yellow water lily on dark evening pond 6x6

Waterlily in Evening Pond

6x6 inches / oil on panel
SOLD

The theme was yellow, black and white. This image is showing a tad bit warmer on my pc but I was rushed for the photo. For yellow I used 2 luscious warm hues: Cadmium-Barium Yellow Medium (a uniquely reddish orange/yellow) and Yellow Ochre (a deep, smoothly opaque neutral gold); as well as a cool Zinc Yellow (a favorite for enlivening a work). For black I mixed French Ultramarine Blue (a classic standby) and Raw Umber (another old reliable hue) and of course Titanium White.

Other artists' works on a theme: Yellow, Black, White

Other artists' work shown from top left:

"Sunny Back Light" 5"x7" Original oil on hardboard ©2010 Diana Moses Botkin http://dianamosesbotkin.blogspot.com/
'Grisaille in Yellow Ochre, Ivory Black & White' ©2010 Vicki Ross 11x14 oil on panel http://www.vickiandrandyrossart.blogspot.com/
"Rose in Glass Vase" 7x5 inches ©2010 Elizabeth Blaylock http://elizabethblaylock.blogspot.com/
"Behind This!" 12x12" oil on canvas © 2010 Suzanne Berry http://suzanneberry.blogspot.com/
"Yellow Man" 12x12 oil on panel © 2010 Robin Cheers http://robincheers.blogspot.com/

6 comments:

Diana Moses Botkin said...: Wow! You certainly got quite a range of colors in your beautiful painting with this extremely limited palette. I would love to know which tube colours you chose!; August 16, 2010 at 3:36:00 AM EDT
JEANNE ILLENYE said...: Thanks Diana. The painting is showing a bit warmer here (at least on my pc) but I was rushed so photographed at night. For yellow I used 2 warm hues: Cadmium-Barium Yellow Medium (a nice reddish yellow) and Yellow Ochre (a deep, smoothly opaque neutral gold); as well as a cool hue, Zinc Yellow (a favorite for enlivening a work). For black I mixed French Ultramarine Blue (a classic standby) and Raw Umber (another old reliable hue) and of course opaque Titanium White.; August 16, 2010 at 12:02:00 PM EDT
Anudeepa Kadiresan said...: you have magic in ur hand..; August 16, 2010 at 10:45:00 PM EDT
JEANNE ILLENYE said...: Thank you SO much, Anudeepa! What a lovely sentiment, indeed. I'm most appreciative. Jeanne; August 16, 2010 at 11:14:00 PM EDT
suzanneberry said...: I love this Jeanne, it's just lovely! The work you can do in a short span of time is just amazing!; August 17, 2010 at 2:05:00 PM EDT
JEANNE ILLENYE said...: Thank you SO much, Suz! I sorted through my piles of incomplete work and had this one underway so quickly grabbed & finished it just in time! Whew! Thanks for your lovely comments. Jeanne; August 17, 2010 at 2:22:00 PM EDT

Casual Elegance - Capturing Nature's Transient Beauty - COMMISSIONS WELCOME

the happy act

Families all over the U.S. have been forced to give up their pets because of financial hardship. H.R. 3501, known as the HAPPY Act (Humanity And Pets Partnered through the Years) would help Americans provide their pets with the medical attention and quality of life they deserve by making up to $3,500 of qualifying pet care expenses, including veterinary care costs, tax-deductible. This way, pets get to remain in their loving homes and don't wind up on the streets or in the already overburdened shelter system. CLICK HERE to email Congress asking them to support the HAPPY Act.

bio

An Early Start Predominantly a self taught artist, Jeanne Illenye demonstrated her aptitude early. Only a brief four years after her birth in 1957, Jeanne picked up a paintbrush and dabbled quite intuitively in her mother’s oil paints exhibiting an affinity for color mixing, and completed her first painting. Jeanne’s early fascination with the natural world was blossoming as well as a desire to interpret that beauty artistically. However, instructors always discouraged her attempts at realism by stating that it was strictly a camera’s function. Nevertheless, Jeanne’s enthusiasm to portray the nuances of our natural world in a respectfully realistic manner continued to grow along with an acknowledgement of nature’s delicate transience.
Inspired by the Dutch Masters It wasn’t until her introduction to the 17th century Dutch floral masterpieces at an exhibit in New York that Jeanne gained confidence to commit more fully to following her inner voice. Thus, a monumental attempt was begun to study every aspect of the dense, voluptuous florals by Cornelius and Gerard van Spaendonck, Jan van Dael, Jan van Os and the loosely casual arrangements of Jan van Huysum, in compositions of her own construction but that paid homage to those works she adored. Conversely, an appetite for simplicity revealed the paintings of American masters Robert Spear Dunning, Raphaelle Peale and William McCloskey, all of whom Jeanne emulated in her more rustic fruit arrangements.
Selling “Little Gems” Online As a reprieve from the intensity of creating larger paintings which took months to complete, Jeanne began a series of small paintings 4 to 10 inches known as her “Little Gems”. In an effort to clear out accumulated inventory after Jeanne and her husband relocated from New Jersey to Michigan, she began selling online and was met with such success that she joined a group of daily painters, producing nearly a painting per day. This afforded Jeanne an opportunity to refine her technical skills and experiment in new presentations by cropping her classical still lifes and repainting them as a whole thus creating an exciting new tension.
Evolution Transitioning further, Jeanne has begun to periodically lighten her palette and occasionally alter the perspective on her subjects, yet always relying on her classical roots such as employing the Hogarth Curve in varying forms within her compositions, sensitivity to light and shadow, a base of earth tones applied in thin glazes, to ultimately produce larger, fresher paintings. It is in these newest works where simplification of format and intensification of focus continue to reveal lighter, more emphatic paintings that simultaneously retain a delicacy of touch and sensitivity of spirit for which Jeanne is recognized. Perennial inspiration from her bountiful gardens, a reverence for nature and an acute awareness of the effects of time upon her subjects are what identify Jeanne Illenye’s work as both endearing and enduring as she captures nature’s transient beauty.

defining style

Merging classical realism with contemporary realism, along with her passion for preserving Nature are what define Jeanne Illenye’s voluptuous still life paintings. A freshness and clarity is emerging in a new style with a lighter palette featuring country treasures from her antique collections and gardens. To have your own collections featured in a custom painting, contact Jeanne HERE.

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like a leapord's spots

Transitioning from classical to contemporary realism truly caused me to feel like a leopard trying to change his spots; it didn’t seem right. It felt like I was changing who I am. However, my continued draw toward the crisp, bright clarity of my contemporaries’ paintings offered such a sense of refreshment that I became determined to change my spots, as it were...and so I did. My emergence did not occur overnight. Rather, it was a long, arduous process of editing my work to the very source of the energy within each painting, then eliminating all superfluous content, and most difficult, the brightening of my palette. While I continued to mix my own colors from the primaries plus white, I chose to eliminate the dark backgrounds for a fixed period of time so that I would no longer use the depths of darkness as a crutch. It was time to let go of the dark ages and bring myself and my work into the light.

A Reprieve

Summer, 2012
Reflection and Goals - Following My Heart

I've been reposting some older works lately and an occasional commission, as you may have noticed during my reprieve. After a busy five year schedule of painting constantly without a break, I'd decided to take off four months this past summer...and what an intense summer it was! Now that the weather has cooled, I'm feeling more refreshed and ready to complete some new, exciting work, the first of which is shown here. With the completion of over 100 paintings per year, I have decided to commit to my absolute favorite subjects: billowy blossoms, silver flatware, nests, crystal and lace. It's been a discovery process of selection, experimenting with different subjects as many of my contemporaries pursue, but voluptuous florals pull at my heartstrings, which I cannot deny. I've also been transitioning these past five years from the purely classical, old world style of painting still lifes, to a lighter palette with cropped compositions predominantly shown in my small Little Gems series, originally begun nearly 30 years ago and perpetuated by the more recent Painting a Day or Daily Painters movement. Another goal has been my constant aspiration to achieve a sense of realism which is a particularly humbling experience, and one that I will no doubt continue striving toward throughout my entire lifetime of painting. So all said, I'm hoping you enjoy my newest work, yet I'll honor commission requests for classical paintings as well. I invite you to join me as I continue my artistic journey, Capturing Nature's Transient Beauty.

2012: INFUSED with FRESHNESS

Several things come to mind when looking into 2012...shades of white, billowy blossoms and nests, vintage lace and silverware plus another subject and color that I've always adored, aqua painted wood. There's a refreshing juxtaposition about mixing delicately refined surfaces such as silverware or velvety rose petals with rugged textures...peeling paint...tree bark...moss...and something about aqua or turquoise complemented with clear, muted pinks and mauve...and of course varied textures within the scrumptious, limited palette of honey, cream and white. I'm so excited about 2012...hope you are, too!

Sustenance

“Take nourishment from the fruits of the Earth, but do not take more than you need, for greed is a dangerous thing. Rather, value the gifts from Earth’s bounty and honor her with a nurturing hand; work her soils with tenderness and keep her air and water pure so that we may continue to reap these vast and perfect rewards. We must be responsible stewards of all God’s creatures, and remember that this delicate balance within which we exist, once disrupted, can immensely impact the fragility of all life. So take sustenance . . . but not more than you need . . . for within our hands lies the future.” ~ jeanne illenye

creating visual tension

Early attempts at contemporary realism used cropped images. I’d noticed when first designing my website back in 1997, that my large classical paintings were given a new energy when cropped. Such excitement ensued but at the time I’d not dared to create a painting entirely of a cropped image. How absurd I thought. A decade later, it became my first attempt at creating a contemporized version of my work. Subsequently, I began designing compositions as such when editing photos of my still life arrangements in my studio as well as garden images. To zoom in on the details as I saw them in the garden brought new life to my work. Hence a deliberate effort was made to become a more precise painter, exacting details such as textural effects of a flower petal or stem, etc. Several more years of practice began in order to elevate my technique to a higher standard commensurate with today’s masters. It’s likely going to be a lifelong process, but thus far my progress has been personally gratifying enough to move into the next stage of personal growth.

treading softly

Always having an avid appreciation for nature’s beauty, I’d spend hours strolling through my small gardens in awe of the complexity and patterns of life. Everything was a marvel for the all senses, from the concoction of sweet fragrances to the intense study of a Bumble Bee who tumbled around the stamen of a flower while filling his legs full of pollen, to the vast array of birdlife joyously providing a choir of ethereal music, to the moss upon the bricks, and the insect eaten leaves as they browned from bruising, to the curled bud of a rose or the round bud of a peony . . . how could all those petals be in there? ...to the prickly pod of the poppy. Such a delight . . . such awe . . .such confirmation of one’s faith. It is with a humble heart that I attempt to interpret these Earthly gifts onto a canvas or plank of board. Sheer inspiration and elevation of spirit . . . the process of my work is what spurs me onward . . . to feel a kinship with all living things.

2011: Thoughts for the Day

January 17, 2011 - Just browsing my sidebar I was reminded of unachieved goals such as 2009 "A Year of Flowers", 2010 "Painting in a New Light" with plans for several new series, my favorite being "Treading Softly", and now 2011 will be a combination of them both. While fulfilling commissioned orders, I am constantly thinking about my artistic goals and the paintings that live in my mind's eye. While I always place my clients' orders ahead of my personal ambitions, I have vowed this year to skim some time off my schedule to squeeze in paintings that will hopefully prove to be quite refreshing and exciting! This week after I complete the last two commissions for 2010, a larger floral and a lifesized pet portrait, I will pause between picking up my brush for scheduled 2011 commissions, and begin a smaller painting 8x8 inches that will suggest my new direction. I'm most excited to share this with you!

2010: New Directions

Refining FOCUS
Enhancing TECHNIQUE
Deliberating PURPOSE

As I continue to complete many paintings begun in 2009 which will be offered in the first quarter 2010, you will also begin to see the emergence of new characteristics in my work. Look for a more refined focus which will include simplified, more emphatic still life compositions as well as a more expansive portfolio of floral botanical and garden paintings. All will reveal a new light with specific focus on the following series:

* nothin’ but pink series floral botanicals
* silver series still lifes of antique sterling silver
* treading softly series garden images

Also look for the publication of my first book in 2010

SERIES PAINTINGS

1980 little gems (current)
1989 windows / looking out (retired)
1995 olde world classical (retired)
1997 chocolate / decadent delights (retired)
1997 serene spaces (retired)
1997 antique victorian silver (current)
1998 looking up (retired)
1998 looking after them (semi-retired)
1999 nothin' but pink (current)
2010 treading softly (spring 2011)
2010 new light (spring/summer 2011)
2011 untidy garden
2011 shades of white
2011 lilac dreams
—-
ethereal landscapes (TBD)
winter whites (TBD)
textures (TBD)
moods (TBD)
billowy blossoms (TBD)
cottage blooms (TBD)
summer rain (TBD)
the ancients (TBD)

spring rainbow

IMMERSED IN A RAINBOW OF COLORS AND AN ARRAY OF DELICATE TEXTURES
Having been emotionally consumed by Nature's vibrant beauty, I've been unable to draw myself out of the garden and into my studio. However, I'd like to take this opportunity to jot a friendly note to say that I've been watching my survey results and continue to see an overwhelmingly positive response to my floral paintings. Therefore, as Spring is currently in full bloom here in Michigan, you may expect to see a resurgence of same reflected in my work. With initial gardening chores underway (although gardening really isn't done until the snow flies) and with the premature onset of Summer's heat, I am driven indoors to the coolness of my studio where the colors, textures and glory of the seasons manifest into paintings.

an untidy garden

"An untidy garden is an artist's dream . . . ." Jeanne Illenye 2009

As I begin to catch up on my commissioned paintings of both still lifes and pet portraits as well as my artistic charitable donations, I will finally be able to begin exploration into my personal painting goals,

2009 . . . A Year of Flowers

When one has the heart and sympathy of both an artist and gardener, the results are that of an untidy garden . . . which offers the most uniquely beautiful images for painting. Watch as I finally begin my foray outdoors and temporarily abandon my still lifes to bring you some botanical and garden paintings while the season is in her fullest burst of song proudly exhibiting her most voluptuous blooms!

Watch as my garden sings and my brush joins the chorus!-- Jeanne Illenye

Gardening to Save the Bees

It’s always reassuring to learn that more people talking about saving the bees. Hard to believe our U.S. government just never seems to have it’s priorities right, particularly with regard to Nature, even when other countries in the world are strides ahead of us regarding environmental protection. The best we can do is talk about it to everyone we know, and then practice organic gardening…or at the very least, just permit a few “weeds” to stay in the lawn or gardens. Afterall, weeds are only God’s beautiful gifts where mankind doesn’t want them. We hand pull many of the Dandelions in our lawn and I think my hubby deliberately neglects some which means seeds for flowers next year. Also in our lawn is the most charming little blue flowering creeper, Creeping Speedwell, which I’m sure the neighbors frown upon, but which I find so gorgeous and of course the bees utterly adore it. This year the popular “weed” talk is targeted at the lovely Garlic Mustard, which I don’t understand why everyone doesn’t just leave it alone as it’s another delicate beauty. Oh, and another that has really spread quickly and that bees absolutely LOVE are Jewel Weeds…yes, that’s the name. It’s a tall, spindly, shade loving plant that masses together to form fabulously huge waves of delicate green foliage with incredibly delicate little orange flowers dangling from the tops. A real gem (pun). My gardens are always home to various wildflowers that encourage bees of all types. Yes, it’s a little bit wild, but I try to keep the front edges tidier and give the rest to Mother Nature…afterall, she knows best!!
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Why I Paint

"I think we all have been blessed with many gifts which we interpret differently...I happen to paint. But being a painter is not everything...it's not about being technically book learned, or how many degrees one can acclaim, or even the monetary value placed upon a work of art, as these do not necessarily reveal an intuitive creative spirit, or passion and appreciation of our natural world. We artists all paint for different reasons, and mine just happens to be because I truly, truly LOVE our precious Earth and all her diverse beauty. If I wasn't a still life artist and had more exposure to vast and dramatically scenic areas, I'd no doubt be a landscape artist...or perhaps I might choose wildlife art. However, since growing up in the suburbs of New York City, my focus was more closely directed specifically toward the earth beneath my feet. I believe that is where my passion for still lifes began because they mimic my childhood curiosity about Nature...when small and close to the ground one can pick a Buttercup or Clover, Ladybug or rock and examine it with great fascination. To me still life painting is really doing just that but on a more mature level, yet the wonder and enthusiasm is still there! It's my gift to be able to "see" and to paint is my way of sharing the glory...on a spiritual level, His glory...and painting for me is indeed a spiritual experience, for how could it be anything else when in the presence of Nature's sheer perfection?" Jeanne Illenye (c) 2010

painting in zen

"For me it most noticeably occurred about 15 years ago with the creation of the most challenging paintings of my life, my huge, elaborate florals. The process was so intense and required so much mental energy it was peculiarly more work than studying differential equations or chemistry. Those paintings took months to complete as I taught myself how to grow to a new level. What is that Zen feeling for me? Where time is incalculable...observation and skill merge into a spiritual experience. Hurdles are long forgotten and I seem to be in a comfortable plateau in terms of color mixing, composition, balance, etc. The tea kettle boils dry...the promise of only a few minutes at my easel soon brings the realization six hours later that it's 3AM...the insatiable desire to keep recording ideas on panels that stack up by the dozens in my studio before I can find time to get back to them...the meditative state that occurs every time I sit at my easel...I call it auto pilot...the ability to tune out...the familiarity of spending so much solitary time in deep concentration. Only the jarring sound of a phone or the undeniable sweetness of birdsong or fluttering wings splashing in the birdbath can pull me away momentarily from my easel...before my work once again beckons. It's a spiritual experience which I hope my work someday lives up to. Right now I'd say the richness of the process actually exceeds the results...but I'm working on that...." Jeanne Illenye (c) 2010

About Time . . .

Predominantly a self taught artist, Jeanne Illenye’s early studies of the Dutch masters provided a solid foundation for her large, classical still lifes. However, in more recent years Jeanne has joined the trend of contemporary realist masters whereby utilizing simpler, more punctuated compositions. The most singular hallmark of Jeanne’s work aside from an obvious aesthetic beauty, is her depiction of age. Whether torn stems of peonies cascading from a cracked porcelain bowl, a broken Robin’s egg fallen from it’s nest, a threadbare baseball perched upon a rustic woodblock, collections of antique silver and lace, or dew kissed roses in a jelly jar, one quality prevails . . . her reverence for nature and an acute awareness of the effects of time upon her subjects thus making Jeanne’s work both endearing and enduring.

Rosebud by Selma Swanson or Vernie White

It is only a tiny rosebud, a flower of God’s design.
But I cannot unfold the petals with these clumsy hands of mine.
And the secret of unfolding flowers is not known to such as I.
God opens this flower so sweetly, when in my hands it dies.
If I cannot unfold a rosebud, this flower of God’s design,
Then how can I have the wisdom to unfold this life of mine?
So I’ll trust in Him for leading each moment of my day.
I will look to Him for His guidance each step of the pilgrim way.
The pathway that lies before me, only my Heavenly Father knows.
I’ll trust Him to unfold the moments, just as He unfolds the rose.
-- Selma Swanson (Previously thought to be an anonymous author, I was recently advised by Ashley Zauderer, the author's great granddaughter, that this exquisite poem was first published in the magazine "Modern Maturity" in the 1950's. Now I have recently been advised by Angelene Phyler that her mother, Vernie White wrote the poem. I am a firm believer in giving credit where credit is due, but I'm sure that whoever the author is, she would be delighted that so many adore her heartfelt sentiment.)

Favorite Daily Quotes

Over the years I've received so many beautiful, heartfelt sentiments from my clients, patrons and followers that I absorb as nourishment for the soul. Since they come to me from countless sources, I'd never had time to gather them in one place as some artists do, but once in awhile something will linger on my desk such as this cheerfully poetic phrase which I enjoy daily:

"I can tell you are well when your paintings cast a spell." --Lorna MacPhee

Another inspirational quotation on my keyboard:

"If one advances confidently in the direction of his dreams, and endeavors to live the life that he has imagined, he will meet with a success unexpected in common hours." --Henry David Thoreau

...and on my easel, although completely obliterated by paint yet committed to memory:

"Success usually comes to those who are too busy to be looking for it." --Henry David Thoreau

Dust by Celia Thaxter (1835-1894)

Here is a problem, a wonder for all to see. Look at this marvelous thing I hold in my hand! This is a magic surprising, a mystery, Strange as a miracle, harder to understand. What is it? Only a handful of earth: to your touch, A dry rough powder you trample beneath your feet, Dark and lifeless; but think for a moment how much, It hides and holds that is beautiful, bitter or sweet. Think of the glory of color! The red of the rose, Green of the myriad leaves and the fields of grass, Yellow as right as the sun where the daffodil blows, Purple where violets nod as the breezes pass. Think of the manifold form, of the oak and the vine, Nut and fruit, and cluster, and ears of corn; Of the anchored water-lily, a thing divine, Unfolding its dazzling snow to the kiss of morn. (read more)

A life worth living...

Food for the Soul

"You [LORD Jesus] care for the land and water it; You enrich it abundantly. The streams of God are filled with water to provide the people with grain, for so You have ordained it. You drench its furrows and level its ridges; You soften it with showers and bless its crops. You crown the year with Your bounty, and Your carts overflow with abundance. The grasslands of the desert overflow; the hills are clothed with gladness. The meadows are covered with flocks and the valleys are mantled with grain; they shout for joy and sing." Psalm 65:9-13

often I paint from memory

Excerpts

... idea and structure of a painting almost come to fruition simultaneously as I briefly stare at the blank canvas, and then evolve rapidly as I begin a raw, unplanned underpainting. This process is the most exciting for me as it requires maximum creative force and foresight....

...calculation and placement of every detail on an abstract level while at once remaining sympathetic to the knowledge of a flower’s actual appearance.

...final stage is reached I begin to have fun again. This is where I add legs dangling from a hovering bee and add an ethereal quality to the wings of a butterfly....

(read more)

Dear Friends,

Welcome to my MAIN blog. (Links to my other blogs will be found in the sidebars.) I've endeavored to address some common questions here, but if you have additional querries I would be most delighted to hear from you!

In the meantime, enjoy browsing my blog containing over two hundred painting images on two pages, as well as reading about my process and some helpful tips about caring for your oil paintings. The sidebar images are links so just click on them. All painting images in this blog can be enlarged by clicking on them for more detailed viewing.

> Paintings are shipped worldwide, personally packaged and fully insured using the U.S. Postal Service Priority Mail or Overnight service.

> All paintings are original works of art painted in oils on canvas panel, stretched canvas, gallery wrapped canvas or Gessobord primed masonite panel using archival quality materials and traditional methods. Paintings are signed front and back with my personal label affixed.

> I never create prints of any kind. If you see a print of my work it has been created illegally.

> Sale of a painting does not entitle buyer to use the image. Copyrights are retained by me, the artist. If you wish to "borrow" an image for a one time use such as a bookjacket cover for publication, etc. kindly email me.

> Commission inquiries from galleries, interior designers, magazines, book publishers, and private individuals are welcome.

> I am a PayPal Verified User and also accept personal checks. Layaway plans offerred.

> If you see a painting that has been sold but want something similar please email me. If a painting is not marked sold it is available for purchase. Some paintings are available through my ebay store. Read over 150 testimonials.

> Feel free to link your site to any of mine: still lifes, landscapes, wildlife and pets.

> I will be offerring tutorial videos in the future as well as several books currently underway.

> View my ebay "me" page.

> Read about my artistic motivation.

> My work is in private collections worldwide.

Thank you for visiting and I hope you find something you like!
All the best,
Jeanne

care and framing

Glass: The first thing one must know is that oil paintings should not be under glass. One exception is for antiques that are are painted on paper or thin card that naturally deteriorate in time, and even they should be framed with spacers so the oil painting never touches the glass. Oil paintings must "breathe" meaning they need to expand and contract with atmospheric changes. As I've seen an increased number of my own paintings being displayed in elaborate new and renovated kitchens, I wish to add a postscript here. While my own work is protected with varnish, for paintings displayed in or near food preparation areas such as over a rangehood or on a backsplash, please do use glass, preferably the newly available "museum quality" glass as this is virtually invisible, whereas non-glare glass will impart a grayish haze when viewing the painting. In any event, spacers are a must. Glass is therefore preferable to risking grease and water damage even to a varnished painting.

Dust Covers: Brown paper dust covers that are commonly placed over the backs of framed paintings are not recommended for oil paintings on linen or canvas cotton duck mounted on stretcher bars as this can trap moisture and cause decay. Many frame shops insist on adding dust covers for cosmetic reasons and are ignorant of the potential harm so be sure to advise them.

Varnish: Traditionally, oil paintings are varnished with a significant brush application six months after the painting is complete. This heavier varnish application will naturally darken with time and can be professionally removed in 50-100 years for a re-application. However, as I personally paint with such fine, thin glazes it is safe for my paintings to receive a light spray coat of gloss varnish for protection prior to shipment.

Lighting: Oil paintings should not be placed in direct sunlight. When illuminating your oil painting with a frame mounted picture light, be sure the wattage is lower than recommended as the heat expelled from such close, intense light can be drying and cause crazing in time.

No Cleaners: Only a light dry dusting is necessary periodically. Never use any cleaning agents, even on a varnished painting.

Stretched Canvas/Linen: For paintings on canvas or linen mounted on wooden stretchers, sagging can occur. What I recommend at first is to dampen a paper towel and very gently moisten the back of the painting and let air dry. If the sagging persists, it is easily remedied by the use of shims inserted and tapped into the corners of the stretcher frame. For all my paintings on canvas, I use archival quality products which come prestretched to the proper tension and have notches carved into each side of the corners to receive these shims comfortably, if necessary.

Masonite: Oil paintings on masonite panels that have been proefssionally primed, as mine are by archival quality standards, will last for generations with proper care as listed herein. If, however, your painting will be displayed in a setting with high humidity and volatile atmospheric changes such as a coastal region, it is often recommended for larger paintings, that they be on stretched canvas or linen in order to maintain maximum flexibility.

With proper care, your oil paintings can be enjoyed for generations. CLICK HERE for more information on general care and professional conservation of your oil paintings and frames.

soul and purpose