This is very different for me. This started from a very abstract sketch that I put away about one year ago. I saw it and wanted to do an abstract painting from it. The painting and style emerged as I worked on it very carefully and directly painting each stroke.It may have some Picasso (who I loved has work from childhood) and Cezanne influence. So funny coming back to this now. As a child so many of the ideas I wanted to paint I did not have the skills to accomplish. I remember huge amounts of frustration.
I was very pleased when Leisure Painter Magazine picked up my article on “Figure Work” that discusses a few different approaches in capturing a figure in paint. Included are outdoor painting studies. It is a very open minded magazine that provides a range of concepts for the painter.
The magazine was recommended to me by one of my students and I have had the pleasure of writing three articles for them in 2014. Thank you.
It is referenced as the UK’s best-selling learn-to-paint magazine.
Please pick up a copy or purchase one online to read the story here:
I tried to capture the visual and the emotional sensation of this moment in time.
“Sensationalism” is were the visual and the emotional sensation collide.
Painted with a painting knife
Patterns of different sized shapes or components in a painting create a visual repetition providing the artwork with rhythm and motion. Finished and unfinished recognizable parts allow the visual to be understood by the viewer and complete in their mind.
This is a good example of what I am discussing in my workshops as Chaos and Order. I use this to create a sensation in what I am referring to as my Sensationalism movement in painting.
© 2013 Daryl Urig
It can be a lot of fun to explore the possibilities of a painting.
This one stared with having a willing model to pose for me on a beach. In the cool gust of winds I failed to hold down my easel and paints while the model with now cold feet stood in the cold water in Hilton Head Island SC. Yes this is the practical side of painting, the reality of being in the moment and what the painter goes through to get an image.
The vision transcends the momentary earthly experience. I enjoyed the plein air paintings and was able to learn much about the color and movement of air. These paintings are not shown. Back in my studio I went forward with my plein air sketches and photographs taken on location to develop yet another 9 x 12 inch color study shown. Real experiences, plein air field studies, photographs and my feelings or impression from the experience had to now all come together in this study.
I learn so much from these smaller studies. I naturally simplify complicated shapes and gestures of the model into more meaningful visual interpretations. All painted with one painting knife.
From this I explored the more graphic and stylized abstract realism of the model in the environment of a beach setting. The beach and the woman seem to go perfectly together.
I am so looking forward to a new year of painting workshops across North America. With old acquaintances from past workshops and meeting new energetic painters that want to grow their abilities.
Lots of great locations for artists to retreat and refresh their creative energies. Warm climates in the cold time of year. Cooler weather for the hot and roasty times of the year. Cool breezes from a marsh or sea to refresh the air. Western getaways for the cowboy or cowgirl in everyone of us.
Starting in Florida, flying to California then back to the Carolinas and Georgia for a workshop. Catching up with some of my boyhood love of the west in Texas. Then returning to the coastal areas of South Carolina, Rhode Island, New Jersey and The Hamptons. I have always loved the water and allure of boats. I will then travel north to Vermont.
Flying out of the United States to Kelowna BC (the westernmost of Canada’s provinces) a charming and picturesque area. Staying west in Utah for 2 amazing workshops capturing my love for the Wild West. I loved those old cowboy movies and shows and they come to life here for me. Enjoying the beauty of Oregon, moving to the North Central region of the United States to a hidden area in Wisconsin.
I am so looking forward to the experiences and growth we can enjoy as painters in each others company. To me these are life experiences and opportunities I will cherish through my life. I will be doing what I truly love, painting, instructing and inspiring other painters in life and art.
Bluffton Oyster Company – Plein Air Workshop
I agree with Vincent Van Gogh – I am rich
It is a humble occupation being a painter
The CSI Approach to Painting
Development of – Woman on Beach : Looking for Sea Shells
Woman on Beach : Looking for Sea Shells
Summary of past blogs
I thought it would be fun to show you how I developed the Woman on Beach painting from a rough sketch directly on a canvas using a brush to the primary build up of the painting using only painting knives. A little brush works was used here and there. Beginning with the top image and working down to the completed painting at bottom.
© 2011 Daryl Urig
Woman on Beach : Looking for Sea Shells, Oil, 24 x 36 inches
© 2011 Daryl Urig