Painting in the Narrative Tradition

From earliest times, people have used pictures to tell a story. Following in this narrative tradition, I have created, over a period of years,  a body of work that tells the stories of some of my earliest memories. Many of these paintings are hanging in our family room at this moment. Looking at them recently, I realized that I need to take the exhibit a step further.

Pictures are great, but to really tell a complete story, you need words. At least, I do. So I decided to add a ‘narrative’ to my ‘history paintings,’ so that subsequent generations will understand what I had in mind when I painted them.

I grew up in Chicago in the 1950’s and 60’s. My family was close, both in physical proximity and emotionally. My aunt and uncle, and my grandparents were always in each other’s apartments, celebrating holidays and family events, as well as taking many outings together within the city. They’re all gone now, but my memories of them are still vivid and alive.

Times change, and the lifestyle we enjoyed then is no longer possible, with families spread out all over the world. We don’t live in each other’s pockets anymore. So stories will have to take the place of experiences, and maybe my paintings can make my stories more vivid and real.

For example, Passover on 19th Street, shows a family at a Passover Seder. My father, grandfather, and uncle are reading from the Hagaddah, while my Grandma and aunt are working in the kitchen. My mom is next to my dad, putting a bowl of chicken soup with matzo balls on the table. The table is set with the traditional seder plate, wine and matzo, and the children are all at the table with the family. On the left side of the painting, a goat, (a kid-from the traditional song in the Hagaddah Chad Gadya – about one kid that father sold for two zuzim) peeks over the front door, and on the right side, there are the apartment houses that we lived in on Chicago’s West Side. There are a few extra guests at the Seder, which would have been normal. And the dining room isn’t what my grandma’s dining room looked like. But none of that is the point. What I hope viewers get from this painting is the sense of closeness and family celebrating a beloved holiday in a traditional way. I loved painting it.

Oils vs. Acrylics

I just spent 2 very happy Saturdays at the Scottsdale Artists’ School Portrait Open Studio. It’s been 7 years since I was a regular there, every Saturday morning, and it was fantastic to be back again. And…I learned a new technique. New to me, anyway.

I hadn’t brought any paints with me, only drawing materials, but I noticed that most of the others were doing “value paintings” using an oil palette of white, burnt sienna, and viridian. I’ve done plenty of value paintings, but never with viridian, so I couldn’t wait to get back to my own studio, break out the oil paints, and try it for myself. Today was the day!

I haven’t used oils in a while, but using them again today reminded me of why I love them and used them for so many years. They are so easy to play with, and they stay workable for hours, so there’s no rush. I can relax, take my time and enjoy the process. For my first effort at the new technique, I decided to copy one of the drawings I’d done at the Open Studio. I’m pretty happy with it, though still not sure if I like the viridian or not. I’ll work on it some more tomorrow, but here’s the ‘first draft.’

Monica, 12 x 9, oil and Monica, charcoal on paper, 14 x 11

A Note on Self-Publishing

There’s a reason traditional publishers earn the big bucks! I’ve just spent an exhausting several days attempting to update my website to include the latest novel in my Bella Sarver Mystery series: The Butterfly Carpet Murders. Having only the very foggiest knowledge of how to do all this, what would probably have taken a pro an hour or two took me forever, with lots and lots of trial and error. But finally, I think I’ve managed it. So check it out and see what you think. I’d love to hear comments and suggestions.

Hope you enjoy reading the book. I had a great time writing it!

Just Released!

The Butterfly Carpet Murders, the latest addition to my Bella Sarver Mystery series, is now available on Amazon.com.

It’s been a long two years and the pandemic isn’t over yet, but it’s finally under control, thanks to vaccines, masks, and treatment options. Bella Sarver and her husband, Art Halperin, are thrilled to be able to travel once more. They’ve been so looking forward to visiting the UK, particularly, the Scottish Highlands, home to so much beauty and fascinating history. True to expectations, the Highlands are indeed beautiful, but they’re also filled with ghosts from the past, ghosts that insist on intruding into the present.  When one of their fellow tourists meets with an accident, Bella wonders – was it an accident? Or something more sinister? Could it really be the curse of the butterfly carpet?

Though Art is leery of his wife getting involved with the case, Bella can’t help herself. She just has to figure out ‘who dunnit?’ Doesn’t she?

Available in paperback and Kindle editions.

Coming Soon

The Butterfly Carpet Murders

a new Bella Sarver Mystery

Bella Sarver is back! My husband and I visited Scotland last year and were fascinated by its beauty and especially, its long and complex history. Wouldn’t this make a wonderful setting for a new Bella Sarver mystery, I asked myself. The answer was ‘Yes, absolutely, ‘ so I got to work, and the result is The Butterfly Carpet Murders, to be released on December 14th, when it will be available on Amazon.com. Watch for the announcement!

It’s been a long two years and the pandemic isn’t over yet, but it’s finally under control, thanks to vaccines, masks, and treatment options. Bella Sarver and her husband, Art Halperin, are thrilled to be able to travel once more. They’ve been so looking forward to visiting the UK, particularly, the Scottish Highlands, home to so much beauty and fascinating history. True to expectations, the Highlands are indeed beautiful, but they’re also filled with ghosts from the past, ghosts that insist on intruding into the present.  When one of their fellow tourists meets with an accident, Bella wonders – was it an accident? Or something more sinister? Could it really be the curse of the butterfly carpet?

Though Art is leery of his wife getting involved with the case, Bella can’t help herself. She just has to figure out ‘who dunnit?’ Doesn’t she?

Kaleidoscope

Kaleidoscope, Acrylic/Mixed Media, 20 x 16

Sometimes my hands start itching, telling me I need to paint, but I don’t have any particular composition in mind. When that happens, I squeeze some paint on the palette and trust that the colors themselves will tell me what to do. I just ‘go with the flow’ and let the paint do its thing. After a while, an image begins to take shape. That’s when I can step in and gently nudge it in the right direction. The result? A kaleidoscope of color, sparkling on a beautiful fall day.

Paradise Re-Found

The pandemic affected all of us–young, old and in-between–in various ways, but I don’t think anyone was left unharmed. The most painful effect I experienced (besides contracting Covid. Twice.) was being deprived of my accustomed, almost daily, contact with fellow artists and writers. I always knew I valued those relationships, but I hadn’t realized how important they were to me until I wasn’t free to experience them anymore. One of the things that kept me sane (?) was watching episodes of Death in Paradise, not so much for the characters and plots but for the gorgeous, inspiring scenery. The beautiful, if fictional, Caribbean island of Ste. Marie reminded me that there was still life out there, and I’d get to see it again someday. So what better title for my recently completed paintings than “Paradise Found” and “Paradise Afternoon?” I hope you enjoy them.

Paradise Found, acrylic, 30 x 30, $1800

Paradise Afternoon, acrylic, 30 x 30, $1800

In A Mirror

As you know, our grandson, Dillon Jennings, passed away last November. He left behind a legacy of photos and poetry, which I have compiled into a nice hard-cover book and published for him, in his memory. If you’d like a copy, it’s available now on Amazon.com. Any proceeds from sales will go towards a memorial bench for Dillon in his favorite forest preserve, where he spent a lot of time and composed his work.

Click here to preview or purchase.

Dillon Jennings 1994-2022

My beloved grandson, Dillon, died almost three weeks ago. He was only 28 years old and should have had a long and happy life ahead of him. Instead, he somehow lost his way and couldn’t find his path back. Unbeknown to anyone, he seems to have spent much of the last year of his life roaming through the forest preserve near his home, taking wonderful pictures, and writing brief poems about them. To be honest, many of those poems don’t make a lot of sense to me, yet I can see a certain beauty in them, in his choice of words and images, in his rhythms and rhymes. Many of the others, though, are quite moving. Dillon thought a lot about the nature of the universe, about time, about God.

The photos, too, are well-composed and artistic. They aren’t merely snapshots, but carefully designed images. Dillon posted all his photos and poems on Instagram, where they were apparently seen by almost nobody. Not until after he was gone.

I have spent a lot of the time since he left us downloading all of the images and poems, and I am compiling them into a book, which I will publish when it’s ready. I’ve given it a title, based on one of the poems. In a Mirror—Reflections in Pictures and Poems. It’s all we have left of Dillon now. And our memories, of course. We—his family who loved him so much—will always keep his memory alive in our hearts.

About Consistency in Art

Artists are often advised to present a consistent body of work to the public, for very good reason. If you’ve developed a following, you owe it to your “fans” to give them what they expect. But as an artist, this is easier to say than to do. Creative people naturally want and need to experiment with various art forms, different media, interesting techniques. Even if you absolutely love abstractions, as I do, there’s nothing to stop you from also loving detailed landscapes and intricate still lifes.

When I exhibit, I make sure to maintain consistency. But in my own studio, anything goes. Here are two of my latest efforts, one completely abstract, with lots of texture and one in which I tried to capture the misty chill of a Scottish Highland stream.

Seas A-Rising, Acrylic, 20 x 16
Scottish Highlands, Acrylic, 16 x 12