 "Victorian women's rights were extremely limited in this era, losing ownership of their wages, their physical property excluding land property, and all other cash they generated once married."
 This is the point in a new series that I begin to feel less doubt about the direction I'm taking and the quality of my work. I'm so grateful that I was given the advice to hang my work-in-progess. When I started my first 52 week project, I placed each portrait in my studio closet and dreaded each new one. But, once I hung the work, I began to see something special in it. It was encouraging. The old adage of never giving up is so true. I've also begun adding the original miniature portraits to each piece and seeing them together brings me so much joy.   I absolutely love how Irene framed this watercolour portrait I created this summer as part of my Artist Residency at Sparrow Artspace in Calgary. During that time I was taking the time to learn the media for portraiture in preparation for the project I am currently creating. At the time I didn't know exactly who I would be painting...that came later when our local antique shop got hold of beautiful miniature Victorian portraits of women...but I knew I wanted to work on another female portrait project. Thanks Irene for being one of my guinea pigs!
 For Christmas my old friend, glass blower Jacqueline Berting, sent me a handmade mug which is absolutely stunning. This is my favourite shape, round belly to cup in my hands and keep them warm, and the walls are so thin and light. It's lovely to hold was so beautifully made by Saskatchewan potter Jim Elder. Of course I had to document it in my tea sketchbook.
 "While being expected to maintain a home and raise children, Victorian women labored within the paid workforce in increasing numbers following the Industrial Revolution."
 Last week I received this mini palette from A. Gallo for travel journalling...it arrived from Italy in only 2 days! I was surprised, to say the least. The nice thing about this particular palette is that it consists of both warm and cool primary colours which means a large variety of mixes are possible. Because they are made with honey and rosemary oil, they smell so good the longer they are used in a sitting. This particular set of colours consists of:
I'm excited to begin using them in my sketchbooks!  "Had I the heavens’ embroidered cloths,
Enwrought with golden and silver light, The blue and the dim and the dark cloths Of night and light and the half light, I would spread the cloths under your feet: But I, being poor, have only my dreams; I have spread my dreams under your feet; Tread softly because you tread on my dreams." ~ W.B. Yeats   I'm often asked about my watercolour supplies so I wanted to share my favourites for their amazing vibrant colours & ease of reactivation. I absolutely love the fact that they are made with natural materials. Also, Joan of Art and Beam Paints are Canadian & they, along with A.Gallo, are woman owned businesses...huge bonus! It's interesting seeing all of my kits together - apparently I prefer to mix warm yellows, oranges, reds & pinks/violets in the top lid and cool blues, green & purples in the bottom though it's opposite in the Pocket Palette from Art Toolkit (another woman owned business - yay!).
WATERCOLOURS: Far left (top & bottom): Viva Joan from Canada (I've been using this for portraits & travel) Centre (top): Rosa from Ukraine (for teacups) Far right( top & bottom): A.Gallo from Italy (Ahead of Her Time) Centre (bottom left): Beam Paints from Canada Centre (Altoids & Art Toolkit Palette): M.Graham honey based watercolours TOOLS: Sketchbooks: 5.5x5.5 & 3.5x5.5 Handbook Journal Co. by Speedball Brushes: Princeton Brushes Neptune #4 + #6, Tintoretto Brushes (from Italy) #8, DaVinci #3 traditional wash brush, pentel mini, Winsor & Newton travel brush Fountain Pen: Kaweco from Germany and d'Atramentis permanent red ink Pencil Crayon: Faber Castell Pencil Case: Midori Book Band Pen Case  "In the Victorian era, women were seen, by the middle classes at least, as belonging to the domestic sphere, and this stereotype required them to provide their children and husbands with a clean home, compelled them to prepare meals, and forced mothers to raise their children."
 This picture was taken by a friend at the reception of my 'Fashion Plates' exhibition, which also happened to be the day the provincial government shut down public access to art galleries at the beginning of the pandemic. It was also my final exhibition of large paintings because of the pain in my shoulders. It's strange to see it now, but also heart-warming to remember this turning point in my career. I love working on the smaller portraits that I do now, and though I still have a love for spray paint and stencils, I am enjoying the watercolour portraits I've been working on this year. Plus, watercolour has been another great turning point as I LOVE, LOVE, LOVE the travel journals and teacup paintings I've been creating in my sketchbooks. Sometimes the things that seem hard or difficult can be so rewarding in the end.
|
|
