnsemble 1<\/em>, oil on canvas, 20×16<\/a><\/h6>\nIn the end I removed the masking tape and mounted the canvas as four separate pieces, each ensembles of musicians.<\/p>\n
<\/a><\/p>\nEnsemble 2<\/em>, oil on canvas, 20×16<\/a><\/h6>\nSome of the serendipity of random strokes and shapes and colors is still there, others have become building blocks of\u00a0recognizable\u00a0form.<\/p>\n
<\/a><\/p>\nEnsemble 3<\/em>, oil on canvas, 20×16<\/a><\/h6>\nIt’s the creative process. As in Genesis, we take a bunch of raw material, apply whatever wisdom we can muster, then breathe life into it. What comes out is “finished,” but still looks like a work in process . . . just like every one of us.<\/p>\n
<\/a><\/p>\nEnsemble 4<\/em>, oil on canvas, 20×16<\/a><\/h6>\nThe four painting set could be purchased and displayed together or broken up in any combination. That’s one advantage of painting this way . . . a number all at once. Here it’s\u00a0quadruplets. Magical.<\/p>\n
<\/a><\/p>\nTraces of Yesterday<\/em>, monotype, 9.75×9<\/a><\/h6>\nHere’s a sampling of a recent creative spurt by Anne resulting in much new work. Though she doesn’t photograph her work as she’s making it, the process is much the same as above. She starts with a blank sheet, some raw materials, and a general idea. (That’s not mentioning her profound, yet understated,\u00a0aesthetic\u00a0sense.)<\/p>\n
<\/a><\/p>\nFragments<\/em>, monotype, 11.75×9<\/a><\/h6>\nFragments<\/em> seems a good title for this piece. Aren’t we all just a bunch of such, sometimes coming together in some sort of organized grouping? And, like this, it can make good sense.<\/p>\n<\/a><\/p>\nTraces for Tomorrow<\/em>,<\/a>
\nmonotype, 9×9<\/a><\/h6>\nSubtle touches and muted colors, found bits, scratches in still-wet ink, all building layer after layer under the pressure of the hand press, each contributes to the finished art. At what point it is finished is something only the maker knows. Each one beautiful and unique. Just like every one of us.<\/p>\n
<\/a><\/p>\nConsolation<\/em>, monotype, 8×6<\/a><\/h6>\nOf course, the digital files you’re looking at here don’t do justice to the art, which is actually\u00a0dimensional\u00a0in texture and has many\u00a0subtleties\u00a0in the layering of color. Her work has recently been delightfully “discovered” by a number of designers. It’s time, says me.<\/p>\n
<\/p>\n
<\/p>\n
_________________________<\/p>\n
New Work<\/h2>\n
Many new pieces are scattered throughout our respective websites.
\nClick here for paintings.<\/a>
\nClick here for Anne’s originals.\u00a0<\/a><\/p>\nBlank Slate<\/h2>\n
The new literary blog,\u00a0Blank Slate<\/em>\u00a0is currently featuring insights and personal applications from the Biblical book of Ecclesiastes<\/em>. Subscribers are finding it a lively discussion. Back issues are viewable on this website, above right. Or better yet: To subscribe, click here.<\/a><\/p>\nMoore & Moore Art Gallery in Dana Point<\/h2>\n
Open by Appointment
\n33752 Big Sur, Dana Point, California 92629
\n949-240-4642<\/p>\n
Semi-Private Coaching for Painters<\/h2>\n
Offering 2-hour sessions on Monday and Wednesday and Saturday mornings
\nin the Hyatt Moore Studio, Dana Point.
\nFor more info click\u00a0Art Coaching Flyer<\/a>.
\nOr call\u00a0 949-240-4642<\/p>\nPrintmaking Classes<\/h2>\n
<\/a><\/p>\nThe first stage of a four-painting set. (Click on these to view larger.)<\/strong><\/em><\/h6>\nSometimes a painting begins as a complete abstract. In this case, I had a remnant of unstretched canvas which I taped to the studio wall. I wanted four paintings so I masked it accordingly. After that it was random. I could have stopped at this point.<\/p>\n
<\/a><\/p>\nStage Two.<\/h6>\n
I put in a few “heads” as I thought I wanted figures. It was one of my students who said she saw “musicians.” \u00a0So that’s the direction it took.<\/p>\n
<\/a><\/p>\nStage Three.<\/h6>\n
I had no reference but what the various shapes suggested. Some of those were sacrificed, others augmented. Lines were introduced for guidance.\u00a0Working thoughtfully, not sure where it was going, here it is a few days in.<\/p>\n
<\/a><\/p>\nEnsemble 1<\/em>, oil on canvas, 20×16<\/a><\/h6>\nIn the end I removed the masking tape and mounted the canvas as four separate pieces, each ensembles of musicians.<\/p>\n
<\/a><\/p>\nEnsemble 2<\/em>, oil on canvas, 20×16<\/a><\/h6>\nSome of the serendipity of random strokes and shapes and colors is still there, others have become building blocks of\u00a0recognizable\u00a0form.<\/p>\n
<\/a><\/p>\nEnsemble 3<\/em>, oil on canvas, 20×16<\/a><\/h6>\nIt’s the creative process. As in Genesis, we take a bunch of raw material, apply whatever wisdom we can muster, then breathe life into it. What comes out is “finished,” but still looks like a work in process . . . just like every one of us.<\/p>\n
<\/a><\/p>\nEnsemble 4<\/em>, oil on canvas, 20×16<\/a><\/h6>\nThe four painting set could be purchased and displayed together or broken up in any combination. That’s one advantage of painting this way . . . a number all at once. Here it’s\u00a0quadruplets. Magical.<\/p>\n
<\/a><\/p>\nTraces of Yesterday<\/em>, monotype, 9.75×9<\/a><\/h6>\nHere’s a sampling of a recent creative spurt by Anne resulting in much new work. Though she doesn’t photograph her work as she’s making it, the process is much the same as above. She starts with a blank sheet, some raw materials, and a general idea. (That’s not mentioning her profound, yet understated,\u00a0aesthetic\u00a0sense.)<\/p>\n
<\/a><\/p>\nFragments<\/em>, monotype, 11.75×9<\/a><\/h6>\nFragments<\/em> seems a good title for this piece. Aren’t we all just a bunch of such, sometimes coming together in some sort of organized grouping? And, like this, it can make good sense.<\/p>\n<\/a><\/p>\nTraces for Tomorrow<\/em>,<\/a>
\nmonotype, 9×9<\/a><\/h6>\nSubtle touches and muted colors, found bits, scratches in still-wet ink, all building layer after layer under the pressure of the hand press, each contributes to the finished art. At what point it is finished is something only the maker knows. Each one beautiful and unique. Just like every one of us.<\/p>\n
<\/a><\/p>\nConsolation<\/em>, monotype, 8×6<\/a><\/h6>\nOf course, the digital files you’re looking at here don’t do justice to the art, which is actually\u00a0dimensional\u00a0in texture and has many\u00a0subtleties\u00a0in the layering of color. Her work has recently been delightfully “discovered” by a number of designers. It’s time, says me.<\/p>\n
<\/p>\n
<\/p>\n
_________________________<\/p>\n
New Work<\/h2>\n
Many new pieces are scattered throughout our respective websites.
\nClick here for paintings.<\/a>
\nClick here for Anne’s originals.\u00a0<\/a><\/p>\nBlank Slate<\/h2>\n
The new literary blog,\u00a0Blank Slate<\/em>\u00a0is currently featuring insights and personal applications from the Biblical book of Ecclesiastes<\/em>. Subscribers are finding it a lively discussion. Back issues are viewable on this website, above right. Or better yet: To subscribe, click here.<\/a><\/p>\nMoore & Moore Art Gallery in Dana Point<\/h2>\n
Open by Appointment
\n33752 Big Sur, Dana Point, California 92629
\n949-240-4642<\/p>\n
Semi-Private Coaching for Painters<\/h2>\n
Offering 2-hour sessions on Monday and Wednesday and Saturday mornings
\nin the Hyatt Moore Studio, Dana Point.
\nFor more info click\u00a0Art Coaching Flyer<\/a>.
\nOr call\u00a0 949-240-4642<\/p>\nPrintmaking Classes<\/h2>\n
<\/a><\/p>\nStage Two.<\/h6>\n
I put in a few “heads” as I thought I wanted figures. It was one of my students who said she saw “musicians.” \u00a0So that’s the direction it took.<\/p>\n
I had no reference but what the various shapes suggested. Some of those were sacrificed, others augmented. Lines were introduced for guidance.\u00a0Working thoughtfully, not sure where it was going, here it is a few days in.<\/p>\n In the end I removed the masking tape and mounted the canvas as four separate pieces, each ensembles of musicians.<\/p>\n Some of the serendipity of random strokes and shapes and colors is still there, others have become building blocks of\u00a0recognizable\u00a0form.<\/p>\n It’s the creative process. As in Genesis, we take a bunch of raw material, apply whatever wisdom we can muster, then breathe life into it. What comes out is “finished,” but still looks like a work in process . . . just like every one of us.<\/p>\n The four painting set could be purchased and displayed together or broken up in any combination. That’s one advantage of painting this way . . . a number all at once. Here it’s\u00a0quadruplets. Magical.<\/p>\n Here’s a sampling of a recent creative spurt by Anne resulting in much new work. Though she doesn’t photograph her work as she’s making it, the process is much the same as above. She starts with a blank sheet, some raw materials, and a general idea. (That’s not mentioning her profound, yet understated,\u00a0aesthetic\u00a0sense.)<\/p>\n Fragments<\/em> seems a good title for this piece. Aren’t we all just a bunch of such, sometimes coming together in some sort of organized grouping? And, like this, it can make good sense.<\/p>\n Subtle touches and muted colors, found bits, scratches in still-wet ink, all building layer after layer under the pressure of the hand press, each contributes to the finished art. At what point it is finished is something only the maker knows. Each one beautiful and unique. Just like every one of us.<\/p>\n Of course, the digital files you’re looking at here don’t do justice to the art, which is actually\u00a0dimensional\u00a0in texture and has many\u00a0subtleties\u00a0in the layering of color. Her work has recently been delightfully “discovered” by a number of designers. It’s time, says me.<\/p>\n <\/p>\n <\/p>\n _________________________<\/p>\n Many new pieces are scattered throughout our respective websites. The new literary blog,\u00a0Blank Slate<\/em>\u00a0is currently featuring insights and personal applications from the Biblical book of Ecclesiastes<\/em>. Subscribers are finding it a lively discussion. Back issues are viewable on this website, above right. Or better yet: To subscribe, click here.<\/a><\/p>\n Open by Appointment Offering 2-hour sessions on Monday and Wednesday and Saturday mornings<\/a><\/p>\nStage Three.<\/h6>\n
<\/a><\/p>\nEnsemble 1<\/em>, oil on canvas, 20×16<\/a><\/h6>\n
<\/a><\/p>\nEnsemble 2<\/em>, oil on canvas, 20×16<\/a><\/h6>\n
<\/a><\/p>\nEnsemble 3<\/em>, oil on canvas, 20×16<\/a><\/h6>\n
<\/a><\/p>\nEnsemble 4<\/em>, oil on canvas, 20×16<\/a><\/h6>\n
<\/a><\/p>\nTraces of Yesterday<\/em>, monotype, 9.75×9<\/a><\/h6>\n
<\/a><\/p>\nFragments<\/em>, monotype, 11.75×9<\/a><\/h6>\n
<\/a><\/p>\nTraces for Tomorrow<\/em>,<\/a>
\nmonotype, 9×9<\/a><\/h6>\n<\/a><\/p>\nConsolation<\/em>, monotype, 8×6<\/a><\/h6>\n
New Work<\/h2>\n
\nClick here for paintings.<\/a>
\nClick here for Anne’s originals.\u00a0<\/a><\/p>\nBlank Slate<\/h2>\n
Moore & Moore Art Gallery in Dana Point<\/h2>\n
\n33752 Big Sur, Dana Point, California 92629
\n949-240-4642<\/p>\nSemi-Private Coaching for Painters<\/h2>\n
\nin the Hyatt Moore Studio, Dana Point.
\nFor more info click\u00a0Art Coaching Flyer<\/a>.
\nOr call\u00a0 949-240-4642<\/p>\nPrintmaking Classes<\/h2>\n