Petite Déjeuner de Pain - 20 x 16 - Oil on Linen Panel

Morning in Provence. It offers so many sensual treats. Golden sunrise – didn’t see many of those as we also love to sleep in. The herbs and flowers in the garden awaken giving subtle hints of their afternoon perfume  But the best is the fragrance of  coffee and fresh baked French breads. Flaky or crisp crusted, French breads are the best in the world. I loved the contrast of the woven basket, white cotton lining and the golden breads. On a weathered teak table under a canopy of trees with that soft Provencal sun – what a great way to wake up my sleepy eyes.

Richard Schmid “North Garden Peonies” 18x18 2006

This painting is Richard Schmid’s “North Garden Peonies” the subject of a recent lesson from the series “Learning from Richard Schmid” by Katie Swatland. (used with permission)

Representational artists of my generation owe our ability to stand proud in the art world today to a few courageous and incredibly talented artists of the late 20th Century. Artists like who swam against the tide of Pop, post-modern, conceptual and other mid to late 20th Century movements and kept representational art alive. For me a true giant of representational painting is Richard Schmid. Schmid is not only a great painter, since the early 1970′s he has been one of the most generous and gifted teachers of the fine art of painting.

When I graduated in from college in 1972, color field painting and pop art and a nascent conceptual art movement had conquered the art world. Realist art was my passion, but was considered completely passé and no longer worthy of being taught in art school. However, that same year, I bought the book “Richard Schmid Does Landscape Painting” and have referred to it for instruction and inspiration for close to four decades.

My career choice took me away from fine art to career in graphic design and marketing communication. The passion I had for representational painting, although set aside, still smoldered inside. In recent years that passion reignited and Schmid’s wisdom has been an invaluable part so that journey. His “Alla Prima: Everything I know About Painting” published just a few years ago has been my bible for understanding the representational painters craft. And although our styles are quite different my work owes a great debt to what I learned from its pages.

Although Schmid does not teach in manner of the atalier system, he shares with that system a deep commitment to accurate drawing, great composition, value, color, edges and most importantly, using that tools in service of a clear artistic statement.

Schmid shows us how to see the world from our own unique perspective and use solid skills to express our experience and vision. He helps us to trust what we see, and opens our eye to see more deeply. He helps us slow down and be deliberate with every brush stroke yet still allow those brushstrokes to appear spontaneous and natural. He teaches that and so much more.

Beyond the craft, Schmid exudes the shear joy of being an artist.

Thank you Richard for the beautiful gift of your art, your teaching and your true contageous artist spirit.

Richard Schmid’s continues to teach in many forms – in person, on DVD and in through his books:

Stove Prairie Press – A Richard Schmid publishing company is the source of Schmid’s great teaching DVD’s, lithographs and books including his latest, “Landscapes,” to be released in November 2009.

“Learning From Richard Schmid” - A series of lessons, photographed, transcribed and compiled by artist Katie Swatland, reviewed and supplemented by Richard Schmid, is wonderful addition to the Richard Schmid library.

FOR THE RECORD – Only my heart profits from the sale of any of Richard Schmid’s DVDs, books or work. It simply pleases me if I have introduced you to Richard Schmid or reawakened your interest in his painting and teaching.

La Maison Blanche - 16 x 12 - Oil on Linen Panel

On our way to a winery just outside of St.Remy, we stopped to simply enjoy this beautiful valley. The rocky hills, the warm soil framed the lush, young green of the vineyards. The vines were just starting to flourish with the warmth of early spring. The road is typical of the web of unpaved trails that weave through Provence. And that white house could easily be our dream home.

Tasses à Café - Oil of Linen 20 x 16

Moving back inside to our room at the Mas des Carrasins, St. Remy, were the Provencal light washes everything just so. What more can I say?

Ancient Bench – Oil on Linen – 16 x 12 inches

When you subscribe to my eNewsletter you will be receiving a link to a set of Ancient Bench posters.

I love the textures and light of  grapes against old wood. The grapes are sitting on the sculpture bench used by art students for nearly  50 years at my Alma Mater, California Lutheran University. When I saw it a few months ago I knew the textures of the weathered wood would be a perfect complement to the smooth glow of  back lit grapes.

The poster set is a pdf file of very high resolution images, suitable for giclee printing on canvas. Not only do you receive the posters but you will be the first to get news about shows, demos and, of course, new paintings.

If you would like the poster set, please subscribe today!

Fleurs 16 x 12 - Oil on Linen

OK. So this is a little cheat. This was not really in Provence. This very Provincial watering can was at a shop in Paris. But is belongs with all the memories of Provence. So here it is. I hope you enjoy.

Path to Monastery Saint-Paul de Mausole - 8 x 10 - Oil no Linen Panel

This little painting is of a path that we passed on our way to the ancient Roman settlement of Glanum, not far from our hotel. The path leads to one of the most moving places in St. Remy, the sanitarium of Monastery Saint-Paul de Mausole. It was Vincent Van Gogh’s home for nearly a year. Suffering from depression Vincent came here to seek a cure in vain. But while here he painted many marvelous paintings including many of his gorgeous paintings of irises. The grounds of St. Paul’s still have iris gardens. Many of the town’s streets are also lined with these beautiful flowers.

View from La Maguelone - Oil on Linen - 16 x 20 inches

La Maguelone is the name our room at the Mas des Carissins, St Remy. It is a hard choice to say what transcends that beauty of the other, the view, the room, the sumptuous meals.

La Maguelone is on the second floor. The tall french door open to a view looking over a pair of olive trees to this wonderful tiled roofed building. It is a shed really. It looks several centuries old. Of course the years have brought to it a marvelous character.

For Europeans the age might be common. For a guy from L.A. anything older than a few decades is considered antique. So beauty of the aging structure throughout provence are met with a sense of wonder.

Rose de Provence

Perhaps I should say indoors at Provence. This rose was placed on a table in our room at the Mas des Carissins, St Remy.

One of the first things that struck me at the Mas was that light in the room was at once warm, diffused and brilliant without washing out the colors. The tall double doors faced south and when open flooded our room with a mysteriously rich glow. In California, south-facing windows brings in such strong light that light colors sometime loose their vibrancy. I had expected Provencal light to be the same. Of course, to our delight, it wasn’t. I didn’t realize that St. Remy is as far north as Eugene, Oregon.

For this painting I asked the very nice gentleman at the front desk, Angelo – a Frenchman of Italian decent,  if I could borrow a rose from one of the dining room settings. I was going to use a glass from the room as my vase. He had better plans. He led me to an area in the gardens (there are several at the Mas) and allowed me to select my rose. He also gave us the perfect vase. Voilá.

By the way, St. Remy is probably best know as the place Vincent Van Gogh convalesced after his breakdown in Arles. It is that and so much more. But that is for a few other posts. Just know that Vincent’s irises still bloom there.

"Pears" - Oil on Linen

Historian Bernard Meyers wrote “Fine art is not a luxury, but a necessity.” I agree! The creation of art is not just what I do, but a fundamental part of who I am. It is part of my personal identity. But that is an artist’s  view looking inward.

Meyers argues that just life food, sleep, shelter and security, art is universally necessary to all humanity.

But why?

Does art mirror of our culture helping us see ourselves more clearly or honestly? Does art call us to be our better selves? Does art create an entertainment that give us rest and renewal from the stresses in our lives? Does art teach us see the world in new and different ways so that we can look at our own challenges from a different perspective and find fresh solutions?

Is it all of the above, and more? Or do we artists and art lovers just think more highly our passion than we have a right to?

What does make fine art essential to our lives and culture?