"Queen of The Missions"

Mission Santa Barbara was founded on December 4, 1786 by Father Fermin Lasuen, Presidente of the California Missions Chain.  It was the 10th Franciscan mission built in Alta California. Aptly named "Queen of the Missions" for its graceful beauty it is the chief cultural and historic landmark in the city of Santa Barbara and sits high atop a hill looking down to the Pacific Ocean.  People come from far and wide to visit this beautiful piece of architecture, as do many artists set up their easels in the hopes of making it immortal.

I chose to paint this subject from the rear because I wanted to show how proximal it is to the ocean and how beautiful and breathtaking that view is.  Most artists tend to paint it from the front with the back-drop of the mountains because it is so majestic-looking. Living in Santa Barbara is like living in Monaco with the rights and privileges of living in the United States.  After the last great earthquake leveled the town, this was the only building that remained in tact, and so the town was rebuilt in the Old Spanish Style of Architecture.

"Queen of the Missions" (24"X 30")  Oil on Canvas          $2,100.00

Van Stein: Lesson on Perspective June 9, 2010

Van Stein: Lesson on Perspective June 9, 2010

"View from the Pecos Mission Ruins"

A trail that is a little over a mile long begins at the Pecos National historical Park visitor center and winds through the ruins of Pecos Pueblo and the mission church.  This sizeable Pueblo community on the edge of the Plains was occupied for over 400 years.  It was important in the history of the Spanish arrival in New Mexico, and the Spanish built and occupied a mission at the site for about 200 of those years.  The site was abandoned in the 19th century by its last Pueblo residents

On a rainy June morning I made this painting after having to run for cover in a nearby shelter.  The  mission ruins were beautiful to behold, but the sight of the walking rain in the distance coming down over the Glorieta Pass Battlefield (from the Civil War) captured my attention.  In New Mexico it is not unusual to be driving down the highway (which, by the way, is a very panoramic experience in some places) and while it may be beginning to snow you can look off to your left and see bright sunlight reflecting off the hills in the distance and the walking rain coming down right beside it.

At this time I was standing in the sunlight which was coming through a hole in the sky and the angry cloud cover made everything in the distance look gray and foreboding.

"View From the Pecos Mission Ruins"     24" x 36"               (Oil on Canvas)      $2,600.00

"Latir Waterfall"

This gem was painted on the way to the Latir Lakes.  In order to get up into the canopy before arriving at the Lakes, it is necessary to traverse streams like this one which the trail keeps criss-crossing.  A four-wheel drive vehicle or the like is recommended, but traveling by horse is my personal choice -- the only trouble being the need to return with the wet painting.  The loco weed is very prevalent here in the month of July, so I have to watch carefully what my horse is eating. For those of you who enjoy fly-fishing, this is one of the best areas in Taos County to visit.  In May or June you can catch your stash of cicadas (big as birds) for bait and the sound can be deafening -- much like a symphony of locusts.

The weather is always a lot cooler at these altitudes -- even in the hottest part of the summer, so you will want to be prepared.  The trek upward is much like what is seen in this painting -- a jungle of vegetation while the Springtime run-off races down the hillsides, constantly moving and dazzling the eye as the sun filters through the canopy like dancing jewels.  It had to be painted quickly, as you may have noticed by the broad brush-strokes and occasional use of the palette knife.

"Latir Waterfall"           (20" X 24")           Oil on Canvas                $1,400.00

"La Morada de Taos"

This is a painting of one of many structures in Northern New Mexico which are known for places of worship that were used by an enclave of the Catholic Church known as the Hermanos Penitentes. The Penitentes are a society of individuals who, to atone for their sins, practice penances which consist principally of flagellation, carrying heavy crosses, binding the body to a cross and tying the limbs to hinder the circulation of blood.  These practices have prevailed in New Mexico since the beginning of the nineteenth century.  Up to the year 1890, they were public; at present they are secret, hence there are no windows on these buildings so that these practices may be completely private.

La Morada is located on the edge of the Taos Pueblo land, not far from the home of the Infamous Mabel Dodge Lujan , a wealthy heiress who moved to Taos in 1919 and married a Pueblo Indian named Tony Lujan. She had a very tumultuous relationship with D. H. Lawrence whom she invited out here to start a literary colony.  I have ridden all of the Taos hillsides, making my own maps (of places that were accessible to horse-back riding).  At the far end of the courtyard to her house there is a gate that a horse can just barely squeeze through.  Once out in the desert I would have that sense of being truly alone in a historic area and would feel myself go back in time.  It was truly a remarkable experience.

I chose to paint this historic site in the winter time when I could introduce a lot of ultramarine (a very cool blue shade) into the snow shadows and contrast them with the complementary colors of the adobe.  You can feel the cold, as though you are standing there on the grounds with virtually no footprints around, except for the tracks of an occasional mountain lion or jack rabbit.  It is no wonder that New Mexico is referred to as "the land of enchantment" because of its outward appearance, but every time I look at this peaceful structure I am always reminded of the bloodshed and mayhem that takes place inside its walls.

"La Morada de Taos"        (12" X 20")        Oil on Canvas                     $950.00

"Morning at Hendry's Beach"

This is one of my favorite beaches in Santa Barbara.  It is never too crowded, dog friendly, and there is a great restaurant in the parking lot.  Located on the edge of Hope Ranch, an area rich in history, you can take a long walk and be completely alone in no time at all.  This painting was made in the early morning.  The light is blinding as it is refracted off the particles of mist, but as the mist begins to lift, the cliff, which is teeming with wildlife will take your breath away.

In order to execute this painting I had to place myself on the sand and the sea was rather choppy that morning. When the sea is choppy there will always be a steady wind and more often than not your painting will end up face down in the sand or at least will pick up a few particles. All of this, of course, is an occupational hazzard for the pleine air artist.

In order to achieve the effect of distance and atmosphere change, I used a white turpentine wash on the most distant part of the cliff.  For the sky I began by using Ultramarine blue at the top, working with a hatch work stroke into a cobalt blue and then into cerulean and violet for the horizon.


"Morning at Hendry's Beach"     (20" X 24")      Oil in Canvas                  $1,900.00

"Cinco De Mayo"

This is a painting of one of the most famous churches in Northern New Mexico and is located on the scenic High Road to Taos. Named after the small hamlet in which it is located, Las Trampas Church was founded in 1751 by twelve Spanish families and was known as the San Jose de Gracia Church which was used by Los Hermanos Penitentes, a flagellant Catholic order founded in colonial Spanish America.

As you can see, the sun is blinding in that part of the country, and the sky really is cobalt blue. I have exaggerated the deep intensity of the sky to emphasize how bright the sun shines in "big sky country".If you look at the shadows, you see that nowhere is there the application of black or gray.  This painting shows an impression of what the eye actually sees.  Shadows are comprised of many colors -- just an area where there is less light.  Even in the areas where the sun is reflecting its brightest you will see color through the glare.

For the sky I started with pure ultramarine blue at the top and worked in pure cobalt as I entered the lower atmosphere.

"Las Tranpas Church"       (32" X 34")     Oil on Canvas                          $3,800.00

"Afternoon at San Francisco de Assis"

This is a painting of the famous St. Francis Church in Ranchos de Taos, New Mexico.  Normally it is surrounded by parked cars.  I decided to make it look a little more romantic by adding some characters.  It is not unusual to see horses walking through the parking lot even today and I have ridden mine right up to my gallery, which used to be on the left side of the church.  The figures in the market place would have been there many years ago in a different era.  I love this painting because it was a kind of experiment.

Adobe is made with clay and straw.  After a couple of winters, the surfaces of the church need to be refurbished.  In order to accomplish this, the entire community of this little hamlet, just outside of Taos, gathers together to heal its wounds.  I have been a part of this ritual and have never had so much fun.  After the holes have been plugged with chicken wire and adobe and straw, it is washed over with big pieces of wet sheepskin.  A regular beauty treatment. 

 I wanted to paint a true impression of what happens when you look up at the walls of this huge structure.  The sky is so bright and blue that the reflection of the sun on the walls is actually blinding to the human eye.  It is not possible to see where the sky or the church begins or ends because of the eye's natural reaction to the glare.  I tried to capture this by blending the color of the sky into the building.  Every time I look at this painting I am taken back to that amazing experience.

"Afternoon at San Francisco de Assis"      (17" X 22")      Oil on Canvas     Price:  $1,500.00

"Waterlilies" (20" X 24") Oil on Canvas

This is a painting of a pond on the property of a famous Taos founding artist named Nicholai Fechin.  When I attempted to execute this painting I did not realize how difficult it would be -- a seemingly simple subject, but very reflective of everything around it. As in most of my paintings, I chose to execute this one in the late afternoon/evening sun.  The colors of the blooms and lilypads are soft,warm and inviting, but difficult to contrast against the sky which kept changing and getting warmer and warmer in tone.  I had to return a few times to finish this work which, normally, would have taken but a few hours.

It amazes me how these lilies manage to survive in Taos' bitter winters.

"Waterlilies I"      (24" X 30")     Oil on Canvas

"Early Winter Pasture"

 

This painting is a typical sight that one might encounter during a Taos winter. A person can rent a horse pasture with a little acequia  running through it for roughly $20.00 per head per month. When you drive by (a week after a snowstorm) you see that there is no trace that the owner is feeding these equine angels. They are foraging through the snow for bits of dead grass and because the acequia is frozen over, they are literally having to drink the snow. It upsets me so to see the vast disconnect between humans and animals (a cultural thing, I guess). If you toss a couple of bales over the fence you somehow manage to insult the owner.  I apologize that the painting probably no longer holds the impression of serenity and contentment that it did for you a few moments ago.

The cold ultramarine shadows in the snow set against the warm cadmium orange and Indian yellow tones in the horse's fur complement one another and show the stark difference between them both.

"Early Winter Pasture"    (20" X 24")    Oil on Canvas

"The Red Ball"

This painting is part of a series of paintings where a red ball is displayed in the foreground. The red ball represents the potential of anyone who seeks the path of enlightenment and truth. Here it is seen sitting in the shadows while the sheep, like people, are just grazing their way through life. The late afternoon light (I chose it because it is the most beautiful and fleeting light of the day) is coming from the right and only one of the sheep notices it. This represents the "Light that lighteth every man's way". Few heed the call, but when they turn toward the Light they embark upon that path of enlightenment and Love. The cross in the distance is a reminder of the limitation of the temporal body and the limitless eternal Spirit of mankind.

This is a typical sight in Norther New Mexico which is very pleasing to the eye. I prepared the canvas with a mixture of cadmium red light and thalo green to save myself a lot of work painting between the tufts of fescue. Interestingly enough: these two colors are used throughout the entire execution of the painting.

"The Red Ball"      (24" X 30")      Oil on Canvas

On Painting a Likeness...

Each particular combination of lines, planes and masses - in art as well as in nature - has for us a particular meaning.  Let us say, for example, that a tree, a real tree in a field, leans to the left. A slight swelling of the ground at its base indicates the position of an important root.  If the swelling is to the left, the weight of the tree is pushing the root into the ground.  If the swelling is to the right, the tree is pulling against the root, pulling it out of the ground.

In this painting "Apple Blossoms" even though the tree in the foreground is powerful and painted with deeper and darker values, the eye is led in the direction of the furthermost tree which fulfils the above description and it satisfies the eye as something that behaves according to the laws of Nature. Our muscular senses are elaborately aware of these thrusts and tensions. It is the sympathetic muscular sensation in our own bodies of these thrusts and tensions, and our translation of them in terms of our own emotions, which we interpret as the character of the image that is standing before us.  Thus, by using combinations of lines and shapes and masses, and the motor and emotional meanings they have for us, the artist can describe and make us feel the character of the resemblance he has seen.  How exactly this happens, however, I defy any artist to explain. This instruction applies to portraiture as well.

In order to achieve the gnarly effect of the tree trunk (foreground) I used a #12 boar bristle flat and loaded it with Payne's gray, Indian yellow, alyzarin crimson and ultramarine blue (unmixed) and moved the brush down the trunk following the direction that the bark was taking.  It was a happening -- almost like taking a dictation.  That's all I can say about the process, but it is the real joy of painting with big brushes and, of course, the immediate gratification.

Why did I choose oils over other existing media?

My answer is quite simple:  The oil painter can change and correct at will.  Her paint remains comfortably wet.  She can obtain the most subtle gradations with ease.  She only needs to smear.  Her picture can be endlessly repainted.  To match tones is easy.  Her colors are the same whether wet or dry.  She has no reason to be neat.  She can begin by painting as crudely as she pleases, in great rough areas of light and dark, and then refine and adjust them later.

An outline fixed at the beginning would be only a hindrance.  She can put it in as a detail at the end, or even, if she wishes, leave it out altogether.  She can permit herself the most outrageous freedoms and the most monumental messes.  Just as the art of the tempera painting is concerned with lines and the color the lines contain, the oil painter's technique has first of all to do with light-and-dark in tone and back-and-forth in space.  Ah, sweet freedom!

"Pueblo Winter"        (16" X 20")      Oil on Canvas

What does an Impressionist attempt to create?

 The Impressionist painter is not merely painting pictures of colored objects.  His task is much more complicated -- to see what colored objects look like under colored light.  His palette is much richer than that of the pre-Impressionistic painters, sporting mauves, violets, blues, bright greens oranges and intense yellows.  He can allow himself the liberty of forgetting that his pigments are only substances.  He can permit himself to confuse the paint on the palette with the light that he is attempting to represent.

In my painting of "Pelican Sunset" all of those colors are present, but are constantly moving and changing.  All the mauves, blues, greens in the water are seen while they reflect the changes in the mood of the sky and are speckled with moving reflections of the birds as they bob around and feed on the castings from the fishing boats.The glow of the late afternoon sun is evident as it blushes the wet feathers of these amazing creatures.  It was necessary to keep this painting as loose and wet as possible so that the changes could be made at a moment's notice.  I have to admit that I painted half of it with my fingers.  Sometimes this is necessary, but oh, so much fun!

"Pelican Sunset"     (24" X 30")     Oil on Canvas

What Constitutes a Good Composition?

Unless the composition is right, any picture, nomatter how skillfully executed, a picture by any system of aesthetics or values one can possibly employ, is only a picture that can be looked at with pleasure, and remembered with pleasure again and again.  This is precisely a consequence of the simplicity and directness with which the painter's ideas are presented -- in other words, of the picture's composition.

In my painting "Dead Horse Point" - just the title alone begs the question "What happened here?"  But it takes a lot more than that to hold the observer's attention.  This painting is quite large (3.5'X5') because it is a very panoramic view and I wanted to give the feeling that one could walk right into it. The truth is that that windswept pine is standing on the edge of a very high precipice.  It marks the edge of one of the most beautiful campgrounds I have ever visited.  Thia campground is located atop a mesa which, upon entering, is as narrow as the road itself.  That narrow road is where the horse rustlers in days of yore built a fence to stop the mustangs from escaping that they had rounded up from the open range.  They left them there to die in full view of the confluence of the Greene and Colorado rivers.  Many died attempting to reach the water in desperation.  Months later the mesa was discovered scattered with the bones of all those beautiful creatures.

The sunsets were exquisite and  I spent a week photographing them.  Unfortunately, when I was wending my way out of the area towards Moab, I popped open the back of the camera and exposed the film.  I cried like a baby for the next two hours.  You won't believe how beautiful this place is unless you see it.  This painting is reminiscent of my earlier style of using small brushes and large canvases and it was painted from a photograph.  It is owned by a doctor in Santa Barbara and I have'nt painted like this since I first moved to Taos, but I chose this painting to illustrate good composition and perspective.  Notice how the same type of terrain on the mesa below continues all the way into the distance, but the colors become cooler and hazier (caused by the atmosphere), but it satisfies the eye when it looks into the painting.  It is rather like looking through a window.

"Dead Horse Point"       (3.5' X 5')     Oil on Canvas

The Impressionist's Interpretation of Shadows

The most striking characteristic of the first impressionists' paintings is perhaps their cool, blue or violet general tone. This is partially due to those impressionists decrying the uses of orange-sepia-varnished offerings of the painters of that time who tried to give their works a false age and a museum respectability.

However, it is chiefly the accidental result of the impressionists' habit of painting out-of-doors. Shadow tones on the bright days, when painters work out-of-doors, are likely to be blue or violet. And it is the color of the shadows, not of the lights, that determines the general tone of the painting.

In my painting shown above "Sunset at Baca House" this is clearly demonstrated, as the shadow tones would never have been duplicated working with a photograph or slide. Though somewhat exaggerated, it is still closer to the effect or mood that standing inside the scene creates.

"Sunset at Baca House"        (20 " X 24")       Oil on Canvas