The Copyist Program: Washington D.C.

I had a dream and then I had an adventure. I met new people, faced new challenges and worked hard to accomplish my goal. And through it all I learned so much.

Let me back up a bit and say that for years, each time I had the privilege of visiting the National Gallery of Art in Washington D.C. I would see the empty easels in some of the gallery rooms neatly placed out of the way but still very noticeable. Each one looked like they were waiting for someone. Curious, I asked at the information desk what the easels were for. That question was the first of many that eventually led me through the application process for their Copyist Program. Once accepted my excitement grew as I anticipated the portrait I had requested to paint. There were so many paintings to choose from but I had always admired and studied the work of John Singer Sargent. In the art world he has long been someone I respected because of his strong brush strokes and ability to confidently paint the likeness of fabric with such efficiency. I knew his portrait of Mrs. Henry White would be a difficult challenge (her life size portrait was quite intimidating) but I decided that I might as well go for it and see what happens.

Setting up my canvas made my heart beat faster. I was surrounded by greatness. To paint in this atmosphere where the walls were adorned with actual historical masterpieces almost took my breath away. My dream was about to come true.

I worked quickly sketching in her likeness with a thin wash of paint.

Once the sketch was done I began painting her face -- using her features as my reference for the rest of the painting. 

My excitement grew as I began studying her dress by laying down paint with values, colors and strokes as Sargent had. My goal was to copy it as closely as possible so that I could learn from Sargent's method. He was my instructor speaking to me through this painting; I tried to pay attention to everything he said.

Time was running out. By this stage I was at the beginning of the last day of my extraordinary adventure. When I chose this portrait my goal was not to do a complete the copy but to see how far I could go with a portion of it. 

Each hour in front of that easel seemed like ten minutes. Visitors from all over the world would come and go, occasionally asking questions and taking photos of me and my progress. I especially enjoyed the groups of school children who politely asked me about my work and the Copyist program.

I was allowed to paint from 10:00 a.m. until 4:00 p.m. each day. Four o'clock came quickly on my fifth and final day. I wasn't expecting to even begin to paint her right hand so that was an extra treat. Her gold bracelet on her left wrist was also a lot of fun. I loved Sargent's attention to detail when he applied it to her face and jewelry and then surprised me with the light and contrast that brought out the beauty of her satin and tulle dress.

What a an absolute blessing and privilege this was! I can hardly wait to go back and apply what I have been taught to a new painting. Perhaps another Sargent?

Wine Bottles Commission

Painting commissions are always an adventure. The adventure becomes even more interesting when the subject matter is something that I have not painted a lot of before. This was one of those adventures.

I have always enjoyed and often admired some of the art on wine bottle labels. They can add so much drama and appeal to the wine. The challenge in composing this painting was to arrange the chosen bottles in a way in which they would enhance and compliment each other. It reminded me of curating an art show -- deciding which paintings would go well "hanging" side by side on a gallery wall.

It was not only a challenging commission but a fun one as well. The canvas was 24 inches high by 36 inches wide which gave me the opportunity to add extra drama by enlarging the bottles beyond life size. Painting the light and shadows on each bottle along with the art on the labels seemed a bit overwhelming at first and so I decided to remain calm and break it down to painting one bottle at a time.

Stages 1 and 2: Drawing the composition with a thin mixture of paint and mineral spirits allowed me the freedom to play around with the placement of the bottles without feeling too committed to the plan. As it turned out, I arranged and rearranged a couple of times as you can see by my lines. From there I went on to my first wine bottle (stage 2), painting it as efficiently as possible. Accuracy of the Opus logo reminded me of the accuracy necessary in a portrait. Either it looks like the subject or it doesn't.

Stage 3:  Graceland. With this purple and gold lined label and the tiny house in the center, I had to bring out my smallest brush that I bought specifically for this painting.

Stage 4:  1981. This eagle and its numerous twigs and branches along with the detail in the bird itself kept me on my toes. I didn't try to replicate every single detail but squinted my eyes to see and paint the general idea of it. The small lettering on each of the bottles was approached the same way. 

Stage 5: CAYMUS.  This CAYMUS bottle was the intended focal point, front and (almost) center. It was pulled forward to give it even more attention. There is something attractive about a tall, slender bottle of wine with a gold, artsy label and red cursive. (Once again, my tiny brush saved the day!)

Stage 6: 1982. Another eagle to compliment and frame the CAYMUS bottle. These eagles were detailed but fun. As you can see, this painting had miniature paintings within the painting. And then it was on to a golden chardonnay...

Stage 7: Aubert and Proper. Time was running out. This was a Christmas commission and Christmas was just two weeks away. I was so thankful that these last two bottles were a bit simpler in label design. I was also grateful for my past experience as a professional calligrapher. You just never know when past experiences are going to come back to help you.

Stage 8: The background. David Leffel taught me that if you want the focus to be entirely on the subject, keep the background simple. I used Ultramarine Blue and Burnt Umber to create this warm black.

Wine Still Life
24 x 36", Oil on canvas
Rita Salazar Dickerson (c) 2016

Stage 9: Completing the painting. Once the background was done it was time to paint the foreground. I kept it simple. Adding the light hints of the bottles' reflections in the wood was the effect I was looking for. Because this was a commission, I intentionally chose a wood color that would go well with the new owner's home.

My Art Diary: August - December, 2016, Part 4

I like fun surprises and as a commissioned artist each Christmas season never lets me down. As I look back on this last holiday season I have sweet memories of painting on stage at the Cheyenne Mountain Resort. Traditional Christmas carols were played on a baby grand piano as I painted in front of a live audience. The event was a women's brunch; the air was filled with anticipation and excitement for the season.

Madonna and Child
36 x 48", Acrylic on canvas
Rita Salazar Dickerson

From this painting performance someone in the audience commissioned me to paint a second image of the Madonna and Child. The client wanted it to decorate her mantel at home and requested a smaller size. My challenge was to paint it with the same feeling and freshness that I painted the original.

Madonna and Child, II
30 x 24", Acrylic on canvas
Rita Salazar Dickerson

In The Shadow of His Wings
48 x 36", Acrylic on canvas
Rita Salazar Dickerson

This was my third year of having the privilege of painting at the Remembrance Service held at Woodmen Valley Chapel. Each December the pastoral care staff hosts this event for the community allowing those who have lost a loved one to grieve and remember. It is always a somber yet positive and comforting service. My challenge was to paint an image that everyone could relate to and take comfort from. I was asked to visualize Psalm 57:1, "...I will take refuge in the shadow of your wings..." Those in attendance were invited to come forward and write their loved one's name in the shadow of the wings.

I love my job.

My Art Diary: August - December 2015, Part 1

As 2016 begins, I look back with a thankful heart at all that has happened since I last posted in this blog. It has been an amazing "season" of creating commissioned art, sprinkled with teaching art. My days have been full with a variety of mediums in my hand...from pencil to pastels, acrylics and watercolors, to oils... and the common thread has been sheer enjoyment. Although the consequence to all this creativity has been the lack of time to write about my experiences until now, I am determined to start the new year with a fresh update of my latest art.

With this first post, I have to say, pet portraits are so much fun. Each one is a privilege to create. When I am invited into someone's story, I get to see beauty not only in the animal but in the special relationship between the furry friend and his or her owner. And without fail, portraits make great gifts that touch the heart. As you can see from the photos, during these past several months I was able to get to know some beautiful animals.

Bartholomeow
7 x 5", Oil on panel
Rita Salazar Dickerson

Brenna
10 x 8", Oil on canvas
Rita Salazar Dickerson

Moet
10 x 8", Oil on panel
Rita Salazar Dickerson

Dusty
10 x 8", Oil on canvas
Rita Salazar Dickerson

Stubby, II
8 x 10", Oil on canvas
Rita Salazar Dickerson

Taylor
10 x 8", Oil on canvas
Rita Salazar Dickerson

Dixie
10 x 8", Oil on canvas
Rita Salazar Dickerson

Portrait Commission of Two Women

At first glance, an oil portrait like this might simply look like a picture of two beautiful smiling people sharing a happy moment. But through the years I have learned and experienced that a portrait is not just a portrait. It is much more than that.

All portraits have one thing in common. They have a story to tell. This story begins (like all my previous portrait commissions) as a story about cherished loved ones who are being honored. And as the process begins one thing leads to another. Special memories are awakened that stir the viewer's heart and uplift the spirit. Emotions resurface that perhaps had laid dormant for a while. Loved ones are thought of and admired. A family heirloom is created.

There is power in a portrait.

Mrs. Dianne Rhodes and Her Mother, Mrs. Emma Mae Grimes
18 x 24", Oil on canvas
Rita Salazar Dickerson

Once the decision for the commission had been made the excitement and planning began. There were lots of reference photos to study and analyze. This is the main reference photo I chose to work from though I used several others as well. Many questions were asked from my clients. "What size should the canvas be? How long will the process take? What about the framing? Can we use a linen liner?" I enjoy this process; its exciting for me as well.

I love the freedom of making changes and using the photos for reference only. Adjustments were to be made with lighting, composition, clothing, jewelry...its all fun!

I started the painting with a thin mixture of burnt umber and mineral spirits which I used to paint in freehand the contour lines of their images. From there I worked on Mrs. Rhodes' (on the left) face first and then moved on to her mother's.

Half of the lovely large necklace was covered by Mrs. Grimes' dress and so I revealed the full piece for balance and design.

The black dresses were nice for continuity but I wasn't sure how I wanted to complete them. I then blocked in Mrs. Grimes' hair, preparing for the waves that would add contrast with light and shadow.

At this stage I focused on the details...completing the hair...softening edges...hi-lighting the jewelry...

...details that make a big difference. At my client's request I added Mrs. Rhodes' hidden right earring. I think it was a good suggestion.

With input from my clients, the final decision was made to complete the dresses to the edge of the canvas along with other minor adjustments throughout the entire painting.

Once the completed portrait is approved it is either picked up by the client or delivered to their home. But this story had a different ending.

The date was set. Every small detail was carefully planned. A surprise dinner party was to be held in honor of Mrs. Rhodes.

I had the extra special pleasure of being invited to the unveiling in Atlanta, Georgia and was asked to take part in the presentation.

                                                                                                                                                            Photo credit to Josef M. Courtney

To my right is Ms. Cherita Lewis, and to my left is Mr. and Mrs. C.R. Rhodes

It was a special blessing to be there and an evening I will never forget.

Remembrance Service

There is a verse, in the book of Isaiah, that had never been brought to my attention before until this past year: See, I have engraved you on the palms of my hands; your walls are ever before me. Isaiah 49:16 ...this became a comfort verse for me when my dad died.

To add to that, this past December was the second year that I had been invited to paint on stage at a yearly remembrance service which is held to honor loved ones who have passed and comfort those left behind. What would I paint? The first image that came to mind was an outstretched hand of Christ. Open. Inviting. Welcoming. A visual reminder of the verse.

At the end of the service those who attended were invited to come forward and write their loved one's name on the palm. Amidst the freshly lit candles and photographs of those being remembered, this painting was the focal point as each person came forward with pen in hand. One name after another became a part of the painting, filling the palm and even spilling into the fingers. A quiet reverence filled the sanctuary. The air was heavy with the memories of those who had left us.

When I take a moment to look back at the variety of work I have had the privilege to create, I stand in awe.  My life as an artist is a rich one.

It was a large canvas, 36 x 48", which was a challenge to cover with paint in approximately 16 minutes.  The logistics required that I paint the palm ahead of time, in my studio so that it would be dry for the signatures. This also gave me more time to paint the fingers, wrist and background during the music portion of the service provided by the gifted Shannon Wexelberg. 

Isaiah 49:16
36 x 48", Acrylic on canvas
Rita Salazar Dickerson

Painting on stage always takes me to a place where I have to creatively let go of my perfectionistic tendencies and let come what may. Along with the preparation it requires a giant step of faith.

Dog Portrait Commission

Dog Portrait Commission

12 x 16", Oil on canvas

Rita Salazar Dickerson (c)2014

These past several weeks have been extra busy with travel mixed in with painting and pen and ink sketches. Today I'd like to share a fun commission that I had the pleasure of creating for a new client who wanted to make this portrait a Christmas gift surprise.

All of the preliminary work for this painting was done via email. After the initial inquiry, a variety of photographs were sent to me; I was given the freedom to create from those and work on the composition from there.

This is the photo I used as my main reference photo. As you can see, the ears on both dogs were cropped and by using the additional photos, I was able to paint them back in. Also, the photo was a bit dark in places and so I enjoyed the artistic freedom of adding light and color that I saw in some of the other photos.

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Stage 1: The sketch. I approach every initial sketch for a portrait painting as though I am painting from life and so I paint it freehand, using the eyes as reference points for the rest of the features. Getting the angles and likeness right is very important at this stage. I really liked the pose of these two pooches; the way their beautiful faces came closely together, leaning into each other, was endearing.

Stage 2: Blocking in the main colors. Another nice touch to this painting was the way the the two dogs complimented each other with the color and markings of their coats. Because of some of their similar colors I was able to paint each of the dogs simultaneously. In this layer I did not worry about details and texture, instead I focused on their main shapes of color.

Stage 3: Completing the painting. This final layer is always pure fun for me. I enjoy applying thick paint with a palette knife and then moving it around with a coarse haired paint brush. Colors are enhanced and details applied. The final touches involved a small, fine paintbrush that gave me the ability to paint in the suggestions of their whiskers. 

The background was also a blast. My client requested light blue, grayish colors with touches of yellow. That was an easy request to fulfill since the colors of the dogs had already lent themselves to that type of background as a nice option.

Painting commissions are always an honor for me. To be a part of a story where kindness and generosity is involved is so special.

Draw Every Day

The thought of drawing every day used to overwhelm me.  Perhaps it was because an art professor in college once told me that every artist should draw at least two hours a day. He did draw and he was good at it. But did I really want to devote that much time to it each day? No. And so I didn't. Painting takes up most of my time. It was a good excuse.

I really wanted to draw though so I started out with lower expectations than the two hour challenge. What if I drew for 5 minutes, or ten. Or maybe at the most 30 minutes? Surely I could carve 15 minutes out of my day for drawing. Plus, it became self motivating when I was giving out sketch books like the art fairy to my adult children (who are artists) and challenging them to draw. And then when my son, Adam, challenged me to a drawing a day, I had to walk the talk.

I've heard it takes 3 weeks to develop a new habit. Now, almost 2 months later, if I don't take a few minutes out of my day to sketch something, I miss it. There is satisfaction in the doing. My eyes are getting stronger. I'm training them to see form, shape and shadow with confidence and much more quickly. To speed things up I usually use a pen so that I don't take time to erase and try and make it better.

I encourage you to draw. Don't let it become a big deal. Make it fun; draw what you like and what inspires you. It doesn't have to be perfect. If you only have 3 minutes, take 3 minutes. Keep it simple. And you don't have to show anyone unless you want to.

Here are some samples of what I have been drawing. Below each sketch is my inspiration for drawing it.

I like to think of each new day as a blank canvas. An opportunity to start anew with fresh ideas, hope and expectations for great things to happen. (I set up a miniature easel and canvas on my table.)

One of my favorite old paintbrushes.

A feather floated off the table where my husband ties flies.

My favorite honey jar.

I enjoyed a few minutes outside on a warm October day looking up at this small tree branch.

This is one of the last jars of canned peaches that I put up last summer. I hadn't canned peaches in years.

I attended my granddaughter's birthday party. I sketched quickly before the candles were lit. I gave her the sketch as an extra little gift.

I've been trying to drink more lemon water.

My Christmas cactus bloomed early this year. I loved the strong lines and bright red color. Drama.