Sunday, May 04, 2014

Artnotes: Week Unique

Ponies  Blair Pessemier   10.75 x 14"   27 x 35cm

 Pont du Carousel and Quais   Laurie Fox Pessemier  Acrylic/line  14 x 19.5 "  35 x 50 cm
 Boules Laurie Fox Pessemier  Acyrlic/linen  14 x 10.75 inches  35x 27 cm
 Tulip  Blair Pessemier  Acrylic/panel  12 x 12   30 x 30 cm
 Dogwood  Laurie Pessemier   Acrylic/panel  14 x 10.75"  35 x 27 cm
 Under the bridge   Blair Pessemier   Acrylic/linen  15 x 18"  38 x 46 cm
 Notre Dame   Blair Pessemier   Acrylic/linen  19.5 x 12 inches  50 x 30 cm
 From the Garden at Notre Dame   Laurie Fox Pessemier   Acrylic/linen  10.75 x 14  27 x 35 cm

 Garden le Notre   Laurie Fox Pessemier   Acrylic/linen  10.75 x 16 inches   27 x 41 cm
 Chantilly   Blair Pessemier   Acrylic/linen  13 x 16"  33 x 41 cm
 Pony   Laurie Fox Pessemier   Acrylic/wood  6 x 13"   15.5 x 33 cm
 Ponies on a wood panel   Blair Pessemier  Acrylic/wood  4.5 x 13"   12 x 33 cm
 Painting the Boules players   Laurie Fox Pessemier   Acrylic/linen   14 x 10.75"  35 x 27cm
 Boules Game  Blair Pessemier   Acrylic/linen  15 x 18    38 x 46 cm
 Flowers at Giverny   Blair Pessemier   Acrylic/linen  14 x 19.5 inches  35 x 50 cm
Bridge Giveny other angle    Laurie Fox Pessemier   Acrylic/linen  14 x 19.5 inches  35 x 50 cm

Artnotes:  Week Unique

We spent all this week painting:  in our usual workshop haunts, but with the fresh eyes of a new season.   The great thing about painting is, even in the same place, light and angles and scenes all look new.

We painted ponies and boules players in the Luxembourg Gardens.  We stood beneath the Pont des Arts with the added insurance of umbrellas, hung upside down on the bridge rafters, as we painted the river.  We sat BEHIND Notre Dame, where tourists rarely go, and painted the ever so complex cathedral – what were we thinking?  A man from Norway, a teacher, spoke to me about his “kids” who wanted to know why paintings cost so much.  I explained a painting was a unique item, which was the work of a single person, in touch with the subject, which could never be replicated.  It is a single moment in the universe.  His wife dragged him away.

Giverny was remarkably sunny – and there we ran into a friend who didn’t have a reservation for after-hours, but we had an extra slot.  So, photographer Meredith Mullins took this great picture of Blair’s painting.

Auvers-sur-Oise was a bit rainy, so we just walked around/drove around, imagining Vincent Van Gogh.   At Dr Gachet’s house, we looked at letters in Vincent’s very own hand.
When Friday rolled around, we brought one guest to the airport, and with the other, drove twenty further minutes to the chateau of Chantilly.  

Chantilly belonged to the Conde family for much of its history (the history goes up and down, with the chateau being destroyed/rebuilt/destroyed/rebuilt).   At one time, it had an art collection which was only second to the Louvre.  Now, it has some very choice pieces including work by Raphael and Ingres – but I find the collection of portrait miniatures and the library (which now houses (sadly just a facsimile of) the Duc de Berry’s “tres riches heures”) to be most interesting.  Chantilly’s gardens were designed by le Notre, and there is an actual water-filled moat.  Chantilly, however, is most noted for its stables.  

The seventh prince of Conde built royal stables, which, at one time housed 280 horses and 150 dogs.  This time, we saw about a dozen horses and a Jack Russell terrier – but the stables, and the ring (with a 28 meter high dome, hosting daily shows of dressage at 11 AM) remain.  There is also a racecourse.  The prince was convinced he (and his friends) would be reincarnated as horses, so he wanted to be sure they had decent digs:  they are.

After we dropped our painter off at the airport, Blair and I returned to paint le Notre’s gardens, under a rainy/sunny sky.


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