I’ve been painting some still lifes lately and am really enjoying doing them. They too are “painted from life”, but without the hassle of dragging your equipment outdoors and dealing with the elements, bugs and changing light during the plein aire painting process.
Painting from life is so important, as you see much nuance of color, light, shadow and depth that is lost in a photograph, even with today’s great technology.
In the north country where you have memory of what winter can be, summers are especially appreciated by both man and beast. This mallard is enjoying a beautiful summer day in a favorite place, a lily pad cove.
Sweet Summer is an oil, 11×14, and will be for sale at the Coeur’ d Alene Gallery’s Miniatures by the Lake Show on September 21, 2019.
Many deer share this home place with me, and I never seem to tire of painting them. I loved the lost and found aspect of this subject, as the late light of day did it’s best to camouflage the subject. Ah, but for that last bit of light.
For some reason these old vehicles call out to be painted. This one was no exception. I played up the blue and orange dynamic, and was interested in the dormant line of trees behind the truck. I tend to like landscape subjects that offer good, level horizontals, as does this. I often exaggerate that as well, feeling that the horizontal is important in tying the subject to the ground.
I can appreciate this painting more now, a month or so past
our Winter From Hell. The five weeks
of very cold temperatures and lots of snow became too much here! This scene is
not near home however. It’s on the west slope of the Tetons, near Driggs, ID.
Mule deer are one of my favorite subjects. While there are both
mulies and whitetail on the ranch, I am partial to the mulies, who have the
beautiful big mule like ears. The whitetail tend to claim the best ground for
grazing, and often run the mule deer up into the rockier areas. I guess I
usually root for the underdog!
On this piece, I used both gold and silver metal leaf. I am
happy with the effect and feel it works well with my deer pieces for some
“In the Tall Grass” was one of the pieces I sold at the Out
West Art Show this month in Great Falls, MT. It is 24×24, oil, and gold and silver metal leaf on board.
This is a rework of a painting I’d done earlier, from photos taken during a modeling session in my
studio. The first pass of “Luminaria” was pretty static and monochromatic. I am
liking it better now! This piece is an
Steamboat Springs, CO. in June sounds good to me! I am happy to announce that this painting, Treeline, was juried into the National American Women Artists annual show, to be held at the Steamboat Art Museum, May 24 – September 2, 2019. I am honored to be included, and will be attending!
I have painted this band of trees three times, all paintings being of that time at the end of day, as the silhouette of trees become one graphic shape that is sculpted by the Montana wind.
Bikers have always intrigued me as models, maybe because of their wild and free nature. But until last summer I haven’t had the occasion to get pictures of any of these guys so that I might paint them. At our July ’18 MPA Paint Out, some of us were camped at a campground on Rock Creek, south of Red Lodge, MT.
Deb and I went out painting the last day and came back that night to a campground devoid of artists, or women, except us – in our tiny little campers. The campground had been taken over by bikers getting ready for the Beartooth Rally! Initially, this was a little disconcerting, but by morning we had had some great conversation with a few of the guys camped next to us. Several of them were also nice enough to let me get some good photographs.
I confess I did do some editing of the vest patch verbage, and did try to make my painting a little more generic than my original photos. The subject was great fun and I found a little looser style when doing this painting! I hope to continue in that direction. “Through Rose Colored Glasses” is an oil, 36×24.
Yahoo! I was chosen as a Finalist in the Portrait Society of America’s Non-Commissioned Portrait category, for my painting “The Artist’s Wife”. Lots of symbolism there! This painting, 32×24, was my response to William Merritt Chase’s painting of the same title. I did this piece originally for an American Women Artist’s show at the Haggin Museum in California.
Chase’s painting, dated 1892 is shown below my own piece.
Stevens’ work reflects the small daily wonders of the land she calls home: the first crocus of spring, the resilient beauty of the plains, or that special sense of hope and possibility that is only found in the West. Stevens is also interested in regional history, particularly the interactions of Native Americans and white settlers during the Reservation Period. Many of her paintings are an exploration of this dynamic and a meditation on the “taming of the West.”
From Billings, MT, Laurie began her career as an artist in Los Angeles where she spent 12 years working for the entertainment industry as a scenic artist and muralist for television, theme park, theater and movie productions. She spent time as a member of the Walt Disney Imagineering team, lending her talents to many Disney theme park projects worldwide. She also did some set design, illustration, and matte paintings for several animated childrens’ movies.
In the 1980’s Stevens returned to her native Montana, first to the mountains near the Scapegoat Wilderness and then to the ranch near Great Falls where she currently lives and works.