Floral series - still life. oil on canvas 36x36”.
Laid in the backgrounds on a series of three floral paintings that will go into the living room of a client. Carnations will be on the left, tulips on the right and sunflowers on the bottom.
Since all three will be side by side, I’m thinking the darker sunflower painting will go in the middle of the other two.
![Roses by Samuel John Peploe. [1920-1925].
Studying art always presents fantastic surprises. This morning, I discovered a still life by Samuel Peploe, a Scottish painter in the early teens of the 20th century. Now, I’m on a quest to research all of his work, sketch and study his techniques. Its evident during the early 20th century the linear and edgy influence of cubism in his work. In the 1920’s it seemed his work began to smooth out, yet adopt many of the geometric principles are still utilized.
Still Life of Fruit, Samuel Peploe
I’d like to share the Google image search of Peploe and roses - it’s a visual fireworks show of hundreds of beautiful floral still life. Has the textural and brushwork of Cezzane and the bright hues of Kandinsky. Peploe’s use of dark blacks in shadowing and edges brings the light whites and cream colors alive. Something I don’t think I have the courage to attempt in my work.
Roses in a Brown Jar by Samuel Peploe
National Galleries of Scotland has a nice collection of his work. I’m off to grab some pastels, a pad and experiment with some of Peploe’s concepts. I’ll post some pictures later.
What do you think of his work? Let me know your reactions.](http://24.media.tumblr.com/fb5adaa4770bf5fecb9582aeabb7d50f/tumblr_mfyygqsLsX1qlb475o1_400.jpg)
Roses by Samuel John Peploe. [1920-1925].
Studying art always presents fantastic surprises. This morning, I discovered a still life by Samuel Peploe, a Scottish painter in the early teens of the 20th century. Now, I’m on a quest to research all of his work, sketch and study his techniques. Its evident during the early 20th century the linear and edgy influence of cubism in his work. In the 1920’s it seemed his work began to smooth out, yet adopt many of the geometric principles are still utilized.
Still Life of Fruit, Samuel Peploe
I’d like to share the Google image search of Peploe and roses - it’s a visual fireworks show of hundreds of beautiful floral still life. Has the textural and brushwork of Cezzane and the bright hues of Kandinsky. Peploe’s use of dark blacks in shadowing and edges brings the light whites and cream colors alive. Something I don’t think I have the courage to attempt in my work.
Roses in a Brown Jar by Samuel Peploe
National Galleries of Scotland has a nice collection of his work. I’m off to grab some pastels, a pad and experiment with some of Peploe’s concepts. I’ll post some pictures later.
What do you think of his work? Let me know your reactions.
La Bellezza della Toscana (The Beauty of Tuscany)
I had originally planned to compile all of the travel paintings from a summer trip to Italy later this summer. After seeing the pictures, the Facebook posts from friends and artists in Italy who have been devastated by recent earthquakes, I rushed to put this together to try and do something to help. Even while writing this and compiling pictures of paintings, I read of another aftershock (5.1 magnitude) earthquake struck in Novi Di Modena in Emiglia-Romagna (News Link).
Montalcino Watercolor, ©Accorsi Studios.
Catholic Relief Services has a operative in Rome - Caritas Internationalis where people can donate to help. CRS has the highest percentage of funds that directly help the poor and traumatized in the world and I have worked with them for over 15 years. If you would like more information on how to help - click here.
I have compiled more than 20 paintings that are finally home from a show and will donate 10% of all the proceeds of sales of these paintings to CRS’s relief effort in Rome to help earthquake victims, children and reconstruction efforts.
Vinyard di Montalcino, watercolor on paper. ©Accorsi Studios.
My family and I spent a vacation together in Montalcino during the summer of 2007. Each morning I would wake up before the full sunrise to walk to capture the beautiful landscape of Montalcino and its vineyards while it too was still sleeping. The only movement were the old ladies making breads in the dimly lit bakery. Along the ridge near the Rocca di Montalcino fortress at the top of the town, I would sit and sketch privately for hours. The colors of the landscape seemed to be more brilliant before the hot Tuscan sun bleeched their hue. Trees seemed to be red, orange and violet at their base. The fields a cool blue and olive vermillion. The distant mountains were violet and light blue in the distance. The floor of the valley beneath Montalcino looked as if it were a quilt of yellow, olive, and orange patches woven together with light rises of hills in between.
Montepulciano, crylic on canvas. ©Accorsi Studios.
Take a look at the Italian paintings that were inspired by this trip. I will donate 10% of the proceeds to the CRS earthquake relief effort in Rome. It is such a beautiful place full of heartfelt and passionate people. Thank you for supporting art and helping people recover in Italy.
Essence of Montepulciano. mixed media and collage on canvas. ©Accorsi Studios.
Female Model, 24x30, Oil on Linen
by Michael Accorsi
Peruse Jason Juan’s expressive, figurative work with your favorite music playing and glass of wine - it’s an experience within itself. I had the opportunity to interview Jason this past week for EIL - enjoy!
MA: Tell us a little about your art background and studio. Where do you do most of your work?
Jason Juan: I recently moved to Bay Area. The art scene is still new to me at this point. For the last nine years I lived in Seattle and worked with Eastside Artists Collaborative, Gage Academy of Art, and Art or Not Terminal. I learned a great deal at EAC which is run by Larine Chung. We started to incorporate windows with natural light to the settings which create the best quality of lighting on the subjects.
Artist, 12x16, Oil on Linen
Artist is a portrait of my artist friend. It is such a joy when a painting got done so smoothly and everything just feel right. If the setting and lighting are right, the painting is halfway done. When I was painting him, he was actually drawing as well until the last ten minutes I asked him to look at me so I could finish the eyes.
MA: Can you tell us the methods you use to start a large work?: (sketches, smaller mock-ups, etc.)
Jason Juan: Before I paint a large sized painting, I prepare a smaller oil sketch usually around 9”x 12” to 16”x20”, or Charcoal/Pencil sketch which is usually 8.5”x 11”. With large work, it has to be done in several stages. I prefer to paint straight for a few hours so the canvas is still wet or wait for another week until it totally dried so I can work on it again. Sometimes sandpaper is used in the process especially for the smooth area such as skin before I put another layer of paint. I also paint over my old work a lot if some of the abstract elements in the old work is something I was to help in the composition for the new painting.
Temptation, 24x30, Oil on Linen
Temptation is a painting I developed from a quick sketch at one of my drawing sessions. The primary sketch is pictured below.
MA: What I enjoy about your figurative work is the interplay between realistic classical figurative work, then some interpretive contemporary twists and loose styles – how does this ability to have versatility work for you?
Jason Juan: I believe the contemporary twists and loose styles you saw in my paintings were from what I learn in Chinese calligraphy. Chinese calligraphy contains many elements which I feel has big connection with human figures, and sometimes I even feel they could be the same such as certain curve lines, compositions, and the power of the strokes.
Figure Sketch, carbon pencil on paper
MA: Are there any contemporary artists that you admire or made impressions on your work?
Jason Juan: There are many contemporary artists who have inspired my work. Here are just few of them: Chuck Close, Lucian Freud, David Leffel, Jeremy Lipking, Nikolay Blokhin and Carl Jackson, who is one of my instructors in school, and he shared personal and painting experience with me while I was learning to draw between 2002-2005.
The Light #3, 22x28, Oil on Canvas
MA: Where can interested collectors see and purchase you work?
Jason Juan: I worked on both traditional media and digital media. Waterhouse Gallery at Santa Barbara carry some of my oil paintings. Visit my blog or contact me for more detail info if you are interested in more paintings and limited archival paintings of my digital works.
Jason Juan in his studio
Jason Juan is a traditional and digital artist working in the San Francisco Bay area. After working for nine years in the Seattle art scene Juan is making an impression on contemporary artists across California. See more of his work and drop him a note on his blog. Jason Juan website
Michael Accorsi is an artist, painter working from his studio in Northern California. He writes about art on his blog Plotlines Art Journal. Connect with Michael on Facebook and Twitter as well.
