Due to an unexpected life disruption, I have not painted or blogged for several months, so in April I closed this blog and discontinued my web site. A few people have noticed and inquired, which distresses me some. As I attempt to resume painting  and to resurrect myself online, a new look, approach, and blog address seems appropro. Hereafter, I will post new work at Connie McLennan Paint Praise. Thanks for checking back.

"Don't Look Back" 8 x 8" oil on panel
Some paintings name themselves, some are tough. This time, finding the meaning of of this daffodil's Italian name--sempre avanti--solved the problem.

It's no surprise that painting is NOT like riding a bike. Then again, riding a bike isn't even like riding a bike: if you don't ride regularly, you may remember how, but the muscles won't be in shape. I have not painted in several months and am getting a late start on my 25 "orange" themed 20-20 Show paintings. Chances seem slim for finishing in time, but who knows. Now that I've started I'll paint when possible and try to enjoy the ride.

My booth at Ironstone Vineyard's "Spring Obsession" Show

A recent post on the Ironstone Heritage Museum Blog features the three of us who received Judges Merit Awards in the Spring Obsession competition at Ironstone Vineyards earlier in March. The painting that won my award was the Sierra Heritage oak tree that nearly drove me nuts awhile back. I was thrilled to discover that Chris, the museum and events coordinator at Ironstone is a former SF Academy of Art chum I knew by another name and had not seen since school days, and that the judges were also old friends, teachers and directors from the Academy. Impromptu class reunion!

As always, sorry for my long, unexplained absence. As I have resolved to keep this blog strictly about art, it shall remain unexplained, but I'm hoping to get back to some painting and more regular posting again soon.

Don Hatfield--my friend and painting mentor (also a Fuller seminary graduate who for the past year has been my faithful, de facto "pastor" through my own difficult times)--has suffered the most horrendous of tragedies. On Feb 27, his daughter Rachel, mother of his three adored grandchildren, was stabbed to death in their Cameron Park home. Her husband is in custody. For Don, this came on the heels of losing his wife Janey to cancer in January and his home two years ago in the mortgage crisis. At 66, he is now in the process of taking guardianship of the babies, ages 4, 2 and 6 months. As he currently lives in a small Yountville condo, he needs a bigger house and a nanny. A fund has been set up, and he is seeking donations. Donors above the $500 level will receive one of his beautiful prints.

Please consider donating and/or relaying this information and the link below to your email list.
Rachel Winkler Children's Fund

Thanks,
Connie

Hybrid Beet, 8 x 8" oil on canvas panel
Around the first of the year a number of people posted lists of rules for self-improvement, success, etc, some of them quite good. In fact, though I couldn't possibly improve upon it, I was tempted to re-write this one for painters. However, for all practical purposes, since I can't possibly memorize such long lists, I think most of them can be distilled to two words: Don't quit. All else is nuance or addendum to that basic advice.

Sometimes it's easier said than done. As with golf, painting skills decline when not practiced daily, and no amount of "head work" can make up for the physical act of applying brush to canvas--a lesson I seem to give myself regularly. After not painting for awhile, I sometimes even consider quitting for good--though I have yet to figure out what else I would do.

In developing a theme, having too many options can be intimidating. One dependable motivator for me is taking on an "assignment"--a project with parameters and a deadline. Must come from so many years of illustration. So, after a couple of false starts and failures that went straight into the trash (yeah, that glass thing in the last post didn't work out AT ALL), I have settled on a theme for the next "20-20" show (25 8 x 8" paintings on a theme)--though it hardly seems possible it has been a year since the last one. Even though I said I was finished with small paintings, it has been a rough year, so this will do for getting back into it. Again I have chosen a color theme: The Subject is Orange.

I will again laminate fabric to the wood panels, this time "faux linen": cotton canvas dyed to match natural linen and primed with matte medium or clear gesso. Something magic about that color, and I need all the magic I can get. On the other hand, somebody recommended Liquin Light, so I bought a little bottle and totally don't get it--I HATE that stuff.

1. Write titles that are neither provocative nor descriptive of the content.
2. Since it's an art blog, ignore anything you may know about writing. Treat it like a personal journal: talk about non-art-related events of no interest to anyone who isn't a family member, friend or particularly loyal follower.
3. Don't think about who your readers are, who you would like them to be, or what may interest them. This is your show, and you are the star--whether anyone else cares or not.
4. Post sporadically, leaving long periods of inactivity.
5. Post whatever you have, including inconsistent, mediocre work or outdated pieces--anything to fill in the gaps.
6. Don't do anything to promote readership. Rarely post on other people's blogs or participate in any other social media. In short, do what I've been doing for the past six years.

I began blogging during the height of the daily painting/eBay selling movement, primarily to promote my weekly small works. Since I was illustrating regularly, painting was more of a hobby during the gaps. Unable to paint consistently, I let my blog drift in whatever direction I was going. Now that it has now been dormant for two months, the stat counter and "Popular Posts" feature show that the most hits come primarily from search engines--people looking for a particular subject identified in the title--or links from the few other blogs where I'm listed. Duh.

I am not a comedian or marketing expert; I am not an art historian, nor do I consider myself skilled enough to offer a lot of painting advice; and I can't promise daily or even weekly posts quite yet. But between new work and occasional insights, I think I can still write a better blog. Frankly, even blogs written by those who are funny, more knowledgeable and better painters don't always hold my interest. So with this late start on a "New Year" (necessitated by yet more family crisis no one needs to read) I hereby resolve to take a shot at least at improving my writing.

Oh yeah--the image. It's a reference photo for a piece I'm starting as an entry for a show in which the theme is glass and jewel colors--because sometimes it's easier to get (re)started with an "assignment." More on that later...

Two more eBay candidates...
These two have been frequently admired, never sold, so on to eBay. My son tells me that a reserve price discourages people from bidding. Well, that's too bad. I may be letting them go for less, but I'm not giving them away. From his and other perspectives, I am sure this is one of many things I'm doing wrong, perhaps including dropping the price and putting them on eBay in the first place.

The shot glass is also the only painting of mine he has ever expressed interest in keeping. That's too bad, too. Even though he turns 21 in less than two months, a painting of a shot glass is not the image I want to give or have him remember me by. If it sells, I'll give him the proceeds--ha! Bidding starts at 6 p.m. for Vintage Coke and Two-Thirds Kamikazi

...eBay Offerings...
Even though I am just getting started and have shown my current batch of paintings to only a fraction of the market I hope to develop, I refuse--REFUSE, do you hear me?--to show the same unsold pieces year after year or to continue looking at them myself. Maybe I will save a few of the ones from this season to show in some new venues next year; but for the most part, I plan to produce new collections every year.

To that end, I am offering this group on eBay this week, with reserve prices set at below-market value. Starting at 6 p.m. today, they are available here, here, and and here. I began thinking I would list at least half a dozen, but this stuff is is time-consuming!

Marble Top, 3 x 3" o/c...
At one time I considered doing a small line of these mini's on little easels. And I theoretically could have been that industrious--but tiny isn't really doing it for me. In fact, for next year I'm thinking of not allowing myself to do anything smaller than 16 x 20. It's time to think big.

Vintage Penguins, 5 x 4" oil on canvas panel...
This may be it for a little while--lots of seasonal activities in the coming weeks, starting with my Holiday Open Studio on Saturday. For the rest of the December, I'm not sure what I may post. I need time to gather my thoughts and generate ideas for some type of theme or series to focus on in 2012. Here's hoping the coming year is more productive and less eventful than 2011 has been.

Brass Bear, 10 x 10" oil on canvas panel

Surrounded Cactus, 4 x 4" oil on canvas panel...
This is the smallest of the half-dozen canvases I have prepared and am hoping to fill in the 8 days. It has some glare and will look a little better when it's dry enough for me to scan it and pick up more of the color in the dark areas.

Persimmon Pot; 7 x 7" o/c...
For people who grew up in the Depression, I imagine spending money on artwork was an indulgence many avoided and never allowed themselves even after times improved. Now enmeshed in the art world, surrounded by painters, I think we often forget this is still the case for perhaps the majority of people. As Jack White has said, art is a “want”, not a “need.” Yet in spite of this, we live in a time when painters seem more prolific than ever and more people of ordinary means find owning original art important enough to spend a little money on it.

Once in awhile I "re-realize" and contemplate growing up in a house without a single painting on the walls. True, the house itself was a work of art. Designed by a relative who was a talented architect, it had large, back-to-back, family/living room fireplaces of native granite, hand rubbed birch paneling and doors, and a contemporary color scheme. The kitchen/dining/family room had recessed lighting above a deep purple “light deck”, and the floor was orange linoleum flecked with black and white. Plaster walls were lavender or turquoise--but nothing in a frame hung on them.

Maybe this is part of the reason I have always had so much trouble pricing my work and can never quite believe or get over the kick of people actually wanting to buy it. I am grateful to live in a time and place with the privilege of being able to paint—and for my buyers.

Autumn Jewel, 5 x 7" o/c
I swiped this from the nursery last week. Since its remaining life is short, I don't think they'll mind. It was to be part of a still life (and may still be) when it was flat; but it actually became more interesting as it dried and curled. I think of it as a metaphor for myself: shriveling but colorful.

...because I am a glutton for punishment. I'm posting this because recovery from the last event took a little longer than expected, and I need to light fire under myself. I will show paintings that were unavailable on Friday and Saturday during the Tour and also some new, "gift-size" pieces.

5 x 7 w/c--an older piece from a previous blog--wondering if I'll ever use that media again...
Two more days of distractions--returning paintings to the gallery in Sacramento; picking up a couple of giclee's, stretching them and painting the sides (there goes today); and a trip to Stanford Medical Center with my son (there goes tomorrow)--before I can get back to painting.

In the meantime, THIS POST by Stapleton Kearns, about pricing, is excellent. As I told him in a comment, "Thanks, I really needed that. Even though my painting prices are a fraction of what I got for illustration, and people consistently tell me I'm low, I feel guilty charging appropriately even when people don't ask for a discount, but I nevertheless perceive that they shouldn't be spending their money that way!"

What am I--everybody's mother?!

Weekend sales
As was the case last year, I think little can be concluded from looking at the collection of paintings that sold over the weekend--or maybe I just don't want to think too much about it. With the exception of two 24 x 24" canvas prints of the tree, which were a fraction of the cost of the original, all were small, and all were pretty tightly realistic.

Ordinarily I would have the whole house fairly tidy and all doors open during this event; but this year I have a solid day of cleaning in the disaster zones: my studio and the three doors-closed rooms into which we shoved all the "stuff" from our "public areas." Then it's back to work, as I have scheduled another open house/open studio on December 10, to show a little new work and the pieces that were at the gallery on Friday and Saturday. I thought it would likely be sparsely attended but realize I handed out a lot of fliers. So if a few friends and even half the people who took invitations come back, yikes!

Day 3 of my Open Studio is getting underway. Yesterday after tour hours (10-5), I raced down for four hours of "Second Saturday" at Sacramento's Kennedy Gallery. Whew! Between the two, some books and four paintings have sold so far. Not quite as good as last year, but in such an economically difficult year, I'm not complaining.

Freckled Fowl; 14 x 18" o/c...
...From a photo I took at the Box R Ranch of a Hamburg hen, that I turned into a rooster. Couldn't do without that big, red comb and wattle.

The copyright issue has been a hot topic in my online picture book discussion group since everyone learned about the various "search by image" tools. Fellow book illustrator Elizabeth Dulemba posts children's coloring pages to her website, which apparently are stolen routinely. She has a very informative couple of blog posts on the matter. She regularly collects fees from infringers who have used her work for profit or promotion. While doing so is certainly fair, many of us, however illogically, feel slimy and uncomfortable demanding money in such situations. However, it seems to be the only way to enforce copyrights and educate those who should know better. Infringers who get off a mere a demand to remove the images should consider themselves fortunate, regardless of how "nasty" they perceive such requests.

A cautionary tale, revealing just how cranky I can be...

As an illustrator I was more acutely aware of the possibility of copyright infringement than I supposed I might need to be as a "fine artist." (I still prefer to call myself merely a "painter.") I assumed paintings were less likely to be appropriated and used illegally than more commercially applicable pieces. Turns out I was wrong. It is still wise register any image posted online with the US Copyright Office--the only vehicle that enables one to collect punitive damages for infringement.

Last night I learned about Google's new "Search by Image" bar. Imagine my surprise when the first file I dragged onto it--my Twin Towers at Sunset painting, done in 2007--came up not only on this blog, but in two places on a site called the Twin Towers Alliance. Here's the search result. I have no idea how long the TTA has been using this image without my knowledge or permission--possibly for years.

I emailed them: "As anyone working in communications or graphic art should know, artwork is protected by copyright at the moment of its creation; unauthorized usage is prohibited by law. Using an artist's work without permission is called "stealing." Imagine my surprise, therefore, when I discovered this evening that your organization is using my painting on your website without even my knowledge, much less my permission--and without even crediting me. This is especially ironic given your crediting of [everyone else who contributed to the website].
To avoid legal action, please remove my painting from your website immediately."

A little terse, perhaps, but does this make me a brass-plated bitch? I think not. Here is the mind-boggling, unapologetic response:

Obviously, the credit which you noted we have given to others should make it clear that we don’t “steal” anyone’s work. [Well, yes, you do--you took mine.] The obvious civic nature of our efforts makes your

Three to One; 8 x 10" o/c...
Once in a great while, a piece sort of paints itself.

Roses in Copper; 12 x 12 o/c

Mary, Mary; 18 x 18, o/c...
When I caught the shots I used for this at the nursery a few weeks ago I was really excited about it. After working on it too long, not so much. Maybe I should have painted just the tractor--the seat was my favorite thing. I'll be retreating back to my still life comfort zone for awhile now, I think. And trying to focus.

Unfinished section of WIP
As some of my fellow bloggers may have noticed, blogging creates a certain sense of obligation to post regularly. This is especially true when you know a few readers check regularly, expecting to see something new. So here is a tiny preview of the next piece I've started--another antique in the garden. Unfortunately I do not expect to complete it until later this week.

Despite my desire to follow Thoreau's advice--"Our life is frittered away by detail. Simplify, simplify, simplify!"-- another major, unavoidable distraction of the year is underway: a third foot surgery for my 20-y-0 son tomorrow. The other two were his second foot surgery in July, which was a spectacular failure (proving for a second time that if something doesn't hurt much, surgery can fix that) and my mother's tragic illness and death, which pretty much wiped me out from Feb-June. Here's hoping for more productive painting time and a significantly less eventful 2012.

Oranges and Lavender Bouquet; 16 x 16" o/c
I did not have to live with the earlier version of this (below) long to realize it still wasn't up to par, so this morning I took one more run at it. Part of the problem is that I like to work from life; but before I was barely started, events interfered, the roses wilted and the colors in my reference photo did not match reality. The background drapes also were an afterthought. Today I've pulled the color of the roses back toward the lavender of the initial lay-in and simplified them a bit. If it doesn't work this time, it may have to designated "permanently unfinished" or perhaps "landfill."