A Personal Update & 2 Paintings for Sale

Freeman Art Studio

I don’t talk a ton about my personal life here or use this blog much to sell my art, but today will be an exception. I’ll try to keep it interesting for you.

Seventeen(ish) years ago my wife and I moved our 5 kids to Loveland, Colorado to pursue our dream of making a living as fine artists. It has been like a screaming roller coaster ride in an intermittent hailstorm. I gave it a good 15 years, full time, with mixed results due to a less-than-great economy. Finally, a couple of years ago, due to some hospital bills and other debt and some significant deaths in our families, I had to put the brakes on the art career and start working full time. Sorta.

Well, my sorta full time gig went away last December, so I am now back in the saddle as a full time artist, but with a couple of changes:

  • This time, I’ve promised my wife I’m only going to do this as long as it is working financially. We are enjoying the relief of being out of credit card debt and being on a cash-only basis. We are not going back.

 

  • My career emphasis will be different this time around. This time I will not be focusing on showing my work in art galleries, or competing in plein air painting events. (A big part of my debt accumulation had to do with constantly having to frame new work for my galleries, while sales were rarely guaranteed.)
    This time around my focus will be on public art, hopefully with an emphasis on community-building projects.

 

  • I am also trying to keep my children’s storybook business on the front burner, but people keep coming in and turning off the stove. I remain very excited about continuing to create storybooks designed to reinforce a biblical worldview in kids, it’s just going slower then I would like.

What is Public Art?
The public art arena entails competing against lots of artists and, hopefully, winning and being awarded art commissions for public spaces. I have a pretty good public art portfolio now, so I’m optimistic. But there is a lot of waiting involved.

While I wait I’ve almost accidentally had the opportunity to produce a few new paintings. Below are the first two. I’ll tell you the story behind them because I think it’s kind of amazing, and has been personally meaningful to me. I will cover this 35 year story in 2 paragraphs. (They might be long paragraphs. Names have been changed.)

The Story in Part
In 1982, my first job out of art school was as an uncertified elementary school teacher teaching 1st and 2nd grade in one small classroom, for $1000 a month, (summers off with no pay.) One of my students was a well-behaved little blue-eyed girl named Amanda. The school closed after 2 years, life happened, people moved away, and I completely lost touch with all of my students until decades later when I caught up with now-mother-of-three Amanda on Facebook. Shortly after we re-connected, Amanda tragically lost her youngest son to a prolonged illness. Her heartbroken 9 year old daughter, Zoe, wrote a story about her little brother’s life and his faith in God. Amanda and her husband commissioned me to illustrate Zoe’s book in the hope that it might encourage other kids who have experienced loss. But I never actually got meet Zoe.

Ten more years went by. Several months ago I was horrified to learn that Zoe, then 18 years old, had been struck with a related illness, during which time she lost a lot of her physical and mental capability. Eventually doctors were able to figure out a way to manage Zoe’s condition, and she has been in recovery for the past several months and is mostly back to her former sweet self. Amanda called me and Mollie to see if we would tutor Zoe for a couple of weeks of art lessons in our studio in Colorado, as Zoe had been focused mostly on dance throughout her life and it was looking unlikely that she would be able to return to dance in earnest.

Of course we agreed. So I finally got to meet Zoe, now a beautiful young woman who has walked through more than her share of tragedy. Mollie and I got to know her for a couple of lovely weeks, making art and listening music, and hanging out.

The Paintings…
These 2 paintings came out of those 2 weeks. When I teach I usually work on a painting from the same still life as the students, mostly to keep me from bugging the students too much. Zoe chose the colors and set up the still life, and did a great job on her first two oil paintings, which went home with her.

Scott Freeman, painter

“Still Life with Three Pears,” 8×10″, oil on panel.

 

I think these would make a nice set, but I’m happy to sell them separately as well. When I left off of exhibiting in art galleries, my framed 8×10 paintings, (generally the smallest size oils paintings I would sell,) started at $700 – $800. These are unframed, and since I’m currently not in a gallery I can knock off the gallery commission. If someone wants to give me $300 per painting, I would include shipping with that if shipped within the continental US. If you’re local I can deliver.

Scott Freeman, fine artist

“Still Life with Three Apples,” 8×10″, oil on panel.

Please call or email me if you’d like to respond at 970.685.2144, or scottnmollie@yahoo.com.

I do have some copies of Zoe’s hardcover storybook on which I collaborated years ago. Perhaps you know of someone for whom such a book might be helpful. The book is entitled, “Grant and His Great God.” I will send you one for $15, shipping included.

For my thoughts on still life painting, here’s a LINK to an article I posted on here a few years ago. There are lots of new folks here that may not have seen it. Thanks for signing up!

Thank you for your support!

Scott Freeman

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The Kingdom of God Excites Me Every Day

kingdom of god parable

“The Parable of the Weeds Among the Wheat,” oil painting by Scott Freeman

When I was a college student, I heard a teaching series at my church on the kingdom of God that changed my life. Somehow, even though I had grown up in a Bible-believing church and considered myself a lifelong student of the Bible, the topic had mostly escaped my notice. Even though Jesus spoke on this topic more than any other. Decades have passed since then and I would say that the topic of the kingdom of God continues to consume my attention and define my life, informing everything I do.

But it’s not quite accurate to say the “topic” consumes me, because the kingdom of God is much more than a mere topic of discussion. I would say it’s a reality in which we as Spirit-born believers live. In a nutshell, one could say the kingdom of God refers to the “reign of God” on earth. In practice, God has designed His kingdom so that citizens live in voluntary, relational unity with Him, living life led by His Spirit.

The Hebrew prophets spoke of this coming eternal kingdom with anticipation, but when the Messiah arrived, his implementation of the kingdom perplexed everyone. It was not until after His resurrection from death and a great deal of patient explanation that His followers understood how the kingdom had entered the world. The new covenant scriptures repeatedly refer to the mysteries of the kingdom as things that were formerly “hidden” but have now been made known to us.

We who are alive today have the remarkable opportunity to live out God’s plan for us in a way that old covenant prophets and kings longed for but could only dream about. Aspects of living life in the kingdom of God, right now, include: a new covenant with our Creator; new birth with a new access to God through Jesus; a new indwelling of the Spirit of God for everyone in the kingdom; a new relationship as sons and daughters as co-heirs with Jesus; a new relationship with Jesus as friends rather than slaves; a new life in the Spirit that fulfills and transcends a written code; and a new hope of resurrection and the ultimate fulfillment and completion of all that God has imagined for His creation.

Aspects of of life in the kingdom of God in the future include the ultimate uniting of all things, in heaven and earth, under the authority of Jesus (Eph 1:9,10.)

Several years ago I painted the above painting for my church’s foyer as an expression of the kingdom. I like the image of the sower because it is an image that Jesus chose to describe Himself in this particular kingdom parable. It says a great deal about how the kingdom has come, and how it continues to expand over the earth. Below is my description from the plaque that accompanies the painting. I hope it excites you as it does me! :

mysteries of the kingdom of GodThe kingdom of heaven may be compared to a man who sowed good seed in his field; but while men were sleeping, his enemy came and sowed weeds among the wheat, and went away. So when the plants came up and bore grain, then the weeds appeared also. And the servants of the householder came and said to him, “Sir, did you not sow good seed in your field? How then has it weeds?” He said to them, “An enemy has done this.” The servants said to him, “Then do you want us to go and gather them?” But he said, “No, lest in gathering the weeds you root up the wheat along with them. Let both grow together until the harvest; and at harvest time I will tell the reapers, ‘Gather the weeds first and bind them in bundles to be burned; but gather the wheat into my barn.’    Matthew 13:24-30

During the time of Jesus, Israel’s expectation was that the long-awaited kingdom of God would come as an unmistakable, apocalyptic event. God’s promised messiah would appear, judging and doing away with every source of evil and suffering, and ushering in an eternal kingdom of peace.

Upon His arrival, however, the Messiah inaugurated a different kind of kingdom – a kingdom unlike the kingdoms of this world, but also different from what the Jewish people were expecting.

In the parable of the weeds among the wheat, Jesus identified the sower as Himself. At the establishment of His kingdom the Messiah came not as a warrior, but like one planting seed. His is first and foremost a revolution of love, light, Spirit, and grace rather than one of military might.

In explaining the parable, Jesus identified the good seed as “the sons of the kingdom.” The good seed is sown in the midst this present, corrupt age, growing up right alongside “the sons of the evil one” – bearing fruit over time for the King. Contrary to the expectations of His time, the King Himself withholds judgment until the end of this age, rather than bringing all things to completion at His first appearing (v 36-40.)

But the harvest time is coming. At that time “all causes of sin and all evildoers” will be destroyed, but “the righteous will shine like the sun in the kingdom of their Father” (v 41-43.)

We, the Church, are the good seed – God’s manifestation of His kingdom in this present, evil age – in the world, but not of it. Though in many corners of the world His followers suffer greatly, still the good news of His kingdom goes out. The revolution continues…”And this gospel of the kingdom will be preached throughout the whole world, as a testimony to all nations; and then the end will come” (Matt 24:14.)

 

My children’s storybook, The True Story of Christmas, presents a basic telling of the biblical narrative that kids can understand.

Watercolor Out the Wazoo!

Perchon-watercolor detail-scott freeman

In previous posts I’ve talked a bit about a crazy watercolor technique that I like to use. I was once unenthusiastic about watercolor because I generally found it to be wussy and boring. Then, when I worked at Hallmark I found some guys using watercolor in a way I had never seen it used before. Eventually I took a work shop from these guys, (Craig Lueck and Johne Richardson,) and fell in love with the medium of watercolor. I remember the first night after the workshop; I dreamt of blushes of watercolor flowing into each other.

So, over the years watercolor has become a secondary medium for me, right behind my favorite medium of oil paint. However, since the beginning of this year, I have worked almost exclusively in watercolor due to the list of projects and commissions I’ve taken on. Furthermore, I’m scheduled to teach this crazy technique this coming January (2015) in a Saturday workshop at Schissler Art Acadaemy, in downtown Loveland. So I’ve definitely got watercolor on the brain right now. (Which, I admit may have been a better title than Watercolor Out the Wazoo.)

In the course of pulling together some samples for Schissler Art Academy, I ended up going through a lot of past work, and I think it’s fun to look at as well as being fun to paint, so I thought I’d show some to you. A lot of it is available in greeting card format on our ZAZZLE SITE, and also as fine art prints by contacting me directly. I even still have a few select originals around as well, for those of you who have money to burn. (The originals are several times more expensive than prints.)

For those of you who are art nerds, I’ll say that I pretty much only use oils for my fine art. However, I use watercolor for a whole range of artistic expression, including fine art, but also for my commercial illustration, which includes my children’s storybook illustration. In fact, watercolor is almost exclusively what I use for commercial illustration, because I feel this technique presents a unique and striking look. Following is a survey of some of my favorite pieces from over the years.

 Masters copies:

The Visitation-watecolor by Scott Freeman

“The Visitation” based on a 16c painting by Mariotto Albertinelli. 6 x 8 inches. I would be willing to have prints made of this one if someone asks, because it’s one of my favs. The original is in a private collection.

Sometimes I like to take an old Master’s composition and translate it into watercolor. For me this is an act of appreciation, kind of like a musician covering a classic song. Someday maybe I’ll post the originals alongside the reinterpretations.

See a previous post on The Visitation. (left)

The Music Lesson-Scott Freeman

“The Music Lesson”
based on an 1877 painting by Frederic Leighton. 6×5.25 inches. I have prints available of this one. It’s also available as a note card on my Zazzle site.

Native American-watercolor-Freeman

“Native American Portrait”
5×7 inches. Based on a 1910 black & white photograph by Carl Moon.
  1 of a set of 3. Framed original available for $700.

Watercolor studies- Scott Freeman

Left: Study after Johannes Vermeer’s (1665) “Girl with a Pearl Earring.”
6×9 inches. I have prints available of this one.
Right: Study after Frederic Leighton’s (1864) “The Painter’s Honeymoon.”
5×5 inches. Private collection.

Plein Air Pieces:
I almost always paint in oils when I do plein air events, but occasionally I’ll do a watercolor painting. Here are a couple that I was able to photograph.

Perchon-Scott Freeman

“Horse of a Different Color”
4×6 inches. Painted at a riding stable in Estes Park, Colorado. A composite of 3 white Perchons who took turns posing for me. Original sold. No prints.

Santo-Sedona AZ-watercolor

“Santo”
Painted from a statue on the grounds of a Catholic church in Sedona, Arizona.
Framed original available for $400.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Artist demos:
When I teach a watercolor workshop, I generally do a demo throughout the day. Below are two that I liked enough to document.

watercolor demo-Scott Freeman

“Light and Fashion”
8×10 inches. Demo for a watercolor class.
Unframed original available for $200.

American buffalo-watercolor

“American Bison” 5×4 inches. Demo started in class and finished at home. Original sold. Available as a note card on our Zazzle site.

Children’s Book Illustration
I’ve been doing a lot of book illustration lately, especially with the recent launch of my online kids’ book company. Below are some of my favorites so far.

Mount Fuji-kids stotybooks-Freeman

“…and she flew away to Mt. Fuji in a breeze.”
Full spread from the upcoming book, The Adventures of Nathaniel and His Father’s Globe, by Beth El Kurchner.
8.5×17 inches. Original spoken for.

 

kids story books-The Cocky Rooster

Select illustrations from my newly released kids’ storybook, The Cocky Rooster.

I just found out I need to get new tires for my car in addition to several unexpected expenses. So I guess that means it’s time for a SALE.

+ I’ll sell any of the prints mentioned above, unmatted and unframed for $25 (includes shipping & handling.)
+ When I have matted prints on hand, I’ll sell them to you for $40 (regularly $60 – $80.)
+ Framed pieces are already discounted, as listed above.

My fine art giclee prints are reproduced using archival watercolor paper and inks.
I’m not set up to sell prints and art online, so please email me if you’re interested: scottnmollie@yahoo.com
I may not have to charge for shipping depending upon what you want and where you live.

For easy online purchases:
+ You can browse our Zazzle Store HERE
+ You can purchase my newly released storybook, The Cocky Rooster, HERE!

I’ll keep this sale going until my next post – (probably in a couple of weeks.) THANK YOU for your support!

New Painting: The Wall Remaining

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The Wall Remaining – Detail

This week I want to feature what may be my favorite painting from the Zeitgeist art exhibit, a show of recent work by Mollie and me. If you haven’t seen the show, there’s still time! It runs until Feb 23, 2014.

The painting I’m featuring is titled The Wall Remaining. It’s a triptych approximately 4 by 6 feet, painted in oils on panel. Below I’ve reprinted the text that accompanies the painting in the show:

THE WALL REMAINING

The history of relations between the Church and the Synagogue is one of the world’s tragic stories. The first followers of Jesus (Yeshua in, Hebrew,) were all Jewish, and his “church” began as a sect of first century Judaism. As these early Jewish disciples spread the message of Jesus, a series of events, described in Acts chapter 15, led to an astounding decision on the part of his disciples: the Jewish church in Jerusalem made the decision to fully welcome gentile (non-Jewish) believers, as brothers and sisters, into their company without requiring them to become Jewish. The gentiles’ status as joint heirs would be based on their being “partakers of the new covenant” of Yeshua. The ancient Mosaic covenant sign of circumcision, as well as Torah observance, would not be required of them.

As a result of this inclusivity, large numbers of gentiles came into the church, eventually outnumbering the Jewish members. As the church became more gentilized over time, and as Jewish members increasingly found themselves out of favor with traditional Jews, the church took on a distinctly Greco-Roman character. By the time of the first Ecumenical Council under the Roman Emperor Constantine in the fourth century, there was not a single Jewish bishop in attendance, though some 1800 invitations were sent out across the empire. Increasingly, anti-Jewish laws were passed under subsequent Christian emperors and kings so that the Church eventually became an openly anti-Jewish institution, generally consigning Jews to an inferior status, and at times actively persecuting them.

Throughout Europe, it is still possible to see vestiges of the historic, divisive relationship between the Church and the Synagogue displayed in the artistic embellishments of its cathedrals. Many cathedrals feature two figures: Ecclesia (the Church,) and Synagoga (the Synagogue.) Triumphant Ecclesia wears a crown, and usually holds a staff and a Eucharistic chalice. Synagoga is always blindfolded, and carries a broken staff and a representation of the Torah. Though I had previously read about these two allegorical figures in my books, I saw them for the first time in the Jewish Museum in Berlin. The sight of them deeply saddened me.

It is noteworthy that the New Testament scriptures do not support this division. The Jewish apostle Paul writes:

“Therefore remember that at one time you Gentiles in the flesh, called ‘the uncircumcision’ by what is called the circumcision (Jews,)…were alienated from the commonwealth of Israel and strangers to the covenants of promise…But now in Christ Jesus you who were far off have been brought near by the blood of Christ. For he himself is our peace, who has made us both one and has broken down in his flesh the dividing wall of hostility by abolishing the law of commandments expressed in ordinances, that he might create in himself one new man in place of the two, so making peace, and might reconcile us both to God in one body through the cross, thereby killing the hostility” (Ephesians 2:11-16)

Here I have painted Ecclesia and Synagoga as ossified and broken statues warming in the light of these scriptures. Ecclesia is not triumphant; instead her head is bowed down. Synagoga has become indignant and distanced; understandably so. The wall remaining, though invisible, is as formidable and as obstinate as the Berlin wall ever was. The figure in the center panel reaches for the hands of the two ladies, awaiting the healing and the unity-in-diversity that I believe we will see in our lifetimes; a unity that has not existed since the dawn of the early Church. (end quote)

One New Man-synagoga-ecclesia

For hours and information about the Zeitgeist painting exhibit, call the Loveland Museum-Gallery at 970.962.2410, or visit www.lovelandmuseumgallery.org.

You can purchase note cards and other artsy gifty items featuring our art & design work at our online Zazzle store (click here.) Thank you for your support!

 Top related posts:
–          What Easter has to do with Separating Christians and Jews
–          Art & Church History: The Uncut Version

Zeitgeist – Recent Paintings by Scott & Mollie Freeman

Mollie and I opened our art exhibit at the Loveland Museum-Gallery last weekend. In this post I will share my opening comments for those of you who wanted to be there but couldn’t make it. Many thanks to those of you who did come – you certainly made it a special evening for us! Art is, after all, a communal undertaking.

Of course I can’t help but do a little embellishing along the way, but here’s the gist of what I said:

First I want to say that Mollie and I are inexperienced travelers, and we claim no expertise in things German. What follows are simply our observations and contemplations around our wonderful visit to Germany.

Mollie and I chose to title our exhibit, Zeitgeist, which means “spirit of the times.” Why Zeitgeist?
Well, it strikes us that the spirit of our times has to do with unity, community, and communion. This is what we’re all seeking, to some degree. We’re all now familiar with the idea of the world getting smaller, and the reality that international communication has become ridiculously easy and cheap. For me, it’s like a miracle that I regularly sit at my dining room table and communicate with people around the world. The fact that this art exhibit grew out of an unexpected international friendship initially set the tone for our show. Our trip was only made possible by the generosity of friends here at home, and especially by the generosity of the Taube family in Germany.

When we arrived in Germany, we saw the human urge to create community, to varying degrees, visibly expressed everywhere. It seemed that everywhere we went, we were surrounded by the smoldering reminders of someone’s attempt to create a better, unified world. I happen to be fascinated with utopian idealists and their visions. I say this without a hint of sarcasm. It seems obvious to me that the world is broken and that there is something terribly wrong with the human condition. I believe we’re all seeking unity between Man and God, between Man and Man, and between Man and Nature. I would guess that all of us are giving our energies to one or more of these pursuits. I give utopian visionaries props for at least trying to make the world a better place.

But there is a maddening paradox.

Part of what fascinates me about studying utopian human movements, ideologies, and isms is how they seem to always go horribly wrong. Despite the best intentions of men & women, our plans to make the world a better place often create a situation worse than what existed before. The worst examples of this are seen in political revolutions carried out “for the good of the people” that have often resulted in the bald slaughter of the people they claimed to liberate. It’s astonishing how good intentions can go so wrong.

Germany’s tumultuous, world-shaping history is extraordinary, profoundly contributing to the world both for better and for worse. This tension is reflected in the paintings here, to varying degrees:

With Nazism and World War 2, much of Germany was destroyed, and the entire country has been tirelessly rebuilding ever since; reconstructing its old historic structures, as well as creating new ones, often blending the very old with the very new. Several of Mollie’s watercolors feature the reconstructed St. Mary’s Cathedral in Lubeck, which was extensively bombed on the night of Palm Sunday in 1942. It’s important to note that Germany’s massive reconstruction campaign is not designed to cover over and forget the unspeakable horror of Nazism.  Often the ruins of the war have been left as a monument, or documented with public placards, so that future generations will never forget what occurred.

Other structures are reminders of the remarkable positive contributions that Germany has given the world. My painting, Coexistence of Centuries #2 shows St. Michael’s Church in the town of Luneburg, rising up behind the harmonious modern architecture in the foreground. Johann Sebastian Bach sang soprano as a choirboy in this church from 1700 to 1703. St. Michael’s, which opened in 1409, has stood through the invention of the printing press and the Renaissance, the Reformation, two world wars, the fall of the Iron Curtain, and German re-unification.

blg-Coexistence

Coexistence of Centuries – oil, 24×36 in, Scott Freeman

After the Second World War, Germany was split in two by Communism. The city of Berlin suffered a bizarre fate, becoming engulfed behind the iron curtain, making West Berlin an isolated island of freedom well inside of East Germany. Stories abound. Though the Berlin Wall is now gone, city planners have marked and memorialized where it once stood, so that it is impossible to go through the city without seeing the remains of the utopian Communist experiment gone wrong in the midst of a now re-unified Germany. Two of my paintings resulted from a midnight walk in Berlin where I watched gentle people enjoying the night hours on Alexanderplatz, the site of the largest anti-government demonstration in GDR history, just days before the Berlin Wall fell in 1989. I’ve posted thoughts on these paintings HERE and HERE.

Our German hosts also took us to visit the site of a much smaller utopian experiment. In the town of Worpswede, an artist from Bremen named Heinrich Vogeler joined an artist community in 1894. The next year he bought a cottage there and named it Barkenhoff, (which means birch tree cottage.)

blg-Barkenhoff

Barkenhoff

I took this quote from the museum exhibit:
“Upon returning to Worpswede, disillusioned by his experiences in the first World War and highly politicized, Heinrich Vogeler tried to create a “new world” at his Barkenhoff. Here a commune was supposed to realize his social utopia of a self-governing society without class structures and private property – an ambitious experiment that was to fail after a few short years.”

After the failure of the commune, apparently due to various human infidelities, Vogeler joined the Communist party, his art became propagandistic, he emigrated to Russia, and was eventually deported to Kazakhstan where he died, sick and destitute.

Blg-Worpswede

Worpswede – Near the Artists Colony – oil, 20×24 inches, Scott Freeman

blg-Synagoga

Synagoga – part of a trytich entitled,
The Wall Remaining
– oil, 20×48 inches, Scott Freema

Mollie and I have also included our personal visions of unity, community, and communion in the exhibit. My triptych, The Wall Remaining, quotes tragic medieval iconography, and looks forward to what I believe will be a new unity emerging between the Synagogue and the Church. We shall see. I have posted on this painting in detail HERE.

One of my favorite pieces of Mollie’s is a large piece (4×5 ft) entitled, Jacob’s Ladder #8. She has painted several variations on this theme over the years. It refers to ideas of unity and communion in that the biblical theme of Jacob’s Ladder ultimately has to do with uniting heaven and earth. She has posted on this theme on her art blog, HERE.

blg-Jacob's Ladder 8

Jacob’s Ladder #8 – water media, 4×5 ft, Mollie Walker Freeman

 

“Zeitgeist – Paintings Inspired by Germany” will be open through Feb 23, 2014 at the Loveland Museum-Gallery in Loveland, Colorado – 503 N. Lincoln Ave – 970.962.2410 – http://www.LovelandMuseumGallery.org. Admission to the Foote Gallery is free.

New Watercolor Painting: “Muse”

This week I’m hoping you will do me the favor of casting a vote between two versions of the final painting I just finished for an upcoming exhibit. After finishing the first version, I wasn’t completely happy with it, so when the Loveland Museum moved our turn-in deadline back a few days, I started a second version of the same composition. This painting will be my smallest piece in the show, and also my only watercolor.

I use a crazy watercolor technique which is very fun, but darn near impossible to control, so there’s really no way to get the same result twice. I typically work on two watercolor paintings at the same time anyway, partly because working on a second one keeps me from messing with the first while successive stages are drying. Usually I’ll abandon one partway through and stay with the one I feel has the most promise. I this case, I completed them both, but am unsure as to which one I like best. I can’t exhibit them both because I only have one frame prepared.

When I started the second version of “Muse,” I was happy enough with the result that I decided to photograph some successive stages of the painting, for those interested in the process. I would summarize the process by saying that the painting is composed of successive layers of very wet glazes, so that the paint literally rolls around on the watercolor board. I’m grateful to Craig Lueck and John Richardson at Hallmark Cards, for introducing me to this technique, which made watercolor enjoyable for me.

(You can see a younger me using this technique in my 4 ½ minute watercolor video on Youtube. Simply type scott freeman watercolor in the Youtube search bar. My apologies for not yet being set up to link videos on this site.)

Here’s the first version of the painting. Mollie says I should put this one in the show:

Muse 1

Following are some stages showing the development of the second version.

Muse-stages

Below is the final result. Please let me know which painting you think should go in the show, (though I’m definitely leaning toward one of them.) Vote the first or second version. I’d be interested in your reasons if you’d care to share them:

Muse 2

The subject matter of this painting comes from one of my favorite evenings during our trip to Germany last year. After Mollie and I spent the day in the Jewish Museum in Berlin, our wonderful German hosts took us to dinner at a Vietnamese restaurant. Then we went for a walk and a glass of wine at the Gendarmenmarkt, Berlin’s most beautiful square, featuring domed German and French Cathedrals facing each other across the expansive plaza with the restored Konzerthaus Berlin (Berlin Concert Hall) rising up between them.

When we entered the square, the sky was beginning to turn Maxfield-Parrish-blue. The weather was still and lovely, and a street musician was playing saxophone on the square under an ornate street lamp that was just coming on. His music echoed through the square, making the moment all the more transcendent for me. To be carried away to Europe by the generosity and grace of our new international friends, and to now be in their company on such a beautiful night in one of the world’s historic cities was extraordinary. This overwhelming memory will always be with me.

Berlin-Soldier Market Platz

Street musician on Soldier Market Platz – photo by the author

On our walk to Lutter & Wegner’s Winehouse, we passed the Concert Hall with its grand stairway. Great statues framed the stairs. On one side was a lion, on the other a lioness, each mounted by a cherub playing a musical instrument. Our hosts waited patiently as I took more photos, one of which became the source for this painting. Back at our hotel, my night ended when I couldn’t sleep from excitement, and Mollie excused me to take a midnight walk in the city (recounted here.)

Scott Freeman and Mollie Walker Freeman will be presenting a two-person art exhibit themed around their Germany trip, entitled, “Zeitgeist: Paintings inspired by Germany.” The show opens with a reception at the Loveland Museum-Gallery on November 8, 2013 at 5pm, and will be on display through February 23, 2014.

Portraiture

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I find portraiture to be a strange genre in contemporary culture. It’s not really my business as to why someone wants a portrait; if someone wants to commission me for a portrait, I’m happy to paint one. Do most people want portraits of themselves in their homes? I doubt it. A couple of times I’ve had guys wanting me to paint their girlfriends, as a gift for their girlfriends. I’ve felt obligated to ask if they had reason to believe their girlfriends would want a portrait of themselves. Do you see what I mean? Portraiture can be a tricky genre. I once saw a home where, in the master bedroom, a large portrait of the wife’s mother hung over the couple’s bed; Hmmm…I think I would hang a portrait of my mom somewhere else.

I can tell you several reasons why people might want portraiture. I’ve had several parents commission portraits of their children. (But I generally only do older children for reasons that will become clear later.) I’ve also had parents commission portraits of themselves to leave to their grown children someday, and I think this makes sense also. Some collectors simply love the human face – the psychological impact, or the personality or stories that a face might suggest. The human face is a powerful carrier of emotion. Oddly, when I first moved to Loveland, which at that time was even less racially diverse than it is now, my gallery sold 2 or 3 portraits of beautiful black women I had painted. I’m not really sure what was going on there.

A few times I’ve had the sobering honor of painting infants or children who have died, for the parents who lost them. I consider this a weighty endeavor because these parents will only have the painting, photographs, and memories by which to remember these children.

Finally, a lot of artists seem to especially enjoy a beautifully painted portrait. Portraiture is an unforgiving subject matter. If one can balance the technical aspects of good drawing, composition, values, color, edges, and paint-handling without losing the grace and sensitivity that painting a human face requires, that is something to appreciate. Over the years I’ve sold off a few unframed portrait studies to artists and students for a couple hundred bucks each, because I know they can’t afford a full price portrait, nor do they care who the subject is. They’re just interested in the art of it.

I’ve been participating in plein air festivals for several years, and I usually paint a portrait during the Quick Draw event (click here for a fun Quick Draw story.) I do this because the public seems to enjoy watching portrait painting. Despite the fact that the Quick Draw models are usually dressed in cheesy period clothing, I usually sell these, and I’ve won several awards for them.

My Approach to Portraiture

I generally only paint from live sittings when doing portraiture in oils. There are plenty of other artists out there who will do a portrait from photographs, and this is certainly logistically easier. However, I find there is an authenticity and spontaneity that results from a live sitting that is very difficult to achieve from a photo. Also, coming to my studio for a sitting creates an experience to go with the painting.

At the Kansas City Art Institute I studied primarily under a painter named Wilbur Neiwald. While my studio work has now taken a departure from Wilbur’s approach, I find his approach to be unparalleled when it comes to portraiture. Wilbur taught a fascinating direct-study painting approach that by-passed traditional aspects of art instruction such as anatomy, perspective, and color theory. In fact he believed these things can sometimes hinder a painter from seeing clearly. Even today, because of what I learned under Wilbur, when I teach a class I tell students it’s a “seeing class” as much as it is a painting class.

Boiled down to its simplest description, Wilbur taught that all we really see are color relationships. That pretty much encompasses everything else, if you think about it. So when I paint an oil portrait, I’m simply seeking to paint one color in its proper relationship to another. If I basically get down the color relationships in the size and shape as they appear in front of me, a likeness appears. It’s almost that simple.3 Portraits

The frustrated-Hallmark-artist portraits 

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“Scott Brown”
Yes, this guy worked at Hallmark. He wore black every day and rode a Harley. It was always refreshing to see him; kind of like bumping into Thor in the lingerie section of a department store.

My previous post describes my 10 years as a Hallmark greeting card illustrator and designer. For me, one of the enriching aspects about working there was that were so many great painters there. A lot of these painters ultimately desired to be full time fine artists, but many us had families to support, so we worked at Hallmark instead; because it’s notoriously difficult to make a decent living as a fine art painter. But we found outlets, and made opportunities to pursue painting “off the Hallmark grid.” One of these opportunities, open to anyone, was a Wednesday lunch hour painting group. I thought of it as the “frustrated painter group,” (not because the group was frustrating, but because our dreams of being fine artists were frustrated by the realities of life.)

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“Roxanne”
One of my favs that I will never sell. Roxanne had exotic features: amber eyes, reddish brown hair, and a lovely almond-shaped face above her willowy neck; so fun to paint! Something gelled for me in this painting.

Hallmark was a fairly cosmopolitan environment, full of interesting people. Every Wednesday we would ask someone from the company to come and sit for us for an hour. Artists could paint or draw in the medium of their choice. Every Wednesday. For a couple of years I organized the model list as a ploy to discipline myself to attend every week.

When I first joined the group, I could not paint fast enough to finish a painting in one hour. However, after regularly painting a portrait a week, over time I eventually was able to consistently get a result I was pretty happy with. For me, an hour is still too short of a time to really nail a portrait, so the time limit forced me to loosen up. There’s just no time to get picky in an hour. I came to enjoy the spontaneity that came across in these portraits.

3 more portraits

Left: ” Tracey” – I like the loose spontaneity of this one.
Middle: “Wale” – This guy was from Uganda. A writer, I think.
Right: “Cathy” – My lovely next-door-cubicle neighbor. I kinda wish I still had this one.

Loveland portraits

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“Redhead”
I lost the likeness on this one, but I like the painting.

I’ve continued to do portraits sporadically since leaving Hallmark to become a full time artist. A lot of my commissioned portraits are gone before I can have them photographed, but shown here is a sampling of portraits I’ve painted since moving to Loveland.

Come visit me and I’ll paint your portrait if you like!

I now tell people a sitting is two and a half hours long. (You get breaks, and I have good music.)

I charge extra for cosmetic improvements, though not as much as a plastic surgeon would.

I’m kidding. I don’t do cosmetic improvements. At least not on purpose.

You must be brave – sitting for a portrait is not for the faint of heart.

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“Bald Guy”
This was a demo piece done at the opening of Wild’s Art Center in Loveland

Unless otherwise noted, all portraits in this post are roughly 9 x 12 inches, and are painted in oils, from life, in a single session.

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“Self portrait” – 8 x 10 inches
This was painted from a photograph, (don’t tell anyone.) I thought a portrait in my plein air painting hat would say something about me. In this painting I wanted to try my ridiculously large brush and experiment with the paint handling.