Twice before we’d been to our friends’ small resort in northern California, but only for an overnight. We’d been invited to stay longer so this time we did, for two weeks. It turned out to be a glorious time and place for what we do on these trips, focused art-making, as well as taking in the interest and wonders of a new place.

We were already in the area, my having done a public painting at a centennial event at Simpson University in Redding. From there it was just an hour’s drive through light rain and abundant scenery to our next destination. Ahead, the Trinity Alps.

Near the top of the map is Redding; our venue was just west of there.

Fall colors were in abundance, along with lots and lots of green.

That’s our cottage, with the van parked adjacent, highly convenient for unloading all our gear.

We had barely moved in and Anne was already at work, which she did pretty much non-stop, but for evenings, all the 14 days we were there.

I took daily hikes around the area. A recent fire had swept through. Happily nothing at our friends’ place was affected, being well maintained (cleared of underbrush, etc.) and thanks to the firefighters. Still, there was a beauty in the contrasts between the burned and not burned.

Some areas were not so fortunate, houses and cars were in ashes, as well as somebody’s prize Harley-Davidson.

We set up in the small living room and kitchen and found the situation very accommodating for our needs.

Anne’s press is on the kitchen counter; we bring our own work table with extendable legs, good for standing at it.

Here’s my half of the studio, this taken on our third day; the space became a lot fuller and busier as the time progressed. In the end I produced 17 pieces of art, large and small, some of them commissions, others in preparation for our next show (announcement below).

Behind our cottage grew a beautiful Persimmon tree, the leaves as colorful as the abundant fruit.

I found the fruit to be great subject matter for painting, this one, “Persimmons Three,” is oversize at 12″x24.” (Click on it to enlarge.)

“Persimmons Four” at 12″x12″ is closer to the actual size of the fruit itself.

Then I came into a whole new way of doing small fruit still lifes on highly abstracted backgrounds: a yellow onion, an apple, an orange, a red onion, a yellow pear, and another persimmon. (Click the picture for a larger view.)

The spare bedroom was handy for space to set out works to dry. By the end of the time all four walls were full of Anne’s work, and the beds, and the closet.

One more of the majestic scenery, the Trinity River maintains its energy, its melody and its everlasting beauty, rising and falling with the rains and snowmelt. Some fish in it, some kayak or raft on it, I just walk the edge and thank God for life.

Greetings from us to you at the Trinity River.

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Next Show

We’ll be opening our home and garage again for a great display of art and general friendship December 11 and 12. If you’re at all close, come if you can. We’ll be having an Internet sale during that time as well.

New Book

Check out my new book, just released, available on Amazon or on my website. It’s all about this young man’s finding his way, through all manner of adventures and turns, many long trips into Mexico, hitch-hiking across the USA just to do it, marrying Anne on four day’s notice (55 years ago), reaching early goals as a magazine art director (Surfer), experiencing anguish at the state of things, finding God, and starting again on a whole new road.  Click the link for more info.

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On a day in June we drove the six hours over to Scottsdale, Arizona with a van full of art. A couple we’d met indicated interest in a few of my paintings, so I took those. I also loaded a number of others to provide options. As it happened, they loved almost all of them, like 28! (Only three returned in the van.) For us, it was the sale of the year, or rather, the career. For them, it was a trove of art, which they now love, enhancing their beautiful home. Check them out. (For some I’ve included links for larger views of the paintings.)

They’d recently purchased the house, furnished, but without anything on the walls. That’s what was missing. A beautiful home needs beautiful art to complete it.

The moment of our arrival, the van, with all the back seats down, being the perfect vehicle for transporting art, and keeping all cool in the desert heat. The outside temperature that day was 120!

On arrival, after a bit of conversation and a glass of wine, we began placing art around the house. Here Anne helps Melissa find just the right setting for Senoritas Simpaticas.

I brought a number of pieces on unstretched canvas, rolled up, like this one, temporarily taped to a guest room wall for visualization. They are now having it stretched and framed. They’d seen a version of this on my website and said they liked it, so I made this new one, much larger. (The original, Yellowscape 2, is still available.)

While the large work was still on my studio wall I set up a flower arrangement to paint. The colors of the larger work found their way into background colors for the new one. Gave it an extra pizazz.

It seemed appropriate to make the small floral a gift for the lady of the house. And it seemed appropriate for her to set it over this desk in the same room where the large landscape would go. (For interest, I now have a whole website page on dedicated to florals.)

They found and liked a few pieces on my website that had already sold. So I made new versions, like “Blue Cowboy” being placed here. (BTW, a print on canvas of this piece is available on the Western page of my website.)

It was the same with “Blue Bull,” a new and larger version of an earlier work. Shows what can be done.

Daughter Kendall found Backyard Indigo to be the perfect piece for her bathroom, the colors working wonderfully well.

Rapture 2 found just the right place over a credenza, which should look really great once stretched and framed.

Rapture 1 (left) hung here temporarily until finding another perfect place in the house.

Once again, “Golden Hills” was a duplicate version of one they found on my website. Though inspired by California (and my imagination) it works great in Arizona, too.

I painted Fiesta Interlude (left) many years ago, from a photo I took at the Orange County fair.

Sharon in Studio 2, (right), was another favorite of mine, painted originally from life. I’m glad for where she’s arrived.

Warm Shoulder, long hanging in our own living room, now fits beautifully at the end of this Arizona hall.

Roses on the Way is another painting that also hung in our house. People sometimes ask if it’s hard to part with a painting. I say, “No, to place them in loving homes is part of doing it.” Then again, there is a certain nostalgia when I see them again, like for a number of these here.

Warm Shoulder 3 had just been returned to me from a gallery that couldn’t find a buyer. Turned out to be a good thing as this one surprised us all, here fitting stunningly in the master bedroom.

The abstract, Love Flows, worked perfectly over the marble counter in the kitchen area. (The title also works well with the whole household.)

River’s Reflections is an abstract interpretation of a photo I took in Idaho earlier this year.

Their Majesty is a painting they saw early on my website and knew immediately where it would fit in their wide entry. It’s now framed with an enhancement light over it.

I made the horseman from Spain, “Andalusian,” to face “Their Majesty” (previous picture) across the entry. Works great.

I put Majesty of Pear in the van on a whim; turns out to work great, now framed, in the entry hallway.

Taking a Break worked more than beautifully in this guest bathroom with blue patina walls.

The matching painting with the one above, Gown Girl, worked beautifully in the living room.

Morning Meditations is actually a painting of Anne, though with hair color of an earlier time. I asked her then if she minded letting it go and she was fine with it. It so works in their reading room, the hearth filled with an amazing trove of old books. (Funny, Anne is reading on an i-pad.)

“Beauty and Shoe” works great in the master guest bath. Actually this is the second version I painted of this. The first, on a panel of bamboo, is still available: Beauty and Shoe on Wood.

Blue Elegance found a place on the landing between the ground and second floor. Can’t wait to see it mounted and framed.

Actually, Point of Reference found another wall for better showing. The photo shows a trial placement.

One more, Wayne hanging Seeing the Future in his man cave.

There were others, but this shows the bulk of them, and it also shows the benefit of my having a wide array of painting styles and subject matter. I’ve often wondered if that’s a problem, marketing-wise; but it served well here. This family now has a house-full of art, almost all by one artist, but still with wide variety. I’m grateful. And that they are, too.

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For the last while I’ve been adding more floral paintings to my oeuvre, including a genre I call abstract florals. Check them out. For prices, click on the titles. If interested in one, text me: 949-290-8643.

Essence of Tulips 1

Acrylic on Canvas
31″ x 31″ 77.5cm x 77.5cm

Essence of Tulips 2

Acrylic on Canvas
28″ x 21″ 70cm x 52.5cm

Essence of Tulips 3

Oil on Canvas
16″ x 12″ 40cm x 30cm

This, just to show the scale of the three paintings, all done at the same time, from the same photo reference, but with a departure in styles. Both of the then unstretched pieces have been since stretched and will be hanging in the show.

Lost in Thought 1

Acrylic on Canvas
38″ x 38″ 95cm x 95cm

Momentary Glory

Acrylic/Oil on Canvas
31″ x 29.5″ 77.5cm x 73.75cm

Splendor in the Grass with Poppies

Acrylic/Oil on Canvas
16.5″ x 37″ 41.25cm x 92.5cm

Fleeting Fall

Acrylic/Oil on Canvas
22″ x 22″ 55cm x 55cm

Verdant Breeze, Vertical

Acrylic/Oil on Canvas
33″ x 33″ 82.5cm x 82.5cm

One more, just to give an idea of scale for some of these paintings, photographed while in process. Note the last one, “Verdant Breeze,” was painted on a horizontal axis. It was Anne who thought it could look as good as a vertical. So that’s how I’ve presented it just above. Could go either way.

My website has a whole page dedicated to florals. To see others go here.

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In May Anne and I went again to Swan Valley, Idaho to do art. It was our fourth time, always by the gracious courtesy of friends Jeff and Michelle Aleixo. As a gift, I made a book for them. Though they’re well aware of the beauty of the place, this was the first they’ve seen how we set up our working spaces. The photos are a smattering of the four times we’ve been there. They love it, and I think you will, too. You can click on each photo to enlarge (and read captions).

Hope you enjoyed that.  We’re grateful for the memories, and the anticipation of going there again one day.

Meantime we are occupied as usual in the home studio. Anne is in the midst of the summer-long Festival of Arts in Laguna Beach, California. We highlighted that in the last blog.

Mark your calendar for our next Studio Show and Sale here at the house. That’ll be September 4 and 5, both afternoons. Would be great to see you.

Meantime, keep your eye out for beauty. It’s everywhere.

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After a year hiatus (due to Covid), the Festival of Arts in Laguna Beach, California is back on. And once again, Anne is one of the artists featured. There are 120 showing for the event which will run all summer. Here’s a look of her booth and a few of the works on display. Not shown is an array of unframed works in her bin.

A quick shot as Anne moves around attending to last minute details before the arrival of guests on opening night.

Anne’s press is on display to help visitors understand how her original prints are made. This is her smaller one, the one we take with us on art-making trips. Her main studio press is much too large and heavy.

Title: Evocative Connection.

Submissive Wonder.

Space for Memory.

Test of Translation.

Strong Hope.

Called to Action, one of a new approach where the work is mounted on stretched canvas and ready for hanging without a frame.

Landscape of Memory.

Anne interacting with guests.

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It’s been a productive month. After a number of “westerns” and “Idaho landscapes” the month before, many of the paintings of May went in an abstract or semi-abstract direction.

First, Strata of Promise, acrylic on canvas, 60×41, here pinned to a wall.  Eventually it’ll be stretched, frame optional.

Man of Mystery, acrylic on paper, 20×14. Works on paper can be every bit as enjoyable as traditional canvas. This one was a straight abstract then received an outline silhouette birthing a figure.

This one started out along the same lines as Man of Mystery, above.  As I looked at it, a face suggested itself, very subtle, but enough for me to bring it out.

If you compare the two you see just touches of where the face came from, a hint of lips, forehead locks and side, maybe a neck and shoulders. In any case, she’s complete now, or as complete as she’s going to get. Grace and Peace, acrylic on paper, 22×14.

Here is stage 2 of an underpainting. Actually I kind of liked it as it was, but I had other plans. What you can’t see is rows of alphabetic letters “painted” in with rubber cement over the dry paint. Then I added another layer of paint and, once it was dry, rubbed out the rubber cement.

Here’s the result. Symbolic Meaning, acrylic on canvas, 60×42. I’m happy to confess the original concept for this painting came from one of Anne’s works. I’ve often thought her pieces would look great really big, but there’s no press this size, and painting is an altogether different process from printmaking. Still, I’m happy with the result. And so is she.

A detail. The “alphabet,” of course, is completely made up, by Anne.  I merely copied.  I suppose in this regard, it’s another collaboration. I’m happy with that, too.

. This one started out as a purely abstract painting. That’s how I left it one evening; but the morning brought new ideas. That’s when the girl walked in and changed everything. Probably something pretty symbolic about that, too.  Into the Now, acrylic and oil, 58×40

This, just to greet you and to show the relative size of some of these pieces, still affixed to the studio wall.

Thanks for checking out the paintings; it’s a pleasure sharing them with you.

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Scrolling though mostly recent archive of paintings I’ve come across a number of faces worth another look. There’s aways something about a face that best reveals the essence of the person. That’s been shown all the more lately with masks everywhere, hiding half of what we want to see in whole.

A number of these shown are cropped from fuller pictures. Being art, a lot of it is about the brushwork itself, which if you look closely, you’ll see is unique to each one.

Toward the bottom is a large one I just did last week, at a convention in Sea Island, Georgia.

And last is a very recent large commissioned piece with hand prints, with a photo of its making.

Enjoy them all. And let me know if you have a favorite.

Pricilla, a smooth face handled minimally, done over an abstract painting, a detail.

Arab Man, done with thick paint and bold strokes, a detail.

Brooding Beauty 4, an image I’ve always liked, and painted numerous times, all sold

Chief,  done in thick paint, matching the ruggedness of his face, a detail.

Just a Hat, a painting in impressionism, a detail.

Flamenco Poised 2, detail of a full length painting.

Greek Man, done with “suggestions” rather than hard-lined “realities,” a detail.

Senegal Man, with a richness of color, his clothes reflecting in his face, a detail.

Brooke, just a detail of a beautiful girl, a commission, painted in full length.

Goateed Elder, a small work with strong strokes, the pose conveying mood.

Palette Knife Chick, with strong side light, making the dark hair white, all done with knife.

Darfur Luminescence, with skin you can almost see into.

Jane on Texture, minimal detail except in the focused features, a detail.

Red Scarf, a small work done in richness of paint and bold strokes, a favorite of mine.

Long Hair, a quick sketched and succeeded, I thought, a detail.

Hat ‘n Braids, done with very thick paint, knife and brush, a detail.

Lina, a study in very soft edges and momentary expression, a detail.

Great Earrings, always a challenge, doing a smooth face with thick paint, a detail.

Quiet Queen, black skin with all manner of color, a detail.

Zambia, a detail of a very large painting (now in Zambia).

Green Eyes, could just as well be “Red Lips,” a detail.

Breath of God, painted last week at a public gathering at The Cloister, Sea Island, Georgia.

Hands and Child, with suggestions of the under-painted hands showing in the skin, a detail.

Here, the hands going in during an Easter afternoon family gathering.

Hands and Child, last touches, the painting just shipped to Florida.

That’s enough. Maybe too much. I’m thinking someday I’ll make a book of just faces (I have lots more, including stacks of small paintings done from live models) so we’ll see about that.

In a few days we’ll travel to Idaho for a couple of weeks of art making at a beautiful hideaway we’ve used before. Always grateful for that.

And all things.

Thanks for spending time here.

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Hi friends, greetings of the new year. (It’s still January so I can still say that.)

At the turning of the year I did a review to see what paintings were sold or somehow placed last year. I was heartened to count 111 of them. I’ve not counted in previous years, but this feels like more.  I wanted to share them all with you but there were too many for this blog.  So I made a book, a single copy, just for myself, and from that I have a pfd.  That I can share with you.

It’s here, just click on the link.

Paintings Placed 2020 10M

The book is 8.25×10, designed by me and published by Blurb. Just one copy exists (others possible, but expensive).

The book is designed to be viewed as two-page spreads. Your pdf may allow for that (on View/two-pages); if not, single is fine, the captions won’t always make as much sense.

FROM THE INTRODUCTION

The one-hundred and eleven works shown in this book represent most of the paintings that found new owners in the year 2020. Of these, some were painted the year of their placing, others years before. While size dimensions are not supplied, it’s a record of what went where and to whom.

With the exception of two placed through a gallery, all transactions were directly from artist to collector. A small number were gifts or contributions, some painted expressly for that purpose.

The representation here is not indicative of new works created during the same twelve months. What is does show is the wide variety of my artistic interests in terms of subject matter and application of style. Except in the case of commissions, and even for some of these, the choice of topic and approach come solely from the whim of the artist on entering the studio on any given day.

Continually exploring new things is part of the joy of painting. I am grateful when someone makes a purchase; it affirms they see the value. Making a living at making art is part of the fun, and it somehow makes it all more real.

This is the first visual accounting of all the work placed in a year. Whether there will be others, time will tell. For now, I’m grateful to present these, and to take pleasure in what has been made and gone out into the world, adding in a small way to its beauty, and to the satisfaction of their new owners.

It’s a 72 page book, arranged by category. Here’s the list, with the total paintings in each.

Still Lifes 13

Places 23

Figures and Faces 26

Abstracts 10

Western 8

International 19

Animals 4

An Inn 2

Christian 6

Again, here’s the pdf: Paintings Placed 2020 10M

Just another view . . . note this one is slightly smaller than the ten of my previous Blurb books (some of which I’ve shared on this blog.)  With this, and a good number of others, I’ve come to realize that making books is my hobby. I know it comes from art director days. Some people paint as a hobby. For me, painting is my work, but I enjoy it all.

Isn’t that how life should be?

Trust yours is just as full of fun and meaningful things.

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We’ve been in Oregon. Two weeks. It’s the latest in our series of at least annual art-making trips, about seven to this location. Here are some photos of the place, the resulting production, and an array of the beauty surrounding.

Happily engaged (actually, happily married), working together in the studio. A friend dropped by and favored us by taking a photo. Note the work on the easel, a rare “collaborative” where I added a figurative oil painting over one of Anne’s prints. A new approach for us? (Click on picture for larger view.)

The studio and residence. In the past we’ve stayed and worked in a smaller place behind. This whole complex, the Arts District, was the vision of artist Michael Gibbons. Four years ago he suffered a stroke and this year passed away. Our loss, and the community’s loss, for who else could really keep this vision alive? The place is now for sale.

Originally built in 1887, here’s how it looked at the time. The adjacent house is still part of the property.

Another view, early morning.

Complete with a kitchen and dining area (not shown), the loft serves as the bedroom, overlooking the main studio working area.

Another view from the loft, the partition dividing the working space from the “living” where we would read or watch videos on the computer we brought along.

I don’t know how many times we’ve listened to the Italian Renaissance in 36 informative and inspirational lectures by Professor Kenneth Bartlett, produced by “The Teaching Company.” Aways great. (Just don’t test us on anything, it’s background while we’re working.)

The space, with Anne’s press toward the back a left and my working area toward the back right. (Click for larger view.)

I kept my productivity to smaller works this time, easier to transport. These, plus the collaborative, came to 14 pieces, some of them passible.

Another view, showing a bit of the variety.

The Newport News Times got wind of our visit and interviewed us for a story, with a photographer venturing to the studio for photos. We’re told it will run in a week, by the time we’re well home. They’ll send us a copy.

Anne, doing some of the fine tuning on a new work.

As she would print on a piece, it would go up on the partition to dry. It’s a nice way to see progress.

Her focus was on enhancing and completing pieces started earlier, of which there is always an abundance.

A brief moment at the window, here counting crows which had gathered at some landfall feast.

The same window as it looked at night during the often falling rain.

A view of Toledo as we first entered the town. Good to be here again. As we’ve said more than once, “This is probably our last trip.” This one certainly is. (Maybe.)

A main feature in the town, and the main industry, is the Georgia-Pacific mill, creating pulp for paper. Ever breathing and heaving, it’s like a living creature that never sleeps.

Here she is in the early morning rain.

Here’s looking back at Newport from the coastal head with the lighthouse.

Who knows how many shipwrecks this old lighthouse prevented . . . and how many it did not?

And one could see how a lighthouse was needed with these rugged coasts and the ocean ever churning.

End of anther day on the coast. Actually we only experienced the coast twice on this trip, the studio in Toledo being about ten miles inland. We were sequestered inside almost the whole time, occupied with what we came for. Besides, it rained half the time . . . which was fine by us.

One more of us, greeting you. Thanks for enjoying our trip with us.

———

PS Plans are still on the calendar for us being part of “Art Along the Coast,” meaning an open studio show at our house the first two weekends in December.  Watch for a further announcement on that.

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Saturday, August 29 and Sunday, August 30 will be the final two days of this season’s show. Many came last weekend, enjoying it all, feeling safe in the open-air of the garage, as well as the house. The warm weather invites us to keep all doors open and the fresh Dana Point breeze wafts through. Of course, for all that, we still wear masks.

Last post we shared a walk-through of the garage studio. Below is a brief walk-through of the living and dining rooms. Select “full screen” for best view.

Come, and bring a friend. Time and place details are below.

Can’t come? All of our art is viewable on our websites: hyattmoore.com and annesprints.com.

The main living room, furniture from everywhere (except furniture stores).

New landscapes on display, housed among our “Swat Valley” cabinet (traded for a painting in Carmel), a high chair from Indonesia, another chair from Ethiopia, presently displaying a sculpting from fellow show-artist, Antje Campbell.

The Indonesian coffee table, the Mexican easy chair, the China sideboard, and the stairs to the upper level with more rooms, the studio, and more art.

We’ve had that round table from the beginning, as well as our dining room chairs, originally used office furniture. The door in the wall, which really does open to the guest room, is from Bali. The bells along the top are from various travels.

Guests often comment on the color of the cabinets, a choice of Anne’s many years ago. The island table is of a solid piece of wood from Mexico (also traded for a painting, in Santa Fe). The counter-top stone is from Brazil.  The floor tiles from Mexico. Of course the baskets are from everywhere, as are the pitchers and everything else.

A view from the dining room out to the living. Over the years, virtually every aspect of this tract house has been transformed one way or another. It’s sort of a canvas we keep painting on.

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