I like to get the most out of my fruits and vegetables—like using them for still life sketches and paintings, and then enjoying them for a snack. I never set up a still life intentionally, it’s always when I see something that’s already in place, those random moments like the sun hitting the Clementines, or the two errant apples that tried to roll away.
These three originals are small and colorful and fit well in kitchen or dining room, or even a hallway as I’ve had them hanging all over my house between exhibits. I have them for sale individually, but I’d be glad to group them in pairs or all three with a discount. If you’d be interested in more than one, please ask and I’ll give you a price for the ones you want. Read about each of the paintings below, or follow the links to their listings in my “Still Lifes and Florals” gallery.
Clementines, pastel, 10″ x 5″ © Bernadette E. Kazmarski
ABOUT THE ARTWORK
This sketch is drawn entirely in Sennelier soft pastels on Fabriano Pastello Tiziano paper in the warm gray threaded tone. I wanted to use the laid texture of the paper to help convey the lightly pitted texture of the Clementines, and then also to soften the edges of everything to help capture the softened angled light from the window. The light comes mainly from the left, but several fruits are also catching a softer mid-tone highlight from a window in the next room to the right.
I had sorted them out of their bin since only a few were left and went to get a little basket for the. As I came back I saw the composition—the top of the cherry bookcase, my crocheted dresser scarf, the green-toned wall and of course the little stars themselves. The light comes in at a very slanted angle at any time of the year, especially winter, and for most of the day it’s reflected light from the sky with a cool tone and softened shadows. It doesn’t last very long, and I knew it was near the end of its journey on a short winter afternoon so I snapped a few photos and started a quick color sketch, but it was days before I got back to it. Glad I did, or those Clementines would have certainly lost their sweet and bright character in the meantime!
It’s the nice thing about art that you can leave out things you don’t like to be there. This shelf sometimes becomes a catch-all for things, and though they were actually in the scene I just left them out. There are also things hanging on the wall, and it’s a stucco wall that’s white which I rag-painted with vanity yellow and pale mint green. In this corner the shadows are dull and I debated having a cool gray-green wall to really bring out the orange of the Clementines, one of the reasons I began with this tone of paper, which you can see at the very top. I decided instead I wanted to keep with the rich tones in the rest of the sketch and worked the shadows in green—it’s not at all a realistic choice of tone or color or even quality of shadow, but I like it, and it works. I also decided to leave a loose edge at the top, I’d visualized it this way from the very beginning. I may have liked a loose edge all around but I ran off the paper on the sides.
I had mentioned with the last sketch of fruit that I was eyeing those Clementines…
“Afternoon Apples”, original pastel, art size 4″ x 5″, framed size 6″ x 7″ but the frame adds and extra 3″ for a total size of 9″ x 10″. A pastel sketch of Granny Smith apples, mixed pastels and pastel pencils on 2-ply vellum bristol.
ABOUT THE ARTWORK
An independent produce seller visits my neighborhood every two weeks, in the growing season carrying all local grown stuff, in winter fruits and vegetables that were good deals from some of the larger local suppliers, along with local cheese, butter and honey. We used to call these guys “hucksters”, but that almost seems derogatory compared to this entrepreneur, who is also a small farmer himself, who took the chance to knock on a few doors and start getting customers.
We also exchange conversation about our holidays and the things we’ll be cooking. He had a special on Granny Smith apples, which I like to eat and bake with (so I guessed an apple crisp was in my future), and I joked that I’ve also painted them and I should count the purchase as a tax deduction for materials. Immediately I envisioned two apples on the table by the dining room window in the cool indirect winter light.
And so I did paint the apples, two of them at least. There was a baker’s dozen of apples in each bag. Should I claim a deduction for 2/26 or 1/13 of the cost? I may also paint the peppers and cucumber and maybe a few more apples. I think I’m creating an accounting nightmare. I’ll get more out of the apples if I just eat them. But I think you’ll be seeing a few more little still lifes like this. I’ve been eyeing my Clementines too. (And I actually did sketch of paint most of those things!)
Original pastel, 5.5″ x 3.5″, 2000. The mats are 2.25″, white under mat and deep orange suede top mat. Frame is 8″ x 10″, a 1.5″ wide decorative antique gold for a total size of 11″ x 13″
ABOUT THE ARTWORK
I did this quick little sketch while teaching a class in plein air sketching and working with minimal materials. It’s an orange and a red apple and a green apple with blue shadows. I’ve always liked it. and finally decided to frame it up.
The sketch is done in pastels on mat board I primed with fine grit tinted blue. The mats are 2.25″, white under mat and deep orange suede top mat. Frame is 8″ x 10″, a wide decorative antique gold.
Purchasing originals and prints, and shipping
Shipping within the US is included in the cost of each print.
Prints up to 16″ x 20″ are shipped flat in a rigid envelope. Larger prints are shipped rolled in a mailing tube unless otherwise requested; flat shipping is an extra cost because it’s oversized.
The giclees are printed on acid-free hot press art paper for a smooth matte finish using archival inks. Giclee is the highest quality print available because the technique uses a dozen or more ink ports to capture all the nuances of the original painting, including details of the texture, far more sensitive than any other printing medium. Sometimes my giclees look so much like my originals that even I have a difficult time telling them apart when they are in frames.
I don’t keep giclee prints in stock for most of my works. Usually I have giclees printed as they are ordered unless I have an exhibit where I’ll be selling a particular print so there is a wait of up to two weeks before receipt of your print to allow for time to print and ship.
Digital prints are made on acid-free matte-finish natural white 100# cover using archival digital inks. While digital prints are not the quality of a giclee in capturing every nuance and detail of color, texture and shading, I am still very pleased with the outcome and usually only I as the artist, could tell where detail and color were not as sharp as the original. Digital prints are only available up to 11″ x 17″ and some of the prints are cropped to fit standard mat and frame sizes.
Digital prints have at least 1/2″ around the edges depending on the size of the print. All are countersigned by me.
Because the standard size canvas prints are not proportional to the original painting, canvas prints of this painting will have a portion cropped off.
I usually have at least one of the smaller sizes of canvases on hand, but order larger ones as they are ordered because I have limited storage space. Smaller canvases are a 3/4″ in depth, Canvases 12 x 16 and larger are 1-1/2″ in depth. I set them up so the image runs from edge to edge, then the sides are black or white or sometimes I slip in a color that coordinates with the painting. This canvas mirrors the edges of the image around the sides.
The price below would include a 16″ x 20″ gold frame with decorative corners, but it would likely not be identical to the original, unless I happen to find a similar one at another thrift shop. I do all my own framing and can custom frame a print for you. Please ask.
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© 2016 | www.PortraitsOfAnimals.net
Published by Bernadette E. Kazmarski
All images used on this site are copyrighted to Bernadette E. Kazmarski unless otherwise noted and may not be used without my written permission. Please ask if you are interested in using one in a print or internet publication. If you are interested in purchasing a print of this image or a product including this image, check to see if I have it available already. If you don’t find it there, visit “purchasing” for availability and terms.