Tuesday, December 15, 2009

"Venice Carpenter"

"Venice Carpenter", oil on linen/panel, 10 x 7 3/4 inches

Incredible? Unquestionably! Venice is one of the world's most fabulous cities to experience first hand. We set out early each morning, eager to explore its many treasures. One particular morning, as we left our apartment, we happened upon this enterprising craftsman who had set up his wares outside his own apartment door, just a few doors away. He was busily refurbishing what looked to be an antique, so clearly immersed in the pleasure of his task that he paid us no attention. Just a moment in time... perhaps an ordinary one at that... but one which, for me, so clearly defined the whole experience.

This painting is available for purchase through Rustica Fine Art Gallery

Sunday, December 13, 2009


The past three months have flown by in a flurry of creativity! In that time, I've held four weekend workshops in my studio and each session has been a rewarding growth experience for everyone, particularly for me. I'd like to sincerely thank those people who have participated and look forward to seeing you all again.

I have some exciting plans for my upcoming workshop so please continue to visit my website at Bobbi Dunlop Fine Art and this blog for updates on new ones.

The next weekend workshop will be January 23rd and 24th, 2010. This workshop will focus on painting "Dailies"... those diminutive paintings which are overtaking artist's studios in a new phenomenon called "Daily Painting". This fast growing group of artists are painting small paintings daily - or weekly - and posting them to a blog for sale. There are as many variations to this theme as there are artists. For example, my own personal venture into this phenomenon was done while painting larger paintings so my goal was to paint one little masterpiece per week and post it to my blog. Many artists sell these paintings on eBay or on their blogs beginning at $100 each. Paintings are painted on panels or canvases in varying sizes such as: 6x8, 5x7, 8x10, 6x6, etc. Some are even smaller, 2x3! The "Dailies" are there for you to explore and only limited by your own imagination.

In addition, participants will learn how to prepare panels for their 'Dailies' - 4 panels will be supplied for the weekend workshop. We will focus on painting small still lifes, discuss setting up a free blog, selling your paintings on eBay or your blog and shipping and marketing your work. There will be a demo, and one-on-one instruction in a very small class size, in my personal studio.

All subjects/objects to paint will be supplied and there will be handouts for reference.

Painting these little "Daily" masterpieces is a wonderful way in which to challenge oneself and develop as an artist, while having fun!

Workshop Date: Saturday & Sunday, January 22nd & 23rd, 2010
Place: Bobbi Dunlop's Studio (Calgary, Alberta)
Time: 9am - 4pm
Cost: $265
Class size is limited to 7 participants, so register early
Deposit: $100 with registration
All objects/subjects supplied for the still lifes as well as 4 panels and handouts.
Note: participants will require their own 'french' style easel

Please email me for further information and to register at bobbi@bobbidunlop.com

Also, please visit earlier archived posts here to see many of my "Dailies". You will also find them under Miniatures and Studies in 'Collections' on my website.

If you have any questions, I'd love to hear from you!

Monday, October 5, 2009

Reach Out and Touch Someone...

The life of an artist can be a fairly solitary one, often by choice as well as necessity. Many hours are spent alone in the studio in the pursuit of knowledge, challenge and the hard work of painting.

However, artists tend to be very good at networking. As a result of my website, blogs, and newsletter, I've come to know and share with artists from many parts of the world. The contact is more often than not a single email with an enquiring artist; but sometimes it's a timely note of support.

Messages can be brief...welcome words of encouragement or notes sharing methods and ideas about the business side of this life. It's all good, in the spirit of friendship, and it makes life as an artist fun, fulfilling and much less isolated.

But it hasn't always been this way.Recently, I reflected on the incredible resources available to today's artist and I realized how decidedly different and complex my life as a working artist has become over the years.

It's barely conceiveable that just a dozen years ago, I couldn't turn on a computer myself, much less operate one, unless one of my children was at home. Today, I have a lovely website and several blogs, all of which I have learned to navigate myself. How did I ever manage all those years ago without these tools?

Looking back to those early years of my two decade plus career, my life as an artist was very simple. It was a world without internet, so unlike this instant world which now lies at our fingertips. But artists have always been networking naturals. It's part of our enquiring, resourceful pyche to seek out like-minded artists, to compare notes on methods and techniques; to search out the workshop of our dreams or the gallery which will become a home to our life's work; to savour words written on a favourite artist's blog or newsletter; to explore what other artists are creating, and more importantly, how they're doing it. The world has very definitely become our oyster.

And so today, while my studio days are still solitary, it is never with feelings of isolation that I view my world. As I prepare my canvases by hand and joyfully put pieces of paint on these surfaces, I remember the artists who have so generously passed along their hard-won knowledge over these wonderful years.

Friendship is merely an email away; companionship an inbox waiting to be opened. Sometimes it's even a surprise in my 'real' mailbox...a Christmas package, filled with incredibly delicious home-made Italian cookies from my Italian artist friend in Omaha.

Saturday, October 3, 2009

Under Rembrandt's Watchful Eye....

Bobbi's Studio - location of her workshops
It's hard to believe that summer is now behind us and a glorious fall has once again arrived in all its splendor. For me, the wonderous colours and earthy smells of cool, crisp fall mornings always elicits memories of the first days back to school. September is also a time for me to regroup, to shake myself free from those lazy days of the summer months and once again reassess my goals, my direction. It's a time to re-focus. To concentrate on learning; that never ending quest to know more and always, to do better.
And so it was with my recent workshop: "Painting the Still Life in Oil, From Life", September 19th and 20th. The participants arrived at my studio with serious intentions of getting down to the business of learning! What an incredible group! Energetic, attentive and eager for the challenge at hand. These artists worked hard and left exhausted, yet very happy and content with themselves.
Thank you to those who attended. The workshop was a rewarding experience for me, as well. I look forward to seeing you again in my studio workshops and to welcoming others for the same exciting challenges!
My next workshop is: "Painting the Figure in Oil, From Life", October 17th & 18th, 2009. For further details please visit my website Bobbi Dunlop Fine Art or my demonstration blog Dunlop Demonstrations

For my complete Fall 2009 Workshop Schedule, see the archived links to the right or go to my website's "Events and Workshops" link.

Painting News....

"Relic Ride and Roses", oil on Belgian linen, 20x24

As a child I would spend hours drawing horses, dogs and people. These were my favourite subjects of all and I never grew tired of them. Many years later, horses were often the subject of my paintings, as were cows, dogs, kittens and the people in my life. Growing up in a rural farm setting in Saskatchewan, it turned out it was natural for me to paint these subjects. My Dad raised a few horses, restored and drove his collection of buggies and he passed along to me his love for the country life and animals. It's been a number of years since I've painted those pastoral scenes of the farm that I loved so much. I am so happy that I did, because the farm is no longer there. Painting this sculpture of a relic horse was a pleasant reminder for me, and while not the real thing, it dropped me into a huge pleasure pool of reminiscences.

Saturday, September 5, 2009


Bobbi Dunlop's unique workshops offer a challenge to artists at all levels. Workshops will take place in Bobbi's spacious studio where students will enjoy painting subjects from life under large north-lit windows. In addition to painting demonstrations by the artist and teaching students about painting, Bobbi will share her painting philosophy, the business side of art and life of the professional artist.


All students will require a 'french style' easel for the workshops. Each student will be emailed a supply list and registration form. There will be an additional $20 fee for the model in figurative workshops.

In keeping with Bobbi's philosophy about painting, the student will benefit from each workshop and may use one to build upon another. As the student will learn, subject matter is not an issue, however, elements in painting are continuous, no matter the genre. Therefore, the student will benefit from enrolling in following workshops as the student builds on knowledge learned in Bobbi's previous ones.


In the still life workshop, Bobbi will take each student through the process of setting up the still life, emphasizing the importance of beginning a painting with a “concept” firmly in mind. Painting in a direct manner, consideration will be given to abstract design, colour, value, edges and more. In particular, students will learn how to 'see' and experience the 'joy'of putting paint on canvas. The artist will demonstrate at the workshop.


In this workshop, students will enjoy the process of working with and painting a model, from life. Students will be guided through the process of setting up, lighting and painting the live model, in a direct manner. In addition, all the elements of a strong painting will be emphasized - creating a concept, abstract design, colour, value, edges and more. The student will have the choice of painting the full figure, 3/4 figure or head-and-shoulders. The artist will demonstrate at the workshops. There will be an extra model fee of $20.00 for this workshop.


1. September 19th & 20th, 2009"
A Visual Journey: Painting the Still Life From Life, in Oil"

Location: Bobbi Dunlop Studio, NW Calgary
Workshop Dates: September 19th and 20th, 2009
Class Size: Min. 7, Max 9 students Hours: 9am - 4pm each day
Note: Student must have their own 'french' easel for this workshop - details on supply list
Skill Level: painting experience necessary
Cost: Early bird incentive - $265.00 (must register with deposit)
Price after August 19th - $295.00
-all still life objects supplied at workshop

2. October 17th & 18th, 2009
"A Visual Journey: Painting the Figure from Life, in Oil"

Location: Bobbi Dunlop Studio, NW Calgary
Workshop Dates: October 17th and 18th, 2009
Class Size: Min. 7, max. 9 students, Hours: 9am - 4pm each day
Note: Student must have their own 'french style' easel for this workshop - details on supplylist
Skill Level: painting experience necessary
Cost: Early Bird incentive - $265.00 + $20 model fee (must register with deposit)
Price after September 26th, - $295.00 + $20 model fee

3. October 31st & November 1st, 2009
"A Visual Journey: Painting the Still Life from Life, in Oil"

Location: Bobbi Dunlop Studio, NW Calgary
Workshop Dates: October 31st & November 1st, 2009
Class Size: Min. 7, max. 9 students, Hours: 9am - 4pm each day
Note: Sudent must have their own 'french style' easel for this workshop - details on supply list
Skill Level: painting experience necessary
Cost: Early Bird incentive - $265.00 (must register with deposit)
Price after October 10th - $295
-all still life objects supplied at workshops

4. November 21st & 22nd, 2009
"A Visual Journey" Painting the Figure from Life, in Oil"

Location: Bobbi Dunlop Studio, NW Calgary
Workshop Dates: November 21st & 22nd, 2009
Class Size: Min. 7, Max 9 students Hours: 9am - 4pm each day
Note: Student must have their own 'french' easel for this workshop - details on supply list
Skill Level: painting experience necessary
Cost: Early bird incentive - $265.00 + $20 model fee (must register with deposit)
Price after November 1st - $295.00 + $20 model fee

5. December 5th & 6th, 2009
'A Visual Journey" Painting the Still Life from Life, in Oil"-details above

LOOK FOR BOBBI'S 2010 WORKSHOP SCHEDULE. ALL WORKSHOP INFORMATION MAY BE FOUND ON HER WEBSITE AT http://www.bobbidunlop.com/ and her blogs http://www.rembrandtetc.blogspot.com/ and http://www.dunlopdemonstrations.blogspot.com/ Please email Bobbi at bobbi@bobbidunlop.com with any questions. Thanks for your interest!

Saturday, July 18, 2009


"Creamer with Oranges" Oil on linen, 10x14
In the fall of 2009 Bobbi will be offering a series of workshops which will challenge artists at all levels. In the first workshop, “A Visual Journey -Painting The Still Life in Oil, From Life”, Bobbi will take each student through the process of setting up the still life, emphasizing the importance of beginning a painting with a “concept” firmly in mind. Painting in a direct manner, consideration will be given to abstract design, colour, value, edges and more. In particular, students will learn about filling air and experience the joy of putting paint on canvas. The artist will demonstrate at the workshop.

Workshops will take place in Bobbi’s spacious studio where students will enjoy painting subjects from life under large north-lit windows. In addition to teaching students about painting, Bobbi will share her philosophy about painting, the business side of art and life of the professional artist.

To view Bobbi Dunlop’s work, please visit her website at http://www.bobbidunlop.com/ or visit her blogs to see her painting demonstrations at Dunlop Demonstrations

“A Visual Journey” - Painting The Still Life in Oil, From Life
Location: Bobbi Dunlop Studio, NW Calgary
Workshop Dates: September 19th and 20th, 2009
Class Size: Min. 7, Max 9 students Hours: 9am - 4pm each day
Note: Student must have their own 'french' easel for this workshop - details on supply list
Skill Level: painting experience necessary
Cost: Early bird incentive - $265.00
Price after August 19th - $295.00

132 – 10th STEET N.W., CALGARY 403-283-2288.

Or email Bobbi Dunlop at bobbi@bobbidunlop.com to register or for more information about this and upcoming workshops

**A supply list will be sent by email to registrants
**Register early as workshops fill quickly.

Tuesday, June 23, 2009

Hand Bound Sketch Books - A Gift for that special artist

Hand Bound Sketch Books by Trevor Gieske
Show and Sale, Saturday, June 27th, 10am - 5pm
The Ant Hill, 148 - 10th Street N.W.
Calgary, AB

Recently I had the pleasure of meeting a young, self described 'budding, self-taught artist who was born and raised in Calgary" by the name of Trevor Gieske.

Trevor makes hand bound sketch books, often collaborating with another artist in his thoughtful creations. He showed me a beautifully crafted journal he'd made for a Calgary illustrator. On the cover was a stunning illustration by the artist who'd commissioned Trevor to make the journal for her. It contained rag papers that any artist would long to make their mark on. This journal was artfully bound by hand, by Trevor. It was truly remarkable and breathtaking.

I asked Trevor to send me some photos of his books so that I could post them here to show you. This book in the photo is 8"x10" with acrylic painted masonite panels for the cover which conceals 130lb, 25% cotton sheets that have a toothy, rough vellum surface suitable for a variety of mediums. Makes my fingers twitch just thinking about it.

I couldn't help but be impressed with the sensitivity and enthusiasm in which Trevor approaches his art of bookmaking. And the notion that he is keeping a lost art alive wasn't lost on me, either. What occurred to me is that Trevor quite possibly has created the one and only perfect gift for the artist!

A journal that is a work of art in itself, just waiting for inspiration to fill its pages.

If you'd like to see Trevor's work, be sure to stop by his show on Saturday June 27th. Or if you happen to miss it, but would like to special order a journal for yourself or for that special artist in your life, you can email Trevor at trevorgieske@gmail.com

Check out my workshop in the post below! More information to follow soon...

Saturday, June 20, 2009

Workshop Announcement - Fall, 2009

Bobbi's Studio

Several years ago, my studio was not only my own workspace, but a thriving environment for my students, as well. With weekly classes and frequent weekend workshops in both oil and watercolour, it was a hustling, bustling space filled with creative energy and a place where many lasting friendships were formed. Five years ago, I set the teaching aside to concentrate more fully on my own work, but I did promise that one day I would come back to teaching, something I have enjoyed immensely.

Well, I'm very happy to report that I will be resuming my oil painting workshop schedule beginning again this fall, 2009. I have many exciting ideas in mind to share - from painting the landscape en plein air to painting the figure -and I'm looking forward to welcoming back many of my former students and to meeting new ones.

In my oil painting workshops you will be painting from life from live models and still lifes, all set up under the beautiful north lit windows of my spacious studio.

Coming up: September or October, 2009
Painting the Still Life, from life
Skill Level: Intermediate to Advanced
This will be a two day, weekend workshop with a demonstration by the artist
Details to follow. Maximum 7 students.

To learn more about my workshops and to be added to my workshop mailing list, or if you have any questions,please send me an email at bobbi@bobbidunlop.com. If you are a painting group and would like me to teach in your own creative space, please email me, also.

News of upcoming workshops will be posted here and on my website at Bobbi Dunlop Fine Art You can also see demonstrations of my painting process at Dunlop Demonstrations and in the post below....

Saturday, June 6, 2009

"Turkish Urn with Oranges" - Step Seven Demo - Completed Painting

Step Seven: Completed Painting

"Turkish Urn with Oranges", 22x26, oil on Belgian Linen


Here is the completed painting, "Turkish Urn with Oranges". You can see in this photo that I have, indeed, set the table edge back somewhat and I am happy with this change. There is also more push and pull to finish this painting to my satisfaction.

I'd like to point out, however, that this final photo was taken by professional photographer, Geoff Williams, who has become a genuine friend. I have bragged about him in previous posts, but the photograph he has taken of this painting speaks volumes about his talent as a photographer.

I hope that you have enjoyed this demonstration. I hope to have more for you in the near future.

Just to remind you, you can click on each of the images here and this will give you a full screen, up close view of the painting (something all artists love to do with art!). I might caution you, though, use the 'back' button on your browser to return to the blog.

If you have any further questions or comments, please don't hesitate to contact me at bobbi@bobbidunlop.com I'd love to hear from you!

Please visit my other blog at Dunlop Demonstrations and my official website at
Bobbi Dunlop Fine Art

"Turkish Urn with Oranges" - Step Six Demo

Step Six: "Turkish Urn with Oranges", 22x26, oil on Belgian Linen

The final touches are being put into place....the little ochre pot now has its handpainted pattern and the windmill pattern is now painted onto the miniature china cup - bringing them both to life. The grapes on the left hand side are set back into the depths where they are merely hinted at.

There is quite a bit of glare on these photos from my north window, unfortunately, on the left side of the canvas. You can also see areas that appear flat where the paint has dried to a dull finish. The painting is coming together but still I am unhappy about the brightness of the table edge so I plan to do something to set it back. A little glaze ought to do the trick.

On to Step Seven...

"Turkish Urn with Oranges" - Step Five Demo

Step Five: "Turkish Urn with Oranges", 22x26, oil on Belgian Linen

The little ochre pot is getting its due attention now and the leaves are further developed. The medicine bottle is pretty much completed. I love to paint things like this that just seem to paint themselves.

On to Step Six ...

"Turkish Urn with Oranges" - Step Four Demo

Step Four: "Turkish Urn with Oranges", 22x26, oil on Belgian Linen

In this photo, once again, you can see the refinement in all the areas. I like to work all over the canvas as this allows me to see my concept coming together as a whole. It also allows me to see when my ideas are not working and changes need to be made. In addition, I am also often able to see the opportunities which present themselves which will make the painting more beautiful. I love it when this happens! Many years as a watercolourist tuned me in to this philosophy. As all artists who work in this medium know, watercolour is often done by the seat of one's pants. It's a medium in which many accidents are beautiful things! In turn, with oil painting, it's important to be not only open to these possibilities but also on the lookout for them.
I have painted the little medicine bottle on the righthand side, as well as the leaves and the grapes. You can see the grapes on the left hand side now, as well as the greenery behind them. I've also resolved the bottom table edge issue, it would appear.

On to Step Five...

"Turkish Urn with Oranges" Step Three Demo

Step Three: "Turkish Urn with Oranges", 22x26, oil on Belgian Linen

Again, more paint, more refinement going on. I'm continuing to concentrate on edges, paint quality, my original concept. With each little refinement, however, something needs to change, improve. You can see the patina of the urn becoming more developed and therefore I'm making decisions about just how to best place it into the surrounding space. I've done two things, in repainting the background. I've restated the background colour and also added a darker value to the left side of the urn and resolved the value of the area surrounding the ochre vase. I've also painted the leaves somewhat and at this stage wanted them to be seen as part of the design but not necessarily take over the painting on the left side, detracting from the flow. Everthing is refined a little bit more, including the grapes and the table top - both at the back edge and the lower portion. I'm still not sure at this point how the bottom portion of the table will resolve itself. I've kept it painted very simply in order not to'close myself in' with too much paint, meaning limiting my options. The biggest impact is in painting the miniature china cup which just seems to illuminate the scene...this was my hope so I'm happy about that. This also allowed me to put the burners to the other colour, such as the oranges.

On to Step Four....

"Turkish Urn with Oranges" - Step Two Demo

Step Two: "Turkish Urn with Oranges", 22x26, oil on Belgian Linen

In this stage you can see that the urn has been somewhat more refined with paint. This will be an on-going process throughout the painting. In addition, I have established the value pattern on the little ochre vase on the left hand side of the painting. This, too, was an on-going proposition, as I changed my mind about the lighting of this little gem. At one point, after step one, I set this vase back into the background only to change my mind and repaint it back into the light. It was just far too charming to leave out entirely. I got more paint on just about everything, it would appear, with the exception of the miniature cup. The orange segments have been restated, as has the larger orange itself. These are little stepping stones throughout the painting. Most importantly, though, is that I'm trying to come to terms with the background. This will become a back and forth proposition for me, unfortunately. The reason is that I often 'make up' the backgrounds. In other words, it isn't exactly what I'm looking at on my stand in front of me. Or I just change my mind. It's never straight forward, whatever the case. While I have a concept in mind at the beginning of my painting, there are endless possibilities that present themselves along the journey and I find too many of them irresistable! The beauty of oil painting is that everything can be repainted and one cannot be afraid to make changes. It all comes down to what makes a painting more beautiful. Once I made a statement about the background quality I thought hmmm, what if? And this is how I arrived at the palette knifed surface of the table ledge.I like it so it'll stay as is ... for now ;)

At this stage, as in all stages, decisions are being made about paint quality, edges and colour saturation. You will notice that the darks are smooth and often transparent while the lighter and brighter colours are opaque and often have impasto qualities. The joy and beauty of painting for me is just putting the paint on the canvas....

On to Step Three....

"Turkish Urn with Oranges" - Step One Demo

STEP ONE: Turkish Urn with oranges, 22x26, oil on linen

As mentioned in my original post about this painting, I discovered this Turkish Urn at a market several months ago. In particular, what inspired me to paint the urn was the lovely worn patina, its understated poise and grace, enhanced by the passage of time. With these thoughts firmly in mind, I placed the worn urn on my still life stand.

A still life concept can come together very quickly or it can take hours, even days, to accomplish. This particular concept did not come easy for me. Everything I loved about the urn seemed in contradiction to those objects placed on the table to enhance the beauty of it. Soon I realized that the utilitarian nature of the urn dictated not a still life of delicate objects at all. Simplicity was in order. No frills.

In keeping with the order of simplicity, this painting is built upon a limited palette of colour and non-colour. With the exception of the urn and the miniature cup, it is very much about earthy yellows, orange and green. The vivid orange colour also serves to complement the blues of the urn, emphasizing the delicate miniature cup with its blue painted windmill pattern (my tribute to Rembrandt).

As always, with my studio paintings, I began this painting on an oil primed linen which I'd previously toned using burnt umber and phthalo blue. I should add that I prepare all my surfaces myself. In this case, I've used raw Utrecht Belgian linen which I've prepared by hand - you can see a demo of this on this blog in an earlier post. In addition to the Utrecht, I use Fredrix "Kent", oil primed Belgian Linen and to this surface I add a coat of Williamsburg oil lead primer. The prepared linen is then stretched onto stretcher bars. Once a decision has been made as to the still life concept, I am able to choose a canvas which will best compliment it.

Stage One:

Using a large filbert bristle brush, I began by roughly blocking in the shadow patterns. At this
stage I don't worry about drawing, my aim is to place the objects in the 'space' on the canvas and to develop the design using the shadow structure.

This photo shows the painting a little further along in the initial stages. I've not only blocked in the basic shadow design/concept using my large brush and burnt umber/blue mixture, I've also blocked in the objects with some colour, mainly just to get paint on them. It's always difficult (for me, at least) to get paint coverage on this oil primed linen, in this initial stage, so I'm just concentrating on stating the colour scheme and getting that first coat of paint on. This allows me to make some judgement calls and also make any changes that I might deem necessary, too. I've managed to get a little further along in blocking in the urn. Since this is the largest object in the painting, and pretty much the star of the show, I want to get a feel for the size and value, and just how it fills the space on its own. So far I feel that it's holding its own...no need to haul in a bunch of flowers for support, just yet!

The important thing to note at this stage is that I'm not worried about drawing or detail, I'm using a large bristle brush and just getting a feel for the design - the flow of the light and how it will travel across my canvas. The paint is applied with little concern for smoothness. In fact, I love the quality of the scratchy surface caused by my bristle brush and will try to utilize this wherever I am able, as I go along. I've used my palette knife on the table edge. You'll also note that I have blocked in the basic value of the table top, as well.
...on to Step Two

Friday, May 29, 2009

Gone Fishin' .....

Photos: Below: Here I am, plein air painting with my good friends (top photo) Susan Fae and Charlie.

Ok, so I can't make the claim that fishin' got in the way of my blogging for the past year. Although I personally know of a couple of artist friends whose fly-fishing passions cause lengthy absences from their studios, this hasn't happened to me yet. (Rick Berg, Dave Hodges). Nor can I claim to have been golfing, because I don't do that either. My only obsession is painting and I'm pretty pleased about that.

To give you the reader's digest condensed version of my past year, it was a busy one. Last spring my husband and I travelled to London (not to visit the Queen, necessarily), Paris and Amsterdam. In that incredible journey we took in the London Portrait Museum, the National Gallery, The Louvre, Rembrandt's House and Rijksmuseum. All in the blissful pursuit of Rembrandt.

We also visited Santa Fe, New Mexico a couple of times, the incredible art destination which we love to explore. In August I had the pleasure of having a gallery show at Brandon Michael Fine Art on Canyon Road.

And here I am, back again, eager to resume this business of blogging. I hope to have my newsletter back on track in the coming days, as well. (you can sign up on my website Bobbi Dunlop Fine Art )

Most of you know that for my entire career I've been strictly a studio painter. My workspace is a wonderful, expansive, north-lit studio, in which I paint my still-life paintings, have models sit for me and I paint from life. Recently, however, I've been ceased with the urge to experience en plein air painting. ( *Google Definition for en plein air painting: French for "in the open air," used chiefly to describe paintings that have been executed outdoors, rather than in the studio.)

The photos above were taken recently on one such en plein air adventure. I'm hooked! You'll be hearing more about my en plein air adventures here and I'll post some paintings, too. The successful ones, that is ;0)

So, from this point on, rather than claiming to have gone fishin', it's more likely that I'll be gone paintin'.

Thanks for visiting......

"Turkish Urn with Oranges" and Demonstration

"Turkish Urn with Oranges" - oil on Belgian linen, 22x26

This is a photo of my most recent large painting. After discovering this weather worn Turkish urn in a market several months ago, it was simply a matter of time til it won a place of honour in one of my still life paintings. I was looking for a minimalistic concept, in keeping with the functional, utilitarian nature of the urn. No frills. Nothing to take away from its faded, but once beautiful, facade. Toward that end, I used a fairly limited palette. As you can see, it is very much about earthy yellows, oranges and greens. This limited use of colour - or non-colour - serves to enhance the miniature china cup with its lovely blue painted windmill pattern. My small tribute to Rembrandt. I purchased this cup on our trip to Amsterdam last spring, to visit Rembrandt's home and studio, as well as the Rijksmuseum.


I have photographed the stages while painting this and plan to post it very soon in my demonstration blog at Dunlop Demonstrations Hope you enjoy it!